All Activity

Cool stuff. I look forward to trying it later this year when less busy as Lightroom is my go to for stills, but I would like to get out of Adobe in 2026. 👍

Hey everyone! I wanted to share something I've been working on for the past while - Lumap, a DCTL for Resolve that consolidates all your basic grading adjustments into one intuitive panel. The Problem I Was Trying to Solve I got tired of using complex node structures just to do basic exposure, contrast, and saturation adjustments that would look natural. Coming from a photography background using Capture One and Lightroom, I missed having simple sliders in one place that just worked without having to think about CSTs, colour spaces, and multiple different nodes. What Lumap Does Instead of wrestling with lift/gamma/gain wheels, Lumap gives you: Photometric exposure - Linear stops like changing exposure in-camera Temperature and Tint - For white balance Intelligent contrast - References your source’s format's middle grey without overcooking the toe/shoulder Brightness - Targets midtones while preserving highlights and shadows Organic highlight/shadow recovery - create organic, film-like roll-offs that seamlessly blend into your midtones Smart saturation - Preserves luminance and prevents skin tone oversaturation Film-style density - Control the intensity and depth of colours you get from subtractive saturation techniques Why Sliders Instead of Wheels? Most of us aren't using professional grading panels - we're using mice and trackpads. Sliders are just faster and more responsive for cursor input. Plus, if you're coming from photo editing, this interface will feel immediately familiar. There's a free demo version so you can test if it fits your workflow. https://www.dhyanverco.com/lumap Would love to hear your thoughts if you give it a try! And happy to answer any questions.

Oh, that's super cool!

So maybe it could be the case that the c50 in super35 could get in the ballpark of the c70 without the need of DGO sensor…thoughts?

First where you can flip the filter out of the way entirely, to fully clear, without trays.

If you ask why they don't add another hole to make it more secure on tripod, here is your answer. Its bottom of Z6iii. There is no room for another one lol

With eND, you mean? Or do you just mean the first decent one? Fotodiox has had vND adapters for years now, but they're pretty mediocre in quality. 😃

I love this. I think there's a lot of room for innovation in merging AF and MF technologies, and this is a cool step. Speaking of adapters, I saw in CineD's coverage that Metabones' EF to E adapter with eND is available to purchase now. Afaik, that's the first adapter with a filter that doesn't require changing filter trays.

After playing more with NEV to R3D converted Z6iii clips I prefer the Resolve’s NRaw Camera Raw panel controls, especially for adjusting WB, exposure, highlights and shadows. In Red Raw panel your options are a bit more limited. Chroma NR tab is nice and could be the reason why ZR DR is said to be better, at least it cleans the raised shadows a bit without touching Resolve’s other NR controls. Tried also to shoot from the hip by using Z6iii’s LCD to mimick shooting with ZR. Hard to imagine how big a difference a 4 inch screen could make compared to 3.2. I guess I am just an EVF shooter, as on my first Canon 550D back in 2010 I had EVF loupe attached,which magnified the LCD 2x and gave additional contact point. But it’s nice Nikon users have now more options to choose from.

Macro shooting for real cheap based on a 3D printing accessory makes this capture device a natural no-brainer for distinct DoF range routes from countless 37mm glass options too ; ) here are the results:

ProRes RAW... https://www.blackmagicdesign.com/media/release/20250910-02

https://www.techradar.com/cameras/camera-accessories/the-nikon-zr-is-already-great-but-this-smallrig-accessory-turns-it-into-the-ultimate-run-and-gun-video-camera HERE for ZR review.

32-bit float audio in the in-camera mic as well as analog input. Digital microphone interface in the hot shoe, will be utilized by Nikon's own microphone (no cables) and TASCAM's audio adapter. Larger and brighter display. Future V-mount battery compatibility. More codecs, and presumably solved the flickering problem (since it's not mentioned in early evaluations and this camera's video first nature, I would expect they solved it). 130 grams lighter than the Z6III. LUT upload into camera for viewing. Drawbacks compared to Z6III: no EVF, no mechanical shutter, second card is micro-SD rather than SD.

is there any advantage if you have Z6 III ? More detail or better dynamic range with red raw instead prores/nraw raw etc ?

Here is a link to the video: https://www.youtube.com/live/-xwAllKdSW0?si=idF9ndnB6oNJjzKb It's an interesting talk, the DP mentions how the camera opened up lens choices for their short, from high end Panavision anamorphics to FF, S35 and even S16 glass. In that sense it really behaves like three cameras in one. Sure, the R5C also has crop modes, but the C50 adds open gate, all the desqueeze factors, and a rugged screw mount cinema build. You can also record log master on one card and baked in LUT on the second. That makes it feel like a purpose designed tool rather than a hybrid you have to adapt around.

It's definitely not a typo! Several C50 reviews mention it and there is a B&H C50 talk with the DP of the short film I linked earlier and a senior Canon rep that confirms S35 has a stop more of DR, when pressed on how they achieved that he says its readout & ISO related. That seems to suggest Canon is using the reduced data load in the crop to drive the sensor differently, maybe a slower more precise readout path, or shifting the base ISO behavior to lower noise. Not unlike how Panasonic’s DR Boost works, though probably different sensor readout trickery.

Newsshooter is there and brings these exciting news: https://www.newsshooter.com/2025/09/13/viltrox-nexus-pl-to-e-pro-adapter-that-enables-full-af-capabilities-when-using-pl-mount-cine-lenses/ Comes by 4Q 2025 in the end of the year...

It could also have to do with readout speed. 14-bit is slower to read out and tends to give worse rolling shutter numbers. If Canon decided they wanted to hold RS at 15ms, they could probably read out the full sensor at 12-bit, but still have <15ms when reading out the smaller 5K crop at 14-bit. It seems like a weird thing to do, but more choices are always welcome.

BM P4K can make a really nice image, but the ergonomics are a bit funky, with the chonky body and the non-flippable screen. It also doesn't really even pretend to have AF beyond a push button that focuses once only and not continuously. The GH7 is an incredible camera and is still incredible. If you don't need the improved AF, the GH6 is also fantastic. And there's nothing wrong with the GH5 or GH5s.

You have to keep what you save to buy CFe cards 😉

Its all speculation, but it makes sense to switch from 12bit to 14bit in Super35 mode. The main reason almost all cameras are at 12bit in full frame video is basically power consumption. But in crop modes, they have to deal with less resolution, so the total consumption stays low. There is also another theory. Canon is known for applying NR to the raw video. Maybe the CPU is not powerful enough to apply the same amount of NR applied to Super35, to the 7k image, or if it does, there will be overheating/power consumption issues. Or maybe we're reading too much between the line and the official spec table has incorrect number and will be edited soon.

Fair points, but I think you’re overstating the certainty here. None of us actually know if Canon is switching bit depth between FF and S35 on the C50. Canon hasn’t published that detail, so it’s speculation. What we do know is Canon are claiming higher DR in S35 mode, so whether that comes from pipeline tweaks, bit depth, or something else, the end result is what matters to shooters. Also, the CVP review actually concludes the opposite of “no improvements”: they specifically say the C50 has better DR, better AF, C-Log2, the XLR top handle, and a range of new photo/video features the R5C doesn’t have. For me, the 7K open gate, C-Log2, higher dual base ISO range, dual format recording, cine-oriented form factor, and XLR top handle are what seal the deal over the R5C. Neither are perfect cameras, but the C50 checks enough boxes for me to seriously consider it.

Nikon’s Japan site showing official release date there of 24th of October. That tax inclusive price of ¥299,200 is taking the value for money to another level really isn’t it 😂

I was simply agreeing with ND64's statement that the C50 most likely has 12-bit video readout in standard FF 16x9. There is a connection between electronic shutter limitations and video readout speed, although the S35 sensor crop can allow for higher bit depth or higher readout speeds. Moreover, cropping into S35 will not reduce noise. It will have the oppositive effect. The sensor is also not dual gain like the one in the Panasonic S1II and doesn't offer any of those features. The only way you are getting more DR out of a sensor crop is to switch to a higher bit depth (13 or 14 bit). If you compare the C50 with the R5C, which has 12-bit video readout, you see almost identical latitude (4 stops over and 3 stops under) as demonstrated in the CVP review: I will admit that the C50 has a beautifully sleek design, and may be worth picking up for the open-gate mode alone, but I don't see much in the way of image improvements over the R5C that I already own. I guess it is a camera made for those who don't have an R5C or those who may need another compact body. In that case, however, I would rather go with a camera that has IBIS, high ISO performance for low light, and greater DR in highlights and shadows. These are qualities I miss in the R5C and that have apparently not been addressed in the C50.