Mark Romero 2

1 hour ago, herein2020 said:

Fortunately I never use that, I just put the clips on the timeline and color grade from there. Speaking of bugs...another nasty one is if you use Resolve while Photoshop, Lightroom, or other GPU accelerated apps are open...Resolve will crash every time and to the point that it takes Windows with it. The only way to get the display back is to reboot.

That seems strange...

I often have Resolve open and then open photoshop (for some quick and dirty graphics). I do have hardware acceleration checked in photoshop. Am using Windows 10 and an RTX 2060 super

8 hours ago, herein2020 said:

I tried that before as well, the problem with every method that I have seen is that you cannot change the camera angle later if the client wants to replace that angle or if you decide to replace it later. The easiest way that I've found is to just flatten it and put it on top of the multi-cam track, before I do that I create a gallery still of the color grade and apply that to the flattened clip, it really only takes a few seconds....but its still a clunky workaround for a problem that does not exist in Premier Pro.

Agreed, that does seem like a clunky workaround.

Just one more thought though... when you make a compound clip, you can always decompose it in place. Again without having much experience working in multicam, I thought that after decomposing in place, you could possibly replace the multicam clip, but then again, I have been wrong about so many things lately, this is just a shot in the dark.

8 hours ago, herein2020 said:

They also fixed the problem where if you add a picture over top of another picture or a video clip.....if the picture didn't fill the frame everything around the picture would be black instead of transparent which prevented you from seeing the clip underneath. The fix was to move the image left/right/up or down 1 px and it would suddenly turn the border transparent like it should be.

That is good to know. That would ALWAYS drive me crazy.

There was also a bug where if I would change opacity on a track above (let's say track 2), then the opacity would also change on the track below (track 1 in this example). This would happen if I was using either an actual clip or even if I was using titles. And of course the maddening thing is that it wouldn't ALWAYS happen, just some of the time.

Oh, and to ward off a future problem that you may or may not experience, if you use DaVinci Wide Gamut (which I really like, by the way), then you will notice that your white text in your titles is now gray. I tried right clicking on the title and selecting Bypass Color Space (or something like that... can't check because I am installing the latest update), but that didn't work at first. I think eventually I had to turn the title in to a compound clip and then use color space transform to convert it from DaVinci Color Managed back to rec.709

1 hour ago, herein2020 said:

I have that problem with multi-cam edits, certain things you can't do to a multi-cam sequence such as change the crop factor so you first have to flatten the clip but it loses the color grade and you can't switch camera angles after that, so my workaround is to copy the clip to a new layer first, flatten it then edit the copy. If I need to go back later I delete the clip and copy the underlying multi-cam clip again to the top layer; who knows....maybe they improved that in DR17 as well, I need to watch the full DR new features video or read the new features list one day.

Again, I am not 100% sure this will help for your situation, and i don't do much multicam editing, but can you create a compound clip for the clip you want to change crop factor of?

Again, haven't tested it with multicam so I might be leading you down the wrong path. But I noticed that was the only way for me to crop (well. zoom, technically) when doing picture-in-picture, so maybe it can help with doing crop / zoom of multicam clips???

I don't know if it is a 10-bit vs 8-bit thing, or an S-LOG vs V-LOG thing, or a Sony vs Panasonic thing, or it's a color-science thing, but I just don't get the same sort of weird colors in V-LOG on the S1 that I got in S-LOG 2 on the a6500.

I know a couple of the more notorious people on youtube have recommended workarounds for 8-bit Sony; dunna did it said just crank the saturation all the way up. Caleb (dslr video shooter) said to use the 709 matrix gamut instead of s-gamut

5 hours ago, herein2020 said:

If they would just improve the performance of Fusion or at least let you right click > convert to video clip after all of the Fusion edits are done so that its not in a constant state of caching for simple things like Text+ titles it really would be the perfect NLE. I have more Fusion related performance and stability problems than anything video clip related.

Are you talking about standalone Fusion or fusion inside DR 17?

I am not sure this will help but there is Render in place in Resolve 17:

It always feels good to press record for a paying job. I try real hard not to take things for granted, and realize I am lucky to have a job that I enjoy.

May you have many more opportunities sooner rather than later to film again. There are so many stories to be told. 

It's a pretty good video. He says that most of the noise is in the red channel, so... you can take a standard RGB node and turn off channels two and three, meaning it will effect just the red channel. Then I wonder if that would be the best way to do noise reduction is on that node that is only correcting the red channel.

Also, wonder what the difference in effectiveness of using temporal noise reduction on All-I footage compared to Long-GOP. Since Long-GOP only records "differences" between frames, is it possible that a near identical noise pattern can carry on through several frames? (If I had the ability to record all-I then I would test it out but I can currently only record in Long-GOP.)

So firstly, this is shot with an S1 instead of an S5, but since the sensor and codecs are the same (I have the V-LOG upgrade on my S1), I think it gives a pretty good representation of what sort of dynamic range you can expect from an S5. Please note that the sun streaming in the windows was REALLY strong as was the sunlight bouncing off the bay.

 Anyway, I have questionable grading skills and poor gimbal technique, but Panasonic V-Log with the new DaVinci Wide Gamut makes it pretty easy to get a lot of DR out of the footage. (Internal 4K 30p 10-ibt 4:2:2 slowed to 23.976fps on the timeline, and exported as 1080p)

PS: If anyone knows why I have so much rolling shutter on my drone footage, please let me know... I think the shutter speed might be too high since I misplaced the ND filter for my drone camera (Phantom 3 advanced shooting in 2.7K at 30fps slowed to 23.976fps on the timeline).

26 minutes ago, BjornT said:

Anyone on here using S1 and S5 together as A and B cam? Pics below had identical camera settings and grade (the tighter shot is the S5 with the Lumix 85mm 1.8 and the wider shot the S1 with the lumix pro 24-70 2.8 at 70mm). Both are shot in Vlog and running latest firmware.

S5 is bluer and a tad brighter overall. I know lens makes a bit of difference but am quite surprised to see such differences considering it is supposedly the same sensor. One can make them match fairly easily in post at least but curious to hear if other people on this forum have noticed as I find very little online.

 

Hmmm... i would definitely try switching the lenses around to see how much of a difference the lenses are making. 

The a7 III is about due for a makeover, but the a7S III was long overdue before it was released. So maybe Sony is going to be taking a while longer before a7 IV finally hits the streets.

Forgot to mention earlier that I will probably get a Mavic Air 2. 

I am pretty happy with my S1. The only potentially NEW cameras that interest me really are if the a7 IV comes out and it is basically an a7 III with 10-bit 4:2:2 and maybe 4K 60fps, and probably more importantly, better ergonomics and menu / ui. 

Otherwise, still thinking of adding an S5 / GH5 / another S1 (instead of using my a6500 as a B cam).

I guess personally I am more interested in lighting and audio at this time. The S1 is pretty much a better camera than I am a camera man, so I have a lot of catching up to do before I find it deficient in any area for me.

I personally believe that one of the reasons / the main reason that the S5 doesn't have all-i is because it just can't handle it... maybe the processor is different, maybe it is just a heat dissipation issue. I mean, the S1H has a fan and weighs, like, 27 pounds for a reason.

Sure, the GH5 has All-I but the sensor is half the size of a full frame sensor, and with the S5, Panasonic has somehow managed to fit a full frame sensor in to a body that is slightly SMALLER than a GH5.

3 hours ago, TomTheDP said:

Makes sense though the performance on the M1 macs are just too good to pass up. Just got one for $850. I can probably sell my PC for over $1000 easily and it'll actually perform better than my PC at least for my applications. 

I dislike codecs that only work on certain systems too. I like the idea of RAW though. I prefer RAW on the S1 vs say the P6K as I can get 4K RAW off the S1 in S35 mode. While on the Pocket 6k I have to shoot in 6K or else crop in more. The 1.5X crop on the S1 is actually a wider FOV than the P6K. It seems the Mac M1's can smoothly edit 4k even with several adjustments applied. This will be huge for me. 

Thanks for the input. 

41 minutes ago, TomTheDP said:

1080p out of the GH5 is probably better than the S1. By better I mean it matches its 4k better. Obviously still behind the S1 in dynamic range and low light.

Thanks for the input. As an aside, I am still torn between getting a GH5 as a B cam to my S1, or getting another S1 (kind of put off by the weight), an S5 (kind of put off by the time limit for 10-bit recording and that won't have 6K internal). While GH5 appeals to me, then I have to deal with buying full frame lenses and m43 lenses, or speed boosters. Ughh...

44 minutes ago, TomTheDP said:

I am very close to switching to MAC with the new M1's and utilizing the 12 bit Prores RAW out of the S1. 

I am actually thinking of going in the opposite direction, and trying to avoid proprietary software as much as possible. Thinking of switching my main computer from Windows to Linux (Debian, or Mint) and using Free Open Source Software (FOSS) as much as possible. And using proxies in DNxHD instead of prores. While I am not a flat-earther or anything like that, I just kind of like to have freedom of choice where practical, I guess.

14 hours ago, kye said:

In terms of reframing - try it for yourself.  I've done the tests and I realised that you can push the image much further than I thought.  You'll find me one these forums talking passionately about 4K and reframing, you'll find that I did the tests, and you'll find that I changed my mind.

I'll try again I guess.

I have used the 1080p 60fps 10-bit vlog out of my S1 and for some reason it just didn't seem particularly good - even with up-rez to 4K and without up-rez to 4K. Maybe operator error???

It wasn't bad mind you (certainly not as bad as Sony 1080p from my a6500 and previous a6300 and a6000), but it just was disappointing in a difficult-to-pinpoint way.

In defense of 4K...

Reduced apparent noise when down-res to 1080p in post

Ability to reframe on a 1080p timeiline without losing image quality

Some cameras just have really bad 1080p (a lot of the 2nd gen Sony e mount cameras, like a6300 and a6500).

On the other hand, I think we are all well aware of the drawbacks of 4K, such as file size / storage requirements, playback difficulties, often worse rolling shutter, often more restricted frame rates, potential quicker overheating...

10 hours ago, SteveV4D said:

I feel there are 2 main reasons to add new features to cameras down the line.  The first which I feel applies to the GH5 and the initial upgrade given to the S1 was that features were added later when they had resolved any issues, adding such features would cause in the camera software.  The ALL-I was added to the GH5 6 months later and probably not included on initial release as they hadn't quite finished working out some of those issues in implementing it.  Other cameras get external RAW I feel for similar reasons.  Otherwise why not include it on initial release.  

Another reason to add features is to bring a camera more in line with other newer models.  The S1 got a recent upgrade no doubt to help separate it from the S5, which would otherwise have eclipse the model.  

I'm not sure any of this applies to the S5.  Unless a cheaper fullfrane comes from Panasonic, unlikely; then there's no reason to give the ALL-I codec.  Even with the GH5, we were promised ALL-I on release, even though we waited 6 months for it.  No such promises have been forthcoming on the S5.

I think it is a tricky situation for Panasonic.

Firstly, it makes sense to promise (and eventually deliver) such features as all-i internal since the GH5 was the PREMIERE camera in the G series lineup (or, at least the premiere VIDEO oriented camera in the G-series lineup) With the S series, the premiere camera is the S1H. On the other hand, the S5 - in spite of all it's video capabilities, is still the "bargain" camera in the S-series line of cameras. I wouldn't be surprised if Panasonic considers the S5 to be something like "The G7 of the S Series" of cameras.

I saw a video around September of 2020 in which one of the more-senior members of Panasonic imaging was being asked about the future of Panasonic cameras and he kind of mentioned there were challenges ahead and Panasonic was going to distinguish itself by producing great cameras for content creation. So moving forward, I am pretty sure that EVERY Lumix camera is going to be a VERY capable video camera. (Unfortunately I didn't bookmark that video... maybe someone else has a link to it???)

Anyway, as mentioned at the start of this post, that kind of puts Panasonic in to a tricky situation where they might have cameras that are technically capable of doing more things, but they need to hold back on the features just to distinguish the higher end cameras.

20 hours ago, herein2020 said:

Thanks, I guess I wasn't waiting long enough, I tend to hit Enter the second I post a link.

 

Here are two recent videos shot with the S5. The images in the videos are taken with a Canon 5DIV. All natural light only for the video portions.  The audio is using the XLR module via the lav mic. I have found that the XLR adapter seems to be a bit more problematic with the S5 than it was with the GH5 especially getting it to work with the Sennheiser wireless kit. I once had to restart the camera to get the audio to start working after turning on the Sennheisers and I had to disable ALC in the camera because it kept shutting off the XLR input even though the audio was not peaking.

As far as film look vs looking too digital, I don't really focus on things like that, I feel like on a cell phone which is where most of my videos get watched, the audience just couldn't care less so I can't let myself try to achieve things that my audience won't pay more for. I do miss my GH5 MFT Voigtlanders though, they had this look that was way more pleasing to me than I've been able to get out of the Canon and Sigma lenses. I just picked up some ProMist filters that I'm going to try out on my next daytime shoot; if Voigtlander made L mount or EF mount lenses I definitely would consider getting a set. Which does bring me to my last point which is I don't think it is the sensors which make the image look too "digital", I think the lenses have a lot to do with it as well and no matter how much post processing you do, if you start with a difficult sensor/lens combination it's never going to look as good as if you had a lens that got you 90% of the way there in camera.

 

 

 

 

Nice work.

My only question is: Models got money for video? I thought models would fall just south of local musicians when it comes to resources available for self promotion...

2 hours ago, filmmakereu said:

I like slowing down 30p to 24p. It gives a more filmic mood to your video.

I pretty much ALWAYS do this but 99% of my shots are on a gimbal (in my real estate videos).

Also, I tend to do this for drone shots as well.

5 hours ago, omega1978 said:

Thank all for the positiv feedback.

In this clip i made a try to get away from the digital look..

 

  

Beautiful work!!! Really nice job.

5 minutes ago, deezid said:

native lens?
Diffraction and Vignetting compensation can produce some pretty nasty artifacts, turn these off. 
Also was this 10 bit? Premiere?

Yes, this is the Panasonic 24-105 f/4

I will have to pay attention tot he diffraction and igniting compensation settings. Oddly enough, the only time I have seen something really similar was by Sony a7III shooters using the native Sony 14-105 f/4, but they were shooting stills in RAW.

And yes, this was in 10-bit V-LOG, but I use Resolve for editing. (Although you can see it in the source footage. I just cranked up the saturation here in Resolve to make it more apparent.)

I think that Wong Kar Wai was kind of the king of undercranking. (Thinking of "As Tears Go By" and "Days of Being Wild" in particular... not sure if he used it up as much n his later works though).

Can we undercrank with digital cameras??? I think on my S1 I can shoot at 24fps but then have a shutter speed of 1/12th of a second. Will have to try it. I'm such a sucker for late 80's Hong Kong Cinema. 

11 minutes ago, omega1978 said:

 

Huh... that's some pretty strong ghosting there. I will have to double check but most of the ghosting I seem to get with that lens has been green. 

11 hours ago, omega1978 said:

The 24-105 is a very sharp and contrasty allround lens ( If you like that ).

I have filmed a entire wedding with it

One thing that disturb me is a violett flare when you shot against the sun or any light..

Can you post a screen grab of the flare???

I had one issue when shooting in V LOG with the 24-105 and underexposed. I didn't have direct flare though, but I was getting green and magenta rings in the shot. (Saturation is turned up a bit to better show off the rings.)