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Three days to go. The RAW shooting Sigma fp with the Baveyes 645 medium format speed booster is a little powerhouse. Particularly when you can now add ToF autofocus to that manual Mamiya 35mm lens.

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade: 1.271103 -0.284279 0.013176 -0.127165 1.436429 -0.309264 -0.129927 -0.510286 1.640214 Arri Film Matrix Download It lives! The Sony a7s III conversion is now complete as well.

Is amazing. I love it. Never going back to RED unless I’m forced to by a client. Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

@Emanuel I had heard that it was to use the GH5S sensor. If so, there is a reasonable chance that the color will be the same. If not, then it could be measured. I didn't know about the Osmo, but it is something that could be explored. There were some cool experiments I wanted to mess around with, so a deep dive may be warranted there next. @HockeyFan12 Very cool, I haven't read that one yet. I did notice S1 moire on saturated fabrics, and in that moment felt the value of the S1H. Here are the S1 fabrics compared to the Alexa: S1 Alexa

Always looking to top the previous video! The challenge is actually doing it, lol.

We are shooting a car commercial and then a tutorial that’s like “How to Land a Major Car Commercial” or something. Will be using Cooke SF Anamorphics and shooting out in the elements. It’s a fantasy car commercial plot, so lots of cinematic lighting. Unfortunately we have to wait for it to snow so it might be a month before we film. Outside of that I’ve been using it on a project that I can’t share yet, which is a bummer as I wanted to post something fairly soon after getting it. And no, I don’t own Zeiss anamorphics, lol. That was a direct order from Panasonic as they weren’t happy with the IQ of the Anamorphot that was used for a previous video.

It's unclear if the FS7 sensor is a stripped down version of the F5 sensor or an updated version of the FS700's, but either way it doesn't offer any unique look or capabilities.

He doesn't test cameras but his face to his followers. Here's a test for serious: Who can not buy one?

Well saw some footage of the R5 and the S1H yesterday side by side, and the R6 colors were much better. The S1H skintones were really red, dynamic range is important but nice colour is more important. And I have a S5 on preorder. If canon bumps out an firmware update to fix the problems with the R6, I might cancel my pre-order and get the R6 instead.

Composition is easy. With all the lenses and associated tools we now have it is trivial to get the look we want. What’s harder is getting the look other people appreciate...

At 0:08 Strange that the highlight on the hair is so much hotter on the ursa then on the other camera's. Looks like a complete different temperature. Not sure if its a bad/good thing prolly depends on the situation. Gotta say the R5 is doing a hell of a job competing with these 2 (too bad of the 8K file storage, which ads up a lot costs for the R5 + the overheating otherwise I would already be rocking one right now). @Neumann FilmsThe new komodo does look very interesting though. Not buying right now, but I see myself getting one in a year or 2.

Photoshops new AI features:

Good listen.

Good question. I think the reason is licensing. In the long run AI enhanced DFD could just do the trick better than other tech. Question is, will S1 get free 10bit as the G9 and the S5 already has from the start? What about the 10bit 4k60? You know it for sure, guys. 🙂 @Andrew Reid@Dave Maze

Yeah, the CinelikeD hack came out of me developing a couple of prototype controllers for Panasonic cameras before there was a pivot to the BM cameras. The PBC, and by extension the AFX, are actually built on that original foundation so if Panasonic introduce BLE control capabilities then its all there ready to go but using WiFi for control is not ideal (more in terms of power/heat with the cameras than the controller) so I'd prefer to avoid it.

Finally get hands on the c70 at local Canon event. The lighter setup is definitely welcomed over c200, AF wise I think it is just slightly better, not as sticky as the R5 I use. The digital IS can turn on by itself so good for lens without IS.

I appreciated your(@Andrew Reid & @Dave Maze) insight on Olympus and their opportunities. Just a few months ago, almost everyone was saying they're over without giving the slightest chance to the new ownership... seems unfair. They have a unique opportunity for becoming competitive in video due to not a having high-end video market to protect, especially if any sort of raw or 10 bit is included on the camera. Add waveforms and a few other significant features in firmware and they could be golden, given there are so many lenses are out there (new and used). Forget the FF stuff, just sit back and watch other commit suicide in that market. So much of the focus is on the cameras- not enough on lens selection (with AF). MFT and Olympus in particular could have amazing possibilities here with their phase detect AF. If done right, they could eat up significant market share. Sure, it probably will never be the dominant player, but it will attract hobbyists and pros alike (as they often just rent high-end gear that matches customer needs). A question to both of you: Do you think Panasonic will ever have PDAF? I've heard many people say this won't happen because Sony owns the tech when it come to their sensors and won't "allow" Panasonic to have it. Personally, I think it's BS, but have you heard similar notions? Without PDAF on MFT, their future's very limited IMO for video.

I can think of a couple of YouTubers that could be that third guest and you'd could probably then sell the PPV rights to Showtime.

No it's the 12 Pro Max that has the most improved camera and 5 axis IBIS The 12 Pro and standard 12 are just very incremental improvements with small sensors.

Not to self promote but I think this is an underrated video on the quality standpoint. For whatever reason it didn't get many views for us. The Inspire 2/Zenmuse X7 with the 50mm lens combo is just...crazy. The parralax creates a look that's closing in on full size helicopter stuff. This was for a company to see how Inspire 2 footage upscales to 8K using AI for both resolution and framerates.

Highlights aren’t clipped until 109 ire tho. “Overexposing” gives me super clean images. As long as they aren’t clipping

Some nice highlights.

Zebra must set to 85% for Vlog

While that is a beautiful video, with a fantastic grade, I really dislike that these things are labelled "Dolby Vision." Youtube DOES NOT support Dolby Vision, only HLG, which is worse than HDR10 format in terms of image quality. It may have been graded in Dolby Vision but it is not Dolby Vision display on youtube.

This youtube video lists the camera as "Ursa Mini Pro 12k". Wow - impressive! The color rendition is special in the way that the different shades of a color appear distinct and unique even when they are very similar. I also like the motion cadence. The image is solid and without distraction. It's nice to not have any obvious flaws that steel my attention from the content.

The URSA Mini Pro is so much better in numerous ways, not least having built in NDs, and better QC. Although personally, the FS7 is very close in pricing to a UMP, and you'd get far more work to pay off the FS7 than if you got a UMP, so I'd recommend a secondhand FS7 instead.