Anaconda_

Are you shooting 4K422 internal on the JVC? I've always had an issue with that codec, even in Premiere, Quicktime and I think VLC too. If you are, see if you can import a 4k420 file and see if that helps. I remember reading somewhere that they don't have an interest in building JVC's codec into the software because not enough people need it.

Has anyone heard any more about Braw in Premiere? I know it's hated here, but I can't get consistent exports from Resolve. The colour in the export is always different to what I see in Resolve. I've researched it a lot, and it's like GOT, totally my fault for not setting things up and calibrating etc. etc. But at least with Premiere what I see is what I get even if it's wrong.

GoPros, and probably other action cams, sink by design. When you're diving 40m underwater, the last thing you want is your camera to float to the top. But seriously. I really like using my Osmo Pocket for family stuff, but there's no way I'd buy another camera in the consumer class from DJI. In my experience with them, it's all about a money grab. Their USBc-3.5mm input is like €40, and they've disabled all third party ones, that cost like €3. Then there's the whole watermarking your own footage with their logo if you use the 'Story Mode' or whatever that's called. - anyway, that's off topic. It'll be interesting to see what they have.

Not in my experience, but maybe I'm using the camera wrong.

That doesn't sound very 'non-destructive'. Hopefully they'll release a how to.

I don't do it, nor do I advocate for it - but I know that you can and its very easy. Like instal everything, click one button and then use it all as normal.

But how is it displaying an image? There's no HDMI cable. @CaptainHook addressed it when the first load of cameras were sent out and someone noticed it. You can change the colour profile in Resolve to fix the issue.

I just found this:

Are there any good transitions in Resolve? All I can find is star wipes and venitian blinds. Could someone advise how I can go about creating something a bit more glitchy? Are there plugin packs you can install? Or is it building everything from scratch everytime?

This seems to be the best rig I've seen so far. I have pretty much all the components, or variations of them, so I'm going to try it out pretty soon.. https://youtu.be/vXQ4CnxFJNs

The cinematographer is defending his work. https://www.theverge.com/tldr/2019/4/30/18524679/game-of-thrones-battle-of-winterfell-too-dark-fabian-wagner-response-cinematographer "people don’t know how to tune their TVs properly” .... “We tried to give the viewers and fans a cool episode to watch,” he said. “I know it wasn’t too dark because I shot it.” Well... I tried to give my wife a 4 course meal. I know it tasted great, because I cooked it. If she didn't like it, its because her tastebuds are wrong.

I'm not sure if anyone's pointed it out, but last month Viltrox updated their EF-M2II to version 3.3 to specifically work with the P4K - I've not tested myself yet, but I read that aperture control and IS are both now working. EF-M1/EF-M2II Version 3.3 Updated Date: 2019-03-21 Update as follows: 1. Fixed the BUG which cannot control the aperture in BMPCC 4K. Direct link to download: http://www.viltrox.com//en/uploads/20190321/1553151267107312.zip Direct link to download page: http://www.viltrox.com/en/index.php?m=index&a=content&cid=119

Yeah it was the only grab I could find on google. There are also some great shots when he picks up a gun or kicks over a table. Things like that.

Season 2 is still weekly, but I think it's coming to a close pretty soon.. The altered states scenes are so creatively mare, I wish I could find info on how they're doing it. As for the CGI, I felt the same at first, but it's grown on me. The whole point is he's a wacky character, and puppetry could have been limiting. The plates for the closeups of the imaginary characters are always really interestingly filmed too.

Has anyone here seen the series 'Happy!'? The camera work in the first season is remarkable, and the second season is even better. I'd love to know more about the lenses and framerates used.

I found one of these in a thrift store for less than a pound. It works really well and folds down to fit in my back pocket.

At least you're 1 step closer to a new colour.

Parfocal cine-zoom designed specifically for the P4K (and other MFT cameras) Shipping in August for $1699

For anyone wonders, the underside of the grip has two mounting holes, so no more spinning on the tripod plate.

So I'm just trying out the new Resolve 16 because I wanted to see what all the fuss is about with the new 'Cut' panel. I know it's early beta, but unless I'm missing something, the Cut page is incredibly annoying to use. When you remove a clip, the whole timeline closes up the gap, but instead of starting at the next clip, the playhead stays at the same point in time relative to your starting point. Say I have Clips A, B, C, D, E and they're all various lengths. I delete all of clip B and keep expecting to see the first frame of clip C, but instead, it'll show me Clip D since they've all been pushed back to close the gap. Can I turn this off? Also, the whole moving the timeline, while the playhead stays in the middle of my screen is really annoying for me too. When I click on the timecode part, I want to see the frame that's there, not have to drag that part under my playhead. I've read a lot about how useful the Clip page is for laptops and smaller screens... Well, simply, you can just hide all the stuff you don't want to see on the 'Edit' page and you're essentially working with the same layout, but with a timeline that responds and reacts in a more reasonable (to me) way, and you have more control over each clip and the audio etc. I'm all for more options, and sure it has some benefits to some users. Maybe with more development from BMD and practice from me I'll understand why it's there, but for now and for me, it seems like a pretty useless page.

Like I said - fairly sure it was a stupid idea haha.

I would absolutely be interested! I just had a thought, and I'm fairly sure it's stupid and won't work, BUT.... Would there be a way to power this through an XLR plug with phantom power? And if so, could (in theory at least) the volume knobs adjust how dark the filter goes? Or do the knobs only adjust the signal between the XLR socket and the camera?

I know 8k is the main focus here - but has anyone heard of them taking advantage of that 33mp sensor for stills?

I think the guy at Atomos called RED and/or BMD nazis - while also saying he’s open to trying to build Braw into Atomos recorders IF people want it.

I think I heard somewhere it’s going to be like $4-5k. Could be making it up though.