ntblowz

Video of the DJI ToF focus in action
 

2010 and 2020 is quite a lot of difference
The house price went from avg $440K to $950K here, but the wage didn't increase double. As result of that more people just do civil marriage or smaller weddings, and the number of people getting married is down each year as well, while more wedding videographer pop up each year as equipment is getting much easier and cheaper to aquire.  So more people grabbing a shrinking pie.
 
We done jibs before too, album covers, poster etc, and even rent Red Helium.  Just the overall trend of wedding market is down in general. I stopped wedding as my main income around 2016, I  only do second shoots if my video friend need help, otherwise i just defer inquiry to my friends as it just not worth the hassle for me when I get better return elsewhere.

An example of continuous AF on a handheld Pocket4K with Panasonic/Leica 12-60mm.
 

Regarding the 180 degree rule... I honestly think it’s best used on 24, 25, 30 frames footage as it gives it the “illusion of movement/blur” that works in our collective memory (and at 30 the motion is already so fluid that it matters less). But on higher frame rates you are already messing with reality and time so if the blur is not there is a lot less objectionable. If you are not slowing down 50 or 60 frames, the motion is already hyper-real so it’s a different aesthetic in itself and the 180 rule can be thrown out the window.

Video of the DJI ToF focus in action
 

Yes, with the focus motor support it can work on any camera or lens combination.
In that respect, the camera is just acting as a mounting point for the LIDAR sensor !
Obviously you only get the focus control rather than the additional full control of ISO,WB etc that you get with the BM cameras.
 

Already hinted at (heavily !) in another thread but the AFX focus control functionality is now a lot more universal than just the Pocket 4K/6K cinema cameras.

For Pocket 4K/6K owners who want to use manual lenses as well as electronic ones there is a Hybrid mode to control the lens with the motor whilst still being able to control ISO,WB etc over BLE as usual.
Supports both Nucleus N and M motors so you can use it with small lenses and large cinema ones.  
Pre-orders start on 26th. October.
Price €199 for existing PBC owners and €275 otherwise.
Nucleus M motor requires a separate adapter, price TBA.

AF seem quite bit better than S5/GH5S for sure!

Thank you.
Well.....
They were going to be supported eventually.
Maybe we've managed to put "eventually" into the microwave....
Something like that would be nice wouldn't it....

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday.
I'm absolutely not going to give the game away before then and say that it also supports manual lenses.
Absolutely not going to spoil that surprise.

Definitely match in heaven for Panasonic shooter!

Definitely match in heaven for Panasonic shooter!

C70 screengrab from FB group (Andrzej Fryda).  Canon colour is magic source.

Everytime I read about the "full frame" look, I literally turn green!
It is a blasthemy to just ignore that 99% of the total planet output, maybe more, was shot on a smaller format for so many decades, and noone ever complained.
It is the new trend, I get it, but do not pretend it is a problem or there are not options/solutions.
In run n gun/verite style we usually use Canon C and FS cameras, and I know shows using even smaller sensored cameras (even main news channels, DW, Reuters and the such, I have seen them using camcorder styled cameras).
We get it, some are so young that 5DmkII is all they knew, but don't try to oversell it, it is just a hybris to our trade.
Surprisingly the C70 is heavier than the C100mkII. This is a dense camera!

From the same set (Andrzej Fryda) :
 

What good news! Really excited about : ) Best Panny AF performance ever to my eyes... WOW Need to check not under direct/key light now :- )
Wondering how AF will match or not under low light...

AF seem quite bit better than S5/GH5S for sure!

BRAW does not work that way, it has to be calibrated to each camera. 

Atm Apple definitely have the upper hand on camera supporting their RAW format.
People will have to choose FCX or Premiere with ProresRaw support or Da Vinci for BRAW and the RAW their camera support, or Red camera which red raw is supported by all NLE.
It's definitely not buy camera and expect to work with your NLE, or ur NLE will support all the feature from your new camera, have to pick a side!
 
Hence I m still on Premiere lol, can work with all cameras

New footage from the Blackmagic URSA Mini Pro 12k is few and far between.  Seems like dogs in 8K 60p and 12k 60p is best we can do on a Sunday morning (starting at 8:36 in the video).  A good reminder regarding focus and depth of field when shooting household pets. ; )
"Help me, @Neumann Films. You're my only hope."
 
 

Interesting, if you are willing to open your R5:
https://blog.yifangu.com/2020/10/09/canon-eos-r5-thermal-mod/

This video kinda confirms what I see.. Panasonic Vlog is the most robust codec so far, can be over and under exposure and still can get away, Sony you will have to use non log profile to have "clean" lowlight, underexposed slog is so ugly.
 
 
 

Nikon and Sony are clearly Covid-aware companies whereas Panasonic are not.

I haven't tried the 24/25/30p so can't comment, theoretically it should give less heat than 4KHQ
 
Well here is my thought on the R5 after the race day
 
1. AF   The most reliable method for me is the Zone AF, tracking AF on cars can get lost when I also do the panning or when the car is down to certain area on screen or if there is a lot of cars which can block the view. Expand AF can get OoF once the car goes past and I have to use manual to get back in focus quickly otherwise it is really really slow to get back to focus. (with telephoto lens), There is still occasional focus hunt when I panning across to follow the car (from forward to sideway)
2. Custom Video Mode Major advantage over R6 is the custom video mode, currently I have set to FHD/4K50P/4K100P, so when I want to change I just press the mode and change. I can totally feel the pain for R6 user which currently doesn't have this, Canon should really update R6 for this feature.
3. Movie Crop Mode You can't set the movie crop mode to a custom key which is super dumb, I have to go to menu each time i want to do crop mode, on Sony and Panasonic you can set key for much faster access.  If you shoot in crop mode and change to your custom mode it will still shoot in crop mode (unless in 4K100/120/8K).
4. NTSC/PAL Selector  Much better done on Canon than Sony or Panasonic, just change the frequency and shoot, no need to format card (Sony) or restart camera (Panasonic), so if I need more slowmo I just change to NTSC and keep on shooting.
5. Battery Issue  I had problem where it just suddenly give me error when using EF Lens on the adapter on the genuine LP-E6N battery, I have to use LP-E6NH to make the problem go away. I will need to investigate this more. Though I feel I might get more LP-E6NH at end and sell the old LP-E6N.
6. No CLOG on H.264 This is probably the most dumbest move on Canon, we get that HEVC offer twice the efficiency but the bitrate is quite healthy on the H.264, there is absolute no technical issue for clog not on H.264! Hope Canon can really fix this as X.265 is so awful to edit.  There is HDR PQ to increase DR on H.264 if you dont want X.265 or Andrew's EOSHD Clog to emulate Clog on H.264, I used cinestyle as it matches up with the 1DX2 which also use cinestyle to help with edit in post as the video is due next day.  My editor have no problem editing the 4K50P on H.264, though 4K100P is still lag feast on Ryzen 7 4800H.
 
Other than that the editor say the video quality is definitely better than the C100MKII I shot on previous race, unfortunately we can't share our video as it belongs to the TV station (for subscriber only) but here is the  video from the team's media team  (some of my R5 footage is from 4:36 onwards)
 
 
 

I tried that LUT, I didn't like it, I don't know why the manufacturers LUTS are usually not very good. Obviously it is all subjective, but I think the maker's LUTS are always based on perfect exposure and proper lighting. Any run and gun shooter knows that those conditions are rare to never so the 3rd party LUTs when done properly, look better to me.
 
I think I have found the perfect VLOG to Rec.709  LUT for my uses. This is a free LUT from Ground Control. For me, the VLOG to Rec709 LUT is always the most important since it lays the foundation for the color grade and it is what's needed to match it to other cameras. After that, I make slight adjustments to exposure if needed for each clip, then overlay an adjustment clip with a creative grade over the whole project. Below is the link to the Ground Control LUT, I went back and tested it on my Street Video test project and it added a little more contrast without crushing the blacks so the clips look like they have more DR.  It also didn't completely crush the lows like the Panasonic Varicam LUTS did (Nicest 709 LUT and Aggressive 709 LUT from Panasonic).
 
The main thing I look for in a Rec.709 LUT is one that isn't too hard to expose for (the Leeming LUT for example always seemed so difficult to properly expose for with the GH5) and one that results in the best starting point for the color grade across a wide variety of scenes.
 
Ground Control VLOG to Rec.709 Free LUT
https://groundcontrolcolor.com/products/free-sony-v-log-to-rec-709-lut
 
 
Here is an example of the 3 different LUTS with the exact same scene and no other changes. I was probably a little under exposed for this scene because I was trying to protect the sky....the GC LUT nicely kept the sky and brought up the lows.