buggz

After using ok lighting  (672C and couple 500LED lights) for a few years I decided to step up lighting kit this year, first to the flexible lights like Falconeye RX18-TD and finally settled on Aputure C120D II, and result is quite a dramatic different, I think for the first time we got client ask us what "filters" we use so the photog's photo can have similar colour as our video lol  (and that was just a quick grade in Premiere).
I really wish i had done this lighting kit upgrade sooner. Definitely will make some of the videos we did much better ugh.
 
Light with Falconeye RX18TD: notice the subject is underexposed and background still overexposed, and the light gives a bit of magenta shift.

 
Lighting with Aputure C120D II on dome mini II, subject is well light and background is well exposed, skintone is pretty good with no colour shift.

 
Client asking what "filter" we use.

 
Light setup for the day.

Just relating my humble experience,
I've used my T5 on my ipad pro, not for editing, but for file transfers, to and from.
The first use, I pondered about how to perform a proper eject from the ipad, so I just always power the ipad off.
Been working okay for since a long time now.
Oh, I've done this many times for my family members iphones too.

I would like to thank those who provided feedback, which helped make the app better.

Below are codes for 2 months free use for the app.
Thank you again, and happy holidays. ?
 
https://play.google.com/store?code=Y1ZP8G4ZX46M6HUM313CZ1U
https://play.google.com/store?code=BS1MU7731LR9189K183BFA1
https://play.google.com/store?code=V1F10FDPNCJJ4Y5BJFAX0NX
https://play.google.com/store?code=V8S2V8AZ08YE0MUVDZH0MWV
https://play.google.com/store?code=8MA5U9PGC9QKDZRJANRYMF1
https://play.google.com/store?code=HM4SJUHK43CG7NNJX39JX1G
https://play.google.com/store?code=PRYFRF1WWHJWBFK7Z7JZEQC
https://play.google.com/store?code=5XTXJ33K0Y72EJZSRJPRQ1M
https://play.google.com/store?code=904KNSU0KS10TMJ3FUR7WR1
https://play.google.com/store?code=9TFQCMUFKE4SL2LLJ2UQ7N0
 

So were the hell is GH6? We dont have even any basic rumor. What takes them so long? Is it due to the new sensor delay or their FF lineup? Come on Panasonic, now is the time. Sony is lagging behind with their elusive A7S3 and nobody else has anything with 10 bit 4k60 and IBIS. Bring it on already! 

A couple of quick screengrabs from a recent Jazz concert I shot. I must say I was super impressed with the GH5 on this one - not only it recorded for 1h30m straight with no issues but it did so on one single battery! Meanwhile Sony shooters that were there kept saying on the voice comms "I need to switch the battery" over and over again ?

Can’t afford that $300 Sigma loupe so making my own. A newer version is printing now that will be collapsible (also sanded and painted so not bright yellow)

V2 of our 3C Cinema Camera Control App now includes support for the Tilta Nucleus Nano focus controller.

The Nucleus Nano wheel connects wirelessly to the 3C app over Bluetooth LE and enables you to use the wheel to electronically control focus of your native MFT and adapted EF (with smart adapter) lenses on the Pocket 4K without using a motor.
Electronic control of the lenses can be a big advantage when using the Pocket4K on a gimbal to keep the weight down or to keep any rig smaller and not require additional powering for the motors.
In addition, it also circumvents issues that arise when using the motor with small native lenses that don't lend themselves particularly well to using focus gear straps and often have limited manual throw.
It also enables you use the hardware REC button on the Nucleus Nano wheel to control the Start/Stop of the camera and the record status is returned back to the wheel to illuminate the switch when the camera is recording.
As the Nucleus Nano wheel is fully integrated into 3C it also enables you use it to create the 6 focus storage positions which you can then choose to automatically switch to either in Snap mode or multi speed Transition modes.
The Setup screen of 3C now includes two scanners for easy selection of the camera and the Nucleus Nano wheel once Bluetooth mode is selected in the wheel.

V2 will be submitted to the Play Store for publication on the 11th October and will be available as a free automatic update for existing users.
 

I've worked with multiple frame rates in Resolve for a while now, so I'll see if I can help.
This is my understanding of how it works and how I use it.
I start with a Project at the same frame rate that I want the finished video to have, for me this is 25fps.  Then I create one (or more) timelines in that project, and they will default to the same frame rate.  In v16 (which I am using now) you can also change frame rates on timelines individually through Timeline Settings and there's a button that lets you customise them individually.
Then I just drag all the clips onto the timeline.  When you do this, Resolve puts them all on the timeline in real-time, ie, if you recorded in 50p and drag it to a 25p timeline the video will play in real-time.  If you exported that then the output video would have every second frame of the 50p clip.  If you want to slow the 50p down to 25p (and therefore play at 50% speed) then you can do that on the timeline through Clip Speed, as well as the various speed ramp type functions.  I believe you can also set the speed in the clip in the Media Pool and then when you add it to the timeline it goes in there at 50% normal speed, but that's not how I work.
In terms of sound, when you have a clip on the timeline that isn't at real-time then Resolve does a time-stretch on the audio automatically.  The effect is good but has its limits.
In terms of syncing sound I've never really tried to do it so can't comment on that part.  
The way that Resolve displays FPS all through this scenario is rubbish and completely confusing, so I ignore FPS on everything except the Project, Timeline, and Source Clip.  If I'm doing anything that involves all three of those not matching then I work in percentages.
When exporting you can just set the export settings to your target output frame rate and it should work.  I haven't tried to output a different frame rate than my Timeline so there might be issues there that I'm not aware of, but that's what's worked for me.
Hope this helps!
BTW: why did you film an interview in 50p?

Modified Sigma's smaller grip to allow it to hold a T5; haven't printed it yet so not so sure how comfortable it is.

@BjornT was kind enough to share a grade he did using Filmconvert and Lumetri.
Here's his final grade:

and my manual grade:

These are the adjustments:
First node is WB
Second Node is this Luma Curve:

Third node is Hue vs Hue:

Fourth is a YUV channel mixer with a key to only apply it to blue:

This is the main 'look' of the grade, and remember that although the snip above says RGB, that the node is in YUV colour space.  If you're looking for cool looks then a channel mixer in YUV mode is where it's at!
Fifth node bumps up the Luminance and Saturation of the yellows (in the trees) via Hue vs Sat and Hue vs Lum curves.
Sixth is a key on the skin colours that shifts the yellows slightly towards pink (with a Hue vs Hue curve) and also raises the brightness a little (with a Hue vs Lum curve).
This was an interesting exercise and I primarily did it by having the two shots on top of each other with a Difference blending mode, and looking at the resulting image with the Waveform view, and also having the two shots next to each other on the timeline.  I'd go back and forth between the two shots and look at what the main issue was, then go into the Difference mode view and play with the controls trying to make the waveform go as low as possible (low waveform = smaller difference between the images).
I tried a number of things in curves where you'd end up with a curve that would look like a rollercoaster and that would tell you that something was going on with what you were adjusting, but that this type of curve wasn't the answer, so I went down a few of those rabbit-holes and trashed the node and tried something differently.
Anyway, that might be useful for someone.
 

https://www.fastcinemadng.com/
Thoughts?
 

Camera showed up early! ? Feels good in hand

Recent video I made with my GH5. Shot on the Leica 12-60 lens using a Ronin SC Gimbal. Graded in Resolve with Filmconvert and shot in Cine-D profile at 50fps with a Tiffen Black Satin 1 filter attached.
Two years going and still think this camera is amazing.
 

New low price: Panasonic GH5 now sells for $1397 only
https://www.43rumors.com/new-low-price-panasonic-gh5-now-sells-for-1397-only/
Adorama, Amazon, and B&H Photo

New low price: Panasonic GH5 now sells for $1397 only
https://www.43rumors.com/new-low-price-panasonic-gh5-now-sells-for-1397-only/
Adorama, Amazon, and B&H Photo

New low price: Panasonic GH5 now sells for $1397 only
https://www.43rumors.com/new-low-price-panasonic-gh5-now-sells-for-1397-only/
Adorama, Amazon, and B&H Photo

I don't think 6k will be a delivery medium.
However, I really like shooting in opengate mode on my GH5, it gives me so much lattitude in post.

I don't think 6k will be a delivery medium.
However, I really like shooting in opengate mode on my GH5, it gives me so much lattitude in post.

This absolutely kills me.
No one is willing to calm down and setup shots properly, etc.
"oh, it'll be good enough."
I really hate this line of misthinking.
I tell people who say that, "okay for you, NEVER for me, you will NEVER be no more than good enough, or even less than."
All my family says this when I bring out my gear and want to perform a proper shoot.

Quick update. I ended up buying the Audix SCX1-HC and it sounds very good after a few tests indoor and in tight spaces.  Need more testing but it looks good so far.
As for the build quality, this mic seems very solid.

Without the mechanical shutter and with the special heat shield the FP has, it may be possible. Maybe?

I use the Fringer Pro on my X-T2 with great success.
Canon 100-400L II, 24-105L F4, 200/1.8, and 50/1.0 all work fine.
I haven't used any APC lenses with it, as I use those with my GH5.
GH5 with Metabones 0.64XL and Tokina 11-16 and Sigma Art 18-35 both work great, as do all the others above.

That would be a great idea.

I wonder if the internal 8 bit raw can be used as a proxy recording while simultaneously shooting out to an SSD... that way, the raw panel in Resolve could be used in the edit/color before dealing with the massive 12 bit file sizes.

There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director's viewfinder would be unheard of in a consumer full frame camera from a major manufacturer.
This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features - which are big leap for Sigma and indeed push the boundaries of whet we expect from a "prosumer" camera.
Cinema DNG RAW 4K 12bit to USB C SSD media
Internal 1080p 12bit internal RAW Cinema DNG uncompressed
Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment)
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