seku

Looking forward to get the AFX, participated on indiegogo!

Yes, they will connect wirelessly.
The AFX acts as the hub device controlling the camera (and lens motors for manual focus lenses) and receives/sends data to/from the additional components.
An example of this that is built in already is the Tilta control wheel when using BMPCC4K/6K.
It connects over BLE to the AFX and the AFX then translates its movements into controlling the native electronic lenses on the camera.
This means that P4K/6K cameras can have the advantage of the more tactile control of a focus wheel without having to have focus motors and powering them etc.
So in the same way, the additional module to offer AI based focus detection will process the data onboard and then pass that wirelessly to the AFX to action on the camera/lens motors.
 
 

that reminds me of talk we had ages ago 😄
back then i was chastised for going for motion blur in Resolve. Filming at a higher shutter also an edge when stabilizing footage... as you skip the motion blur from that... you have to deal with rolling shutter tho.
Just apply motion blur after stabilizing

that reminds me of talk we had ages ago 😄
back then i was chastised for going for motion blur in Resolve. Filming at a higher shutter also an edge when stabilizing footage... as you skip the motion blur from that... you have to deal with rolling shutter tho.
Just apply motion blur after stabilizing

i recommend watching this :
if you want to get into production... lighting is much more important than any camera/lens
 

i recommend watching this :
if you want to get into production... lighting is much more important than any camera/lens
 

i recommend watching this :
if you want to get into production... lighting is much more important than any camera/lens
 

i recommend watching this :
if you want to get into production... lighting is much more important than any camera/lens
 

mighty interested in this as well. Heck, we have the S1H and XT-4 for anamorphic nuts like me already, i really wonder what Canon will pony up in 2 weeks. 
The canon really got one big advantage over the other 2 :  the RF to EF ND adapter. that alone could sway me.

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture):
They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

That's the plan - I'm almost finished setting everything up for cameras going forward. I will really be able to accelerate now; a good indication will be how fast the GH5S is supported after the release of V4 for GH5. If a matter of weeks, then that is a very good sign for other cameras. Things will accelerate from there.

Its not too much a concern; in fact, HLG/Cine-D are more robust from a codec perspective. Speaking Gen.4, the extreme gamut is perhaps where VLog will have the slight edge in directness, but the others might be preferable overall.
Attila - It does include perceptual luma weightings of RGB. To revisit the earlier discussion, everything fell into place with the engine rewrite (Pt.2). I've been working on the web side this week, and mostly wrapped that today. Now its back to finishing GHa V4, and last the Pdf (and streamlining it for future cameras).

Changing gamma and color space with the right-click menu on the node only works if your timeline gamma and colorspace is set according to the clip you're viewing.
So if you're viewing an F-Log clip, and you're timeline is set to Fujifilm F-Log, you can right click the node, set gamma to linear and adjust exposure with the curves the way I described before. It will be like a node between two colorspace transform nodes, but compressed to one node. But what do you do when you have clips from multiple cameras? I like the color space transform plugin better because I can see better what's happening. And sometimes you want to see what's happening between the transformations, in our case the linearized image. When you use the one-node method you don't get to see that, you only see the output of that node.

To anyone wondering about exposure controllers in Resolve:
You can use the offset wheel in ACES, it's very close to a true exposure controller, but only in ACES.
In normal Davinci YRGB mode you can linearize the clip using the Color Space Transform plugin, and once in linear mode you just grab the top right part of the curves and grab it along the top or right border. Because you're in linear mode this will be simple multiplication, so it's an easy way to control exposure. Then you use the same plugin to convert back to log.

I use 2 instances of OpenColorIO in AE, then pop it back to VLog and use a custom lut I designed for Gh5 VLog based on Portra 400. 
It means I can make WB and exposure adjustments in ACES where AE's legacy brightness control +15 = 1 stop and CC Color Offset does global WB. Then it's back to VLog, then my lut. It's a bit cumbersome so I only do it when I'm feeling fancy. I haven't yet found a way of doing accurate corrections to VLog in Rec709 space.
So it's not a fully ACES compliant workflow, but the ability to make accurate corrections when in ACES space...

The production value of those media division bids is incredible, only topped by the content quality. They are easily my fav channel concerning video on YouTube, alongside Juan melara. 

The production value of those media division bids is incredible, only topped by the content quality. They are easily my fav channel concerning video on YouTube, alongside Juan melara. 

I meant an example showing how the P4K is better than the GH5s in the same conditions. As long as you white balance in linear gamma, I've found no benefit to shooting raw in terms of ability to white balance in post. I have edited quite a bit of material shot in 400 mbps on a GH5s and never really ran into any compression issues even on extreme grades, so I'm curious to see any examples where the P4K does better.
Same with exposure. You can correct exposure with any camera with the same results as raw if there aren't compression artifacts, and you can do it in linear. Since they share the same sensor, I would be very surprised if noise levels were different, and in my experience I haven't run into compression issues with GH5s footage.

The production value of those media division bids is incredible, only topped by the content quality. They are easily my fav channel concerning video on YouTube, alongside Juan melara. 

A few years back I came to the conclusion that GH5 10bit 422 VLog was pushable enough without losing quality for me to make the leap from ML RAW and not feel I was missing out. 

Attila does great work, he has an excellent grasp of the technical; highly recommended
That 4K 60 sounds quite good (super-sampled 10 bit)
Ironically, I've still been working away at the EC engine, and fixing copious bugs (its inevitable that when I think a thing is finished, the work has just begun ) That being said, I think today I've fully tested it, and everything is working really, really well.
This is a GHa Tungsten LogC render from this morning; the wheels on the far left and right are completely theoretical extreme gamut, beyond what the camera can record - the ones in the center are actual log gamut (and V3 for comparison):
V4:

V3:

Very nice!
From this morning, here is an interesting one. This is GHa Tun v4 extreme gamut finished with the new system (Tungsten extreme gamut is the most difficult scenario). GHa v4 Tun actually outperforms the Alexa in extreme red (Arri has the edge in blue though). Also note the slight banding apparent in blue/cyan/green (VLog All-I), a non-issue on the P4K  (GH5 on the bottom):
 

Been away over the break and also shot a bunch of scenes for a longer form thing whilst at it, i'll post some frames later but now i've spent quite a bit of time with the sigma.
I'm liking it more as a stills now, i left a summicron 50mm on it mostly and that combination is lovely - the leica is better on it than the A7s - perhaps the lack of OLPF and filter stack has something to do with that. It's the perfect camera for M mount lenses for sure. I brought a limited lens set with me, just what i needed for shots - 21mm voightlander, 50mm summicron and 85mm APO HyperPrime. The 85 is an insanely good 85mm, one of the best i've used and the sigmafp works well, resolves everything the lens sees no problem.
In terms of footage i shot some MOS as 23.98 to get 12 bit, sped up to 25 in Resolve is usually not noticeable and i'm working with snow at times - so range with sun and everything is tough. The rest was 10 bit with sync audio. I shot some plates for vfx elements as well. I even ran the camera with a car going over it.
Overall it performed really well. The 12 bit cine vs 14 bit still is nigh unnoticeable and 10 bit is great so long as you don't push the shadows up too much.
I want to do a dynamic range test - i have a step wedge around here somewhere. I feel the range is the same as the a7sII which is also a 14 bit RAW container. I suspect the range is pretty much the same as all the current sensors like this and in fact 12 bit in cine mode seems very very common too.
Issues:
Well, i find myself hanging the SSD off a cable sometimes - when moving fast and rigging it's easier to leave it dangle and that's probably bad.
My screen exposure seems to change and flicker (in terms of the brightness of the LCD itself)
A RAW exposure tool is really vital IMHO
But shooting RAW is so damn simple, as filming should be. Just nail exposure and you're good to go.
I read in Film & Digital times that sigma themselves recommend interpreting this as Blackmagic Film - i think that's nuts - what does everyone else feel?
 
cheers
Paul

I just import with blackmagic film in resolve and try to get it look good from there. works well enough for me.

Working on it as we speak
Its really neat; now I think several new cameras are achievable (in 2020). Days have been compressed to minutes