buggz

Thanks, I will have to look into this.
Sooo many options, which is a good thing.

I thought this was something to do differing of the FREE vs STUDIO versions?
Don't know how that would relate to the beta versions...

That last shot looks way cool.

In other news, the bull riding footage I shot on the weekend from the city-slickers-visit-the-country-yee-ha trip is falling into place using the new Cut page in Resolve 16.
A few problems:
I got 'out of sync' where I either double-pressed the shutter or didn't press it, and ended up recording the bits in-between the action and not the action itself
I blame the mic placement because I didn't have my eye pressed right up to the eyepiece, which means you can't see the edges of the frame and thus the blinking red record light.  I also need to be more careful as I've done that before with other cameras without the same excuse.
I got the really important shots, and I'm only making a highlights video for fun so I still have plenty of footage, so it's all good, just....  *facepalm* I was shooting straight-into a floodlight, so the vintage Minolta 135mm 2.8 flares like an absolute @#$!$#% so my contrast is all shot to hell, and because I was recording in 4k50 8-bit Cine-D I don't have the advantage of the 10-bit to save the day, plus the ISO was probably riding up a bit and it was only 150Mbps too, so the image leaves a little to be desired.  I'll have to work out how heavily I push the image to try and recover a normal amount of contrast. The car was really full, so I only took one bag, and due to this restriction I only took two lenses - the 17.5mm f0.95 for people / low-light and the 135mm f2.8 for closeups.  I almost took the Helios 58mm and I really wish I had because the 135mm was a bit too zoomed in to catch the rider and the bull in the same frame.  I partially blame the camera insert I use as it doesn't have many pockets so I might need to look at a new insert or new bag. Here's a couple of frame grabs just for fun.
The first is out of the flare range and has a bit of contrast added, but the second is unedited and shows the levels and the flare.  The third is the 17.5mm.  They are from my 720p proxy files so don't judge the image quality.

I'll do a post about it next week.
There is a version of it for the Pocket 4K and one for Panasonic.

I'm glad I didn't buy one now, I'd be really sad...

Good definition of Knee, Point, and Slope by Tom Roper.. "Raise your hand above your head. The height of your shoulder above the floor is the Knee Sat Level. The height of your elbow above the floor is the Point. The amount of bend at your elbow is the Slope".
Knee adjustment really only helps much in very bright situations. When I was doing my ENG thing that was one of the few adjustments we were allowed to adjust in the field. And it was only used if you were forced to shoot into the sun, or really bright lights. And even then nothing too drastic on the curve part. You are not going to gain much DR at the top no matter what you do, but it does tend to look ugly blown out, even to an untrained eye more so than say crushed Blacks. Video is more about compromises than anything else. Hardy any perfect scene to shoot unless you are on a Hollywood studio set where they have all of it covered. That to me is why I am not too big of fan of Run n Gun though a lot of the short, or a lot of quick cuts. Unless the story is just so amazing you can't look away, you can't maintain smooth transitions very easy exposure wise. And you can't recover something in Post that was never there.
 
 
 

@webrunner5 - I agree, there is something special about 16mm.
I think that you can make a great argument that there is something special about every focal length, because in the hands of the masters all are capable of beauty and wonder.  I've chosen 16mm, 35mm, and 80mm lengths, but @mercer makes a very strong case for 28mm, and if @BTM_Pix wasn't trying to make every app and gadget not yet on the market I suspect he could make a strong case for basically every other length!
You've inspired me to have another look through some footage from our trip through Asia last year and post some stills.  Not that I'm anything even in the same universe as a master, but I've managed to luck my way into some nice shots, proving that it's more about what you put in front of the lens than the operator.  These are ungraded, apart from some quick WB and contrast, and GH5 10-bit HLG.
16mm equivalent (SLR Magic 8mm f4):



I love it because it's wide, but also because it distorts things so things look grander (like the first shot), but you have to be careful not to over-do it:

35mm equivalent (Voigtlander 17.5mm f0.95):



I especially like the 35mm for environmental portraits, and having a fast aperture allows great low light performance as well as subject isolation.
I also took a 116mm equivalent lens on that trip (58mm Helios) but have since changed my longest length to an 80mm equivalent (Konica Hexanon 40mm f1.8) because 116mm was a bit too far from the 35mm equivalent of the Voigt.
116mm equivalent (Helios 58mm f2):




I find the large aperture is useful for low-light, but also for getting shots through glass and defocusing the marks on the window sufficiently (the scooter shot was through a bus window).
I'd only contemplate going back if I could only have one lens... fortunately that isn't the case! ???

The issue this video covers was already mentioned in several topics, but I promised a video explanation and fixes, so here it is.
Beware: long, boring, bad English.
 

Anyone looking to learn new software like this, I would advise you to just make yourself a sweet ass new showreel, and if possible do it from the original camera files so you also have to re-grade everything. That way have to learn how to use the tools to match a grade, or make it even better. There's no deadlines so you can take your time and get to know every inch of the software that's relevant to you, and since the showreel's job is to promote yourself, then you'll want to put the time in to get every little detail right.
It's always worked for me. 
As for the organisation of projects, I just let DaVinci use it's database while I"m working on it, and then when it's finished, you can go to the little Home icon in bottom left, right click on a thumbnail and go 'Export Project' This gives you a .dpr file that you can save next to all your media for archiving. 

If Fuji moves away from X-trans then I will move away from Fuji. The X-trans raw files is the main reason why I use them so much.

I find it kinda weird, that no amount of lenses, chips, processing and firmware make phone videos look less.. like phone videos. I mean that Parker's video is beautifully shot with some gorgeous landscapes but it still looks like a phone video. I don't even know why.. maybe it's the oversharpening but I feel like there's more to it.

I hope they charge $1200 and give us:
1. Unlimited recording time.
2. 10-bit 4-2-0 internal.
3. A few flavours of VLog and bitrate options.
4. 120fps.
5. Better autofocus in video.
6. A 20(/+) sensor with improved RAW.
7. EVF being slightly better.
8. Headphon jack. Though it's a hardware thing and if they haven't implemented it, it won't make it. 
 
The XT3 is like $1500 (probably $1399 and below at few places now), and is a monster for video and stills. Panasonic can only beat or equal that camera in video performance, at a slightly lower price point. They should try and make the most of it.
 
I am bored with the 8-bit 4-2-0 regurgitated from every camera ever made. 

+1 on the live recording focusing assist.
I'd also like to see a usable HDMI signal out while shooting in 6k video mode on the GH5.  Though, I'm guessing no more work will be done to the GH5...

@Andrew ReidDear Andrew, from the article it seems that you are in a good contact with Panasonic reps.
Could you please ask them to include a focus assist (magnification) during recording or at least ask why this so important feature is not included in the gh5(s) and also not in the S1? Sony with their A7x line has it included and you find this feature in all broadcast cameras (Sony fs5,fs7, Canon C100-500)
It is such an important feature for so many people who are shooting documentary, reports, television and so on. If you can't plan a scene focus wise you really need this feature to be sure you are in focus.
You can't really judge focus even in Full HD but especially not in 4k. Also the great viewfinder of the S1 will not help. Its not about the resolution of a EVF or LCD, its about the inability of the human eye to really be sure you are focused.
We really need a focus magnification during recording (even 2x would be great and enough, if more is not possible).
It would be so nice if you could come up with this issue if it happens that you talk with them again. If I write them an email it will not get to the right people. I think it is so easy to implement via firmware upgrade and processing power can't be an issue anymore (at least in the s1) to include it also during recording.
Thank you so much if you could do that. I love the GH5 and will love the S1. But this is such an important feature it nearly lets me switch back to cameras like the FS5/7, C300...
Best
 
Jakob
 

8mm anamorphic run and gun with Baby Hypergonar 1.75x , Bolex 8/19 1.5x , Kowa 8 2x + ProtoDNA 


 

 

My humble rig many years ago on the beach, STILL works great!
GH5, Metabones 0.64XL Speedbooster, Minolta Rokkor 58/1.2, Rapido V2 clamp, B&H for Kowa 2X, Rapido front clamp, SLR Magic variable ND.

Reviving this thread, since I became an owner of one of these new single focus solutions.
 
A brief myFM (Евгений Мыреев's single focus) review.
 
I wasn't asked to write it, nor did I get any discount / money / ANYTHING for doing it.
Just my personal, unbiased opinion.
 
Build quality:
It's pretty robust, but light at the same time.
There is some really slight loosness when focusing. It's nothing dramatic, but it's there.
Otherwise, it's quite smooth, but no buttery smooth - just what you could expect from a Chineese helicoid.
I've owned a SLR Magic Rangefinder before and must admit that focusing with the Rangefinder was better than with myFM.
MyFM features M65 threads (both rear and front) which may prove to be quite difficult to mount.
I contacted Arkadiusz Kroma (who happens to live in my close vicinity, hahaha) and after providing him with some measurements, he managed to produce an amazing front clamp that fits myFM and golden Isco Ultra Star just perfectly.
Just to let you know: I realize it’s quite a controversial mod, but I had my Isco lathed in order to mount a diopter as close to the front glass as possible. Arkadiusz took into account and his clamp sits just above Isco’s barrel.
 
Optics:
Now, this is where it shines.
Test setup: Panasonic G80 / G85 + Helios 44-4 (58mm f/2), both with and without Viltrox EF-M2 + Isco Ultra Star 1st gen; all photos took at f/2
I attach sample photos and a link to RAW files so you can judge it yourself, but I’m pretty amazed.
(They may be misaligned and I'm deeply sorry for it. Had to hold the anamorphic adapter in my hand, because I'm waiting for a proper lens collar.)
Order of photos attached to the post:
1 - no speedbooster, no anamorphic adapter,
2 - no speedbooster, anamorphic adapter, no single focus,
3 - no speedbooster, anamorphic adapter, single focus
4 - speedbooster, no anamorphic adapter,
5 - speedbooster, anamorphic adapter, no single focus,
6 - speedbooster, anamorphic adapter, single focus
Sharpness and contrast seem to be unaffected, even wide open.
It does introduce some tiny chromatic aberration on edges of the frame, but it’s almost unnoticeable, especially when compared SLR Magic RF, which in this field is just awful.
Coatings look gorgeous. They are mostly purplish, but sometimes show a bit of amber.
Flares: Fortunately, there is no blue blob or any other creature, haha.
I don't know why, but it seems to mute reflected flares just a little.
Take a look at the video:
https://www.youtube.com/watch?v=bUa6B7E6oUM
It’s also worth noting, that myFM works as a delicate wide angle converter. It widens your field of view by 0.92x
 
And the biggest drawback: vignetting.
Since myFM is built with ~62 mm diameter glasses, it won’t allow you to go as wide as HCDNA or FVD-16A do.
With my setup, I get a noticeable hard vignette.
58 mm * 0.695 (Viltrox EF-M2) * 0.92 (myFM wide angle abilities) * 2 (G80 crop) = 74.17mm (35mm eqv.)
Just by removing Viltrox from the equation, I get a 106mm eqv. and no vignette.
 
Right now, I don’t own any lenses between 58 and 135 mm so I can’t perform more tests.
I hope I’ll be able to adapt my Schneider 75/2 soon.
 
Questions?
Regards!
 
Link to samples:
https://drive.google.com/file/d/1IwkW08EzCk6o5lf4m3bFVii0Brd2OtR1/view

Didn't say don't do it.     Again, it IS fun and you can find lenses you like for sure, I am sure some will prefer the look they get but that isn't BECAUSE they are medium format lenses but rather because they like those particular lenses.     My point is that if you want a fast lens for instance, you have MUCH greater choice using FF lenses than you do using MF lenses (and even with a focal reducer).    Tilt shift adapters ARE a valid reason for some people and some uses with MF and LF lenses on FF (as they are using FF lenses on APSC and M43).    Still, nothing compares to a real tilt shift lens (I guess I have been spoilt by my Canon 17 TS-E and previous 24 3.5 L TS-E  ii).    Those Mamiya lenses of yours are not going to give something that isn't readily available with FF lenses (with or without a focal reducer) other than some tilt/shift (when using the FF lenses on a FF camera) though there are plenty of different TS lenses available now.      It is simply there are far more lenses available for FF than larger formats and larger format exotic lenses have even more exotic prices than anything.      For what it is worth I am now too poor to experiment much further but I have tried adapting just about anything.    IE, many different lenses even on a Pentax Q (like a Canon FD 85 1.2 on a Q or 300 2.8 on a Q), or mounting Nikon lenses bare on Pentax cameras (do that at your own risk but if careful it does work for older lenses).   

These are HD frame grabs with the Mamiya 80mm and 55mm + Medium Format Speedbooster. My current favorite lens to use is the 150mm f3.5. The crop factor ends up at x0.7.


Still working out the shipping details but it looks like I will test it on the MAVO soon.

"Let's make everything MORE heavy and MORE cumbersome than it already is." ©

While I use, and enjoy Filmic Pro on my S7, I read many sites that say Samsung continues to block 3rd party access to the full features of the camera API.
I may jump ship, when the true 5G phones come out...
 

Buy a camera that is "good enough" and learn to colour grade.
Seriously.  I used to be like you, but then I worked out what I wanted in an image and bought the right camera and lenses, and now when I hear that there's a new 12K RAW 16-bit pocket camera with built-in gimbal and AI drone I don't even care.  It happens that the camera I bought was a GH5, but if you have different needs then it will be a different camera.
The other part is learning to colour grade.  I was "done" with other cameras when I pulled the GH5 files into Resolve and it looked and felt like when the pros grade cinema camera footage - they pull in a shot and it looks flat because it's log, and then they push and pull it around almost mercilessly and it just does it and looks great, and the GH5 files did that too.  With all my previous cameras the file was fragile and would break given half a chance.
I'm not getting spectacular images out of the GH5 yet, but that's because I just need to learn to grade better.  I know the GH5 is great and it's about my ability to grade, not its limitations.  Specifically I think that's because it's 10-bit and the colour science doesn't have problems, so I know I can work with it.  Your results and preferences might be different, but when you're wishing you had something else it's because you're not happy with what you have.  There are always better cameras and we all wish we had an Alexa but many of us are satisfied even if the Alexa has a better image.

Yeah, this is not for output to HDR deliverable content.
I have not explored HDR deliverable content.

Great video talking about HLG
Talks about HLG acquisition, HLG delivery, backwards compatibility, grading, 709 conversions, exposure, HDR10, the HLG curve, cine gammas and commercial opportunities.