hansel

Bet there will be lots of parents going "thank goodness my son became a filmmaker instead of studying to be a lawyer!" 
 

You are using copyrighted music. I stopped watching right away.

That’s a grading decision. I have a Z 6 and it certainly does not have crushed blacks. If anything it shows that youtubers don’t change the picture profile at all. Default contrast and sharpening in standard profile doesn’t look very nice, too contrast and sharpened. This was shot in Prores Raw so we’re looking at a graded image. I thought it was pretty nice to see a cool grade.
I’m getting tired of everything looking like it’s shot at golden hour in July even though it’s shot in the north in November. 
If you shoot in flat  or neutral picture profile the blacks aren’t crushed. If you dial down contrast and sharpening in the standard profile it gives a very nice image straight away. It’s a wonderful image in Nikon flat. Like the D750 but better. 
 

I think AI is rather ridiculous. The idea that once all workers at VW are replaced by AI robots. The engineers the board committee etc. is complete nonsensical. It works on a small scale on a big scale it will be war. No one needs and probably no one wants a world were AI is running everything and humanity has disappeared, sorry but it's bogus.
AI replacing high skilled workers only works in the retarded neo liberal world view that is based on exploitation. Not saying it can be helpful in some cases.
 

In General i simply don't get the fun of existence by using AI for this kind of stuff. For me it feels like I'd rather have Mario testino shoot my wedding than some spy cams plastered all over my place? Will vogue have a robot shot on the front page of a robot humanoid? Seems none sense. Especially with arts. Why would you want to leave the fun of doing it to Ai?

Actually, you don't even need to go to South Korea. In the UK (so presume quite similar in many other European countries?), go to any big town hall/registry office on a Saturday and there will be a wedding per hour quite easily.
Back in the day when I used to do such jobs, it would not be unusual to turn up and find; a wedding happening, one more waiting to happen, your crowd turning up plus guests for the next one, several wedding cars belonging to various weddings and no one having much clue which wedding is which! I was trying to photograph guests and having to ask them which wedding they belonged to etc.
A couple of jobs like that almost made me turn my back on weddings...but didn't, - I just stopped taking those kinds of jobs.

Yes, it will be quite sometime before a robot can move about places with a camera as a floating shooter getting shots and tracking a subject in a dynamic enivornment like a wedding.  Way to many variables.

If the robots and AI gets that advanced then surely everyone will be shacking up with virtual partners anyway so they can just get them to film it as well ?
If we've learnt anything from this thread its that unlicensed shoe selling is the only thing that can save us.

Not even in our lifetime. If it gets as far as this we would should be happy, because there would be no jobs left, the robots will be doing all the work. Everybody will get a wager for doing nothing. And we have a lot more time on our hands to enjoy life. 

Of course if you are an enterprising baker and want to stretch their "Need a license to sell food but not to sell shoes" rules then you could always make these.

I love this sort of stuff.
 

What a great guy ? love it.

I think you might be calling me a liar?
Interesting.
Actually, a pretty good call because I was.
Probably.

Yes.

What's the point of the big bad screen on the back of the Pocket then?
They may as well have left it off.
It sucks up power and doesn't point in the direction you need it to, and you can barely see it in sun light.
Of course, nobody in Blackmagic pointed this out to the design team!

Adjustment layers ❤️

Yes, I can see the cut page being used, to well, make your cuts and then the edit page to dice it up more finely.

Lookout Avid and Adobe and any other company who's name starts with "A" and that makes video editing software - Grant and Blackmagic have kicked you right in the subscription.
The 2 other leading companies that don't have to rely on video editing subscription software sales model are Apple and Blackmagic and what do they have in common?  They make a broad range for hardware products (including prosumer product - the Pocket 4k) so they can sell at volume and afford to sell their software for a one-time reasonable prices.  Apple now sells media subscription services and may someday go the subscription route for their software as well.
Potentially, that leaves Blackmagic in the future, as the only widely adopted professional video editing software company that is not forced to beg its customers for a subscription like the little kid nextdoor trying sell you magazine subscriptions to help fund school activities and when a prize in the process.
Blackmagic has my respect for not begging for my subscription each year and for making a better product than their competition.

The golden age of cinema was truly something to be admired.  Here are the TOP SECRET insider settings that will MAGICALLY turn your camera into a CINEMA BEAST.
PROFESSIONAL CINEMATOGRAPHERS DO NOT WANT YOU TO KNOW THIS
We all know that you can't get cinematic video straight out of a camera, so most of these are in post.
Camera:
Shoot in NATURAL or the default style (LOG profiles are a trick to fool the try-hards) Set your aperture to F8 (that's why the most famous photographers say "f8 and be there") Film had a wonderfully organic resolution, so It's important to get the highest resolution camera you can - shoot 8K RAW if you can, 10-bit is barely a minimum, but 12-bit or 14-bit is better Depending on the aesthetic you want you can film at 23.976 fps, or less.  Ideally you would film at a rate that varies to simulate the camera operator turning a handle, but even the most expensive cinema cameras still lack this feature, even in 2019, it's madness but it's reality Post-production:
Set your Saturation to zero Lower your contrast until the whites aren't white, and the blacks aren't black, you want that soft look Highlight all your audio tracks and delete them, if you want you can add a single track back in and put in a single piano soundtrack, but silent is the most 'pure' Whatever frame rate you recorded at, you must play it back at 23.976 fps - this will give that classic "people walking as fast as ants" look Add noise, film grain plugins that have real digitised film grain are best - DO NOT GO CHEAP ON THIS When you output your footage it's important to get the settings right - the most important is to output in 1080 as a MAX (4K is totally out) Yes, I'm taking the piss, but actually if you want to replicate the silent film era then these are good instructions.  My point is that there is no 'cinematic' look, so the only place that you can be sure of that won't help you is anyone using the word "cinematic".  Seriously, cinema looks so great because it's a combination of every department doing their job really well.  We've been making movies for long enough to work out what matters and what doesn't, and anything that doesn't matter has been cut from the budget of film-making since before any of us were born.
What you really want is to make great looking films, which is really a personal thing that only you can find out what it means to you, and the only way to do that is to learn every job in every department of a film production and do them all really well.
Film-making is art that uses enormous amounts of technology - that's why is SO DIFFICULT IT'S NEARLY IMPOSSIBLE.
Welcome to our pain, and our pleasure.

Does anyone else seem to remember that this question has popped up on here previously at some point?
As far as I recall, the general consensus was that you need to go into the Settings menu of the camera and make sure "Motion Cadence Colour Science Mojo" is set to ON.
Have a go with the Search option just to make sure I've remembered correctly though.

No idea where you at but some kind of habour area could work maybe, could even be a habour on a big river....ones were they unload containers and stuff. Maybe an oil rig or an abandoned stranded tanker of some sorts? Maybe even a marina, that was smashed up by a hurricane....

Exactly, I just did nearly two week non stop shoot around my tropical island for a reportage on a Victoria Secret model coffee book shoot. That shoot was intense in very harsh tropical summer climate with a lot of rainfall, heat and humidity (shooting a lot around the water). At first I was a bit embarrassed to shoot on such a small camera and rigged it a little, after not even half day, I was shooting mostly hand held and with my 7 inch Ninja. This shoot was going fast and I did not want to interfere at all as most of the team was coming from US and with the weather had a very tight schedule. After watching the fotage at night I slowly moved to only the internal shooting and was really impresed by the internal 120 fps 1080p footage. Where I en-counted problem with the footage was banding in the blue sky, I watched some tutorial and got some great result with qualifier and ofx debanding in Davinci resolve.
Perhaps for a Nikon shooter this is extraordinary and would have been normal for other MILC shooters. But for me it was extraordinary, I got some amazing tracking and slowmo handheld footage (I was starting to have to restrict myself with the slowmo because it was so gorgeous), that Nikon quality with all the features of the Z6 video capabilities like Ibis, auto focus, handling ergonomic, build quality is mind boggling in such a small package. Now if I was first camera and I had a more compact Ninja V than my 7 inch one. I would have perhaps done more 10 bit shooting and use an external recorder. But even then, with mostly the 4k and 120 fps codec bitrate, I am stunned by the quality.
The last thing I don't understand is the supposed non cinematic image of the camera. I guess some people might understand that its not shooting in crappy light that will make their camera look cinematic or not, perhaps they should look at the meaning of the word. Because for me, my images are coming out great. There is not one people from the US team (photographer working for vogue etc) thought the image were crap. 

My understanding is that most log profiles end up effectively underexposing the sensor to give more dynamic range to the highlights, hence why the AF isn't as good when shooting in Log on the Z6.  Saying that Nikon are working on improving the AF so we may see some improvements here, and that flat profile is also pretty nice for most situations.
As far as filmic image, motion cadence and all round I really want an Alexa in a tiny hybrid body that costs $2000 mojo, I think it comes down to how much processing the image receives in camera.  IMO the most beautiful image in terms both colour and motion cadence in an indie camera comes from the digital bolex.  There is no fancy downscaling, no inter frame compression, and zero noise reduction or sharpening done in camera, just a pure image processing pipeline (and the global shutter helps).  So hopefully the raw output on the Z6 will have minimal processing/sharpening etc and if so should be very very nice. I'm looking forward to the 1080p raw output just as much as the 4K.

One of the articles said that fungus will grow if there's humidity, the right temperature range, and a source of food.  So not only do the spores get in-between the layers of glass inside the lens, but particles of food do as well! 
No more of those "throw flour everywhere in slow-motion" shoots people!!

So far, it has only annoyed me at wide angle (at 24mm with the new 24-70 f4), as I explained earlier. It is the same behavior as with my XT2 + 18-55 ois and 50-140, and seems to be linked to the distortion auto-correction. I've posted a link to the dvxuser forum where someone found the same conclusions. I easily get rid of it with DV Resolve, by using a minimal amount of stabilization (and a tiny crop most of the time). It really works well.
With my adapted 50mm 1.8G, it does not appear, which points to a messy distortion auto-correction.
At around 70mm, it is quite jittery, when I can't manage to remain steady (for example, when it was really cold with a lot of wind and snow). Again, 30s into Resolve and it rocks (at least, I'm satisfied with it). Otherwise, for static shots with steady hands, it is incredible. Quite similar, if not better, than what I managed to obtain with the Fuji 50-140.
Yes, there are a lot of small annoyances, and photographylife has summarized them (I agree with almost the entire list !) but none of them have really prevented me from shooting accordingly to my will. I too hope for the firmware update to improve things.
I will soon buy a telephoto for distant landscape and wildlife, so I'll let you know how the ibis work !