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1st night flight in a brazilian town (Pouso Alegre, Minas Gerais) to prove this 1-inch sensor drone makes it a DJI Mini of a different kind indeed — in Portuguese language:

Hey All, I made some brand new fantasy brick textures to share with you. They live on my TXR-Brick - Seamless page. Here's the link: https://soundimage.org/txr-brick-seamless/ If you find my assets helpful, please consider making small contribution to support my efforts. I honestly hate asking, but I do pay for everything myself including my music gear which is very expensive, so contributions from the community really help me a lot. Here are some ways you can help: Donate (any amount is helpful and much appreciated) https://soundimage.org/donate/ Get my Ogg Game Music Mega Pack (over 1400 tracks and growing) https://soundimage.gumroad.com/l/ylyre Get an Ogg Genre Music Pack https://soundimage.org/ogg-music-packs-2/ As always, enjoy, please stay safe and keep being creative!

The way I've used it in the past is there's a DCTL that will convert to/from OKLab. The pain is that it assumes you're in LogC3, so I have to do a CST before/after to get from/to DWG/DI which I use as my timeline colour space. My next steps were to look at the licensing for the OKLab DCTL, and work out how to just go directly from DWG/DI to OKLab in my DCTL. I'd assume I'd just need to combine the matrices for DWG->LogC3 and the LogC3->OKLab together into one step, but not sure if that's right. The way I'd do it is to implement a function that can be applied to the LAB variables that is stronger in the target areas than the others, or only apply in the target areas. A simple way is to say something like: if(A<0) { A=0; } if(B<0) { B=0; } X = (A * B); Then use that as a mask where the transformation is multiplied by X, so if X=1 the full effect is applied and if X=0 no effect is applied. What that will do is not effect the three quarters of the colour circle where either A or B are negative, and for the quarter they're both positive it will start at zero on the edges and then ramp up. This will ensure nothing in the image breaks because every adjacent colour before the operation remains adjacent afterwards. That will create sudden transitions in the mask though, so you could (for example) square the mask before using it, so values of X that are very low will be vanishingly low and the surface created will be a smooth curve. A bit more sophistication can make the transitions at the top (near 1) smooth too. This above is a transform that targets the A=B vector, but if you calculate Hue and Sat from the A and B values, then you can start to combine all sorts of values together, like having the value target a hue with a certain range, a saturation with a certain range, and then square that to target a location on the A-B plane. You can localise the intensity further by cubing X, or better yet, apply a variable factor which shifts X closer to 1 before it gets squared or cubed, so you can adjust it to the strength you want. While you're developing these things I'd map the variables to sliders in the plugin and then you can tune them and when you find good values just hard-code them. People have been calling for many years to be able to change the colour space of lots of controls, the way you can with tools like the Colour Warper in the spiderweb view. This would make grading so much easier if you could just set the colour space of the Saturation knob to be OKLab and be done with it, etc.

Would the Prores standard support this? If they did, how could I tell?

It depends whether you like having presets to quickly set tonemapping and highlight rolloff in R3D or manually changing exposure, shadows and highlights in NRaw. R3D’s presets seem a bit limited compared to what you can do with Nraw’s -100% - 100% sliders. For example R3D with tonemapping low is too flat in the shadows and with hard has too much contrast. With medium and highlight rolloff set to very soft it can look ok, but if you overexpose just before clipping point while shooting highlights are too bright still with R3D. It can provide pleasing looking results too. ZR’s R3D 6k50p High is 3160 Mbps 23,7GB/min and Z8’s NRaw 8k50p Norm is only 2890Mbps 21,67GB/min. Kind of tempted to try ZR, buth with these data rates, double the NRaw Norm it is a no go, and even Z8 8k data rates would be more tolerable. At least you have more options to choose from now.

https://www.slashcam.de/artikel/Test/Canon-Cinema-EOS-C50--Sensor-Bildqualitaet---Debayering--Rolling-Shutter-und-Dynamik--Dynamic-Range-.html#DynamicRange Despite what the specs and the Imatest says, this review does not agree that there is an overall improvement in crop mode.

What are the datarates with h265 vs nraw?

I saw this posted somewhere else and it definitely wouldn't. R3D NE is the same as N-raw, which has different compressions rates. H.265 with Red's Log3G10 would also require the same processing power as doing it with N-log. It's simply switching out the logarithmic function and the colour profile that's applied. You would lose the chroma noise reduction and highlight recovery that's done in post though (unless they did it in camera - but that actually would require additional processing - although they already do some noise reduction in camera so it depends on the techniques). I'd like to see their next gen cameras doing that in camera along with a 14bit readout like the Fuji xh2s.

I don't think Resolve supports oklab yet. According to google's ai you'd need to use an openfx plugin to provide support. CIELAB is still a good colourspace though. It's a huge improvement for saturation compared to Resolve's default in HSL. Do you have an example of "target certain ranges but are applied globally". Definitely agree that LAB or even HSV are better spaces than the default. And I do think it's surprising the defaults aren't improved to provide better results- especially when the software is mainly known for colour grading.

One thing I saw, is that the R3d hack, give a more pleasing highlight rolloff, or preserving the highlight better, resulting in some more DR.

I'll be honest. If anyone is starting from zero (including myself) - we'd all jump on this... In fact, if anyone asked me... "which one should I go for".... this is it. Its the same price as a Canon R7 (more or less, no matter where you are coming from with more features).

Then it should be a lot noisier, even with baked in NR. I guess Apple embedded a brightness map metadata, like they did for gain map in HDR Jpeg XL, so raw data stays intact but displayed darker in underexposure shot.

I'm not really sure what you're saying. I pulled the clip into Resolve and brightened it by the certain number of stops I specified. If it wasn't actually darker then it would have become too bright.

There is almost no noise difference between the base and -3. If there would be no penalty for underexposure, thats not underexposure. Maybe it darkens the image without changing the exposure parameters while reporting otherwise. You can test that with a moving subject.

Mid season report. Actually, I am nearing end of season with just 2 more jobs to go this year until June next…which is quite normal for me. The TDLR is I almost love it… Why ‘almost’? I’ll get to that… The Good = The body design actually. Yes I would rather Lumix had moved to a body style more like the FX3, but I guess they thought that might scare photographers who expect a hump. Whatever the reason, it’s not as innovative as it could have been and despite not having a top screen, really is like a smaller S1H in the hand and IMO, that is a good thing. In my hands, with no battery grip or any other adornment other than the smallest Senheisser mic, it feels just right in terms of size, weight, build, comfort, ergos. It’s a true hybrid. It would be even better with an internal electronic VND, but hey ho, maybe that will come with the S1H2? With 5x C1-5 custom settings and a simple photo-video switch, it’s fabulous for hybrid work. I don’t even use all 5 photo and 5 video settings, but have it set up basically as: landscape photo, portrait/candid outdoor, portrait/candid indoor and low-light, all with a starting f stop, aperture, WB, ISO and equivalent matching settings for video so it’s actually only one flick of a switch to flip between video and stills in any given scenario. Brilliant. The sensor. 44mp. Perfect 👌 for me sweet spot between the more traditional 24mp and the 100mp of the bigger MF sensors. Suits both photo and video. Video files and capability. I shoot 7.2k 30p open gate and the file sizes are not huge or slow to work with. With baked in conversion LUT, SOOC I love them. Yes raw would be even better, but an almighty faff and overkill for my needs. The open gate allows any number of crops, 30p a 20% reduction in speed on a timeline and the 7.2k quite a bit of scope for punching in etc. Having said that, not fully edited a finished production yet but I have checked and edited a few bits here and there and it’s even better than the 6K I was using before which itself was better than the 4K from Lumix FF cameras so thumbs up. The Not So Good = Battery life is pretty poor. I’ve always scoffed at people reporting poor battery life and never experienced it on any camera. Until now. It’s not great, but a spare battery in my pocket at all times is how I now roll and is what it is. AF accuracy for video is good but not Sony level. Ditto for photo. Having come directly from an A7RV, I’d give the nod to the Sony for ultimate outright stills quality and AF, but the S1RII gets the nod for video and body. I don’t think there is anything else other than I have a pair of them matched with the 35mm f1.8 on one and the 85mm f1.8 on the other. The S9 is on lighter duties of video only, mostly longer than clips and sometimes even full length ceremonies and speeches and has only overheated once and that was on a very hot day in direct sunlight. The S1RII by the way, I have never even had a warning and has never got hot to touch, - just the usual warmth you might expect shooting a thing all day long. I may replace the S9 next year with an S1IIE for a bit more robustness and utility, but waiting to see if any S1H2 appears before doing that, if I do that. Almost certainly will trade the Sigma 28-70mm f2.8 for the new Lumix 24-60mm f2.8 next year as I think it will suit my needs better and appears to offer better AF and detail/rendering. S5II soldiers on in its static role and just does what I need it to do. I do need to find a way to get rid of the battery grip and the heavy tripod however and working on that… So ‘almost’ love it. It’s the battery life and good but not stellar AF plus the less than exciting body design that drops it 2 points for me so I’ll give it an 8/10. Along with the Z8, probably the best all round hybrid camera available today? At least for my needs. Taking into account lens options and prices.

Anything that is one less step of faffing about is a good thing in my book which is why I bake my conversion LUT into my files in camera. But what if I wanted to change my conversion LUT? I’ve never wanted nor will ever need to and so it’s one less layer on my timeline. I’m ‘only’ on an M2 chip on my MacBook but no speed issues editing 6K timelines.

I used to edit projects on the train to/from work using a base-model Intel Macbook Air and external SSD with proxies rendered to 720p Prores Proxy format. This was in Resolve 12.5, so a long time ago. They edited like butter. Rendering them was a pain, swapping between the proxies and full resolution files was complicated and took a bit of work to get sorted out, but it made editing possible on very modest equipment. Now with Apple Silicone, you can edit almost anything without needing proxies.

We've actually had quite a bit of flexibility to colour grade our smartphone images for basically a decade now, but the issue is that no-one shooting with their phone could be bothered to get off their asses and actually learn how Colour Management worked.

Some initial testing using the default Apple Camera app. I did some bitrate stress tests and got bitrates between 550-700Mbps so it looks like the default camera app is just using Prores HQ. The bitrates for the stress-test and for static scenes were all within this range. Latitude tests using the native Apple camera app, the 1x camera and 4K Prores Log mode. How I tested was I started recording, then clicked and held in the middle of the image, then dragged down all the way to the bottom to progressively under-expose. Then in post I found the frames that aligned nicely to -1, -2, and -3 stops of exposure. Reference image - this is how the app decided to expose and WB. These are the fully corrected images (-1 stops, -2 stops, and -3 stops): These are the images without any corrections so you can see the relative exposures: and these are the images that have had exposure corrected but not WB corrected: My impressions were that these graded beautifully in post. I've graded a variety of codecs (everything from 8-bit rec709 footage to "HLG" footage to GH7 V-Log to downloaded files from RED / ARRI / Sony) and these felt completely neutral and responded just how you'd expect without any colour shifts or strange tints or anything else. I've seen enough tests from iPhone 15 and 16 to know that Apple are doing all kinds of crazy HDR shenanigans, but realistically this footage seems like it's really workable. If I can pull images back from -3 stops to be basically identical then that means that whatever colour grading I'll have to do on a semi-reasonably exposed image will be just fine.

I understand people are excited that we now have some flexibility to color grade our smartphone image like its a cine cam, but why you go so extreme? 😄 I call it "i can't see shit" contrast.

One of these days this community should just team up and send every new game-changer straight to @kye ; ) You’re priceless, mate :- )

When we have portable devices like this (it’s 2025 — only portable 1080p projectors hit my home white walls!), with OCuLink support, just a click away like today — more real than ever before: https://onexplayerstore.com/products/onexplayer-x1-pro-amd-ryzen™-ai-9-hx-370-10-95-3-in-1-redefining-handheld-gaming-device

Lets acknowledge that ProResRAW is a shitty codec.

Didn’t the ZR have a setting for H.265 NR in the menus? Could it be be that on pre production models it is set to stonger setting than on other Z bodies. To my eye H.265 on Z6iii is good, better than S5ii’s 4:2:0. Thought about Z8 too, but according to Cinematools Z8’s 4k120p has worse quality than Z6iii’s in DX mode, and I find the ability to crop 1.5x quite handy. Z8’s 4k 2.3x would need changing some of my lenses to wider ones. Played more with NEV to R3D trick, and still prefer Nikon colours and Raw controls to Red. In addition R3D Media management in Resolve does not work, it does not export trimmed clips. If you trim the NEV clips and export, NEV to R3D trick does not work any more. Usually fill a 2TB card in one day, so working trim is a must to save only the important parts. Tried ProresRaw too and file sizes are just huge and Raw controls not so good. With NRaw I can color correct basicly from the Raw panel quickly.

I think if you are using h265, you are going to use the full 6k resolution anyway. What I was saying is in RAW, you can half the data if you go from 6k to 4k. It is a compromise, but for me 4k native is already very good. I don't need more resolution. The only thing that would be really practical for me, would be to reframe the shot like in an interview setup in the video below. So I can simulate a 3 camera setup with only two cameras, which is so much easier to do.