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My understanding is the ETC mode reads 1:1 from the middle of the sensor, whereas the non-ETC modes downscale from the whole sensor (6K? something like that, anyway). Noise is always reduced when you downscale an image, so this will kind of act as a kind of in-camera NR. The only way to improve the ISO noise and keep the same framing is to change lenses - either to keep the same focal length but get a faster lens (narrowing the DoF of course) to bring more light into the camera, or to go for a longer focal length and not use the ETC mode. I realise neither of these is terribly convenient, unfortunately.

I agree that Osmo Action will be a hit amongst YT creators quite widely, I'd love for it to be what I was looking for! The people who do this stuff regularly are basically shooting and editing machines. I see the good YT creators eventually talking about burn-out, creative stagnation and ruts, and taking time off followed by "where I've been" videos upon return. I think the pace is unforgiving well beyond what I can imagine. I remember Casey Neistat saying that he spent 4-9 hours editing each daily vlog, and he did that uninterrupted for something like 500 days. It's almost a good thing that social media is addictive or we'd all think of them as masochists! One lesson we can take from this whole thing though is that practice really helps. I know my project isn't big by other peoples standards. It was just bigger than I could deal with using my existing knowledge and approach, thus the request for advice. It's always good to stretch yourself and keep learning I've heard of docs commonly being 100:1 and blockbuster movies sometimes go well beyond that IIRC, I remember a ratio above 400:1 which is just madness! Plus with a doc you don't know where the story is and so until you work out what the story (or stories) are you can't even work out where the 'good bits' are. At least in my situation, as well as a scripted piece, you can review the footage and have a general idea about what you can cull on face value. Docos are only a couple of stops short of being given a newspaper and having to write poetry by cutting it up into individual words and rearranging them!

Been to India? I know the Og Pocket is a great camera and all, but after being enamoured for months and months with the soft painterly light in the video I posted I eventually went there and discovered that about 70% of the look of that film is visible with the naked eye and is caused by the horrendous air pollution. I couldn't believe my eyes when I first get there and saw it myself - it was like stepping into that film. You can look directly at the sun without even getting trails in your vision, I'm talking the actual sun itself and not just the bright area around it, and not even limited to sunset, you can do that at 5pm. With diffusion like that even an iPhone happy-snap looks like a high DR cinematic beast!

Just doing some casual browsing for zoom lenses that go to 400mm and noticing that they're all slow (5.6 or more), and wondered what that really means in terms of DoF. At 100m, here's how the DoF comes out (from DoFmaster) : My 135/2.8 has 64.5m DoF My 200/4 has 39.3m DoF My 70-210/3.8 at 70mm has "infinite" DoF My 70-210/3.8 at 210mm has 33.4m DoF A hypothetical 100-400/4.5-6.3 at 400mm has ~15m DoF A hypothetical 100-400/4.5-6.7 at 400mm has ~16m DoF A hypothetical (and expensive!) 100-400/4.5-5.6 at 400mm has ~13.4m DoF A hypothetical 100-400 would only have to be f13 at 400mm to match the 33m DoF of my 70-210/f3.8 lens Interesting example of how aperture behaves at long zoom lengths. It also kind of answers the question about those 18-400/3.5-6.3mm lenses in terms of them being pretty shallow DoF at 400mm, but zoomed out a bit to 200mm it's likely to still be close to f6 and that's not nearly so shallow a DoF at around 60m.

Yeah, the low light from the P4K would be lovely on the GH5 Completely agree that it's about tradeoffs in getting the shot. I'm up for the comparison, but grading it is much easier than shooting it (and I don't own the cameras, so...), which is where it's currently at. In good time Indeed it does! It's good to see people sensibly trading things off against each other instead of just going for the latest thing. And speaking more generally about older tech still being good, tradeoffs in size, accessibility, and usability, I thought I'd re-share this 720p video.. ???

If it's any help, Resolve automatically treats image sequences as clips, so converting them to a video clip can be as easy as dragging in the image sequence (which looks like a clip) to the timeline, then hitting the export button and choose a preset and it will export. IIRC you can't export more than UHD with the free version, but it's an option for converting if you don't have anything better at your disposal. Plus if you want to colour grade then it's the best colour engine in the business. One caveat is that I don't know what RAW image formats it understands, so that might be a stumbling block potentially. Good think I volunteered you then!! I'll keep you in mind for everything else I see wrong with the world ???

Yeah, that lens is a pretty good match for that situation. The lack of fast / cheap / stabilised lenses is what pushed me from the P4K to the GH5, and while that lens isn't fast, it's probably the best compromise I've seen for that purpose.

Yeah, odd. You'd think that it would be a pretty standard kind of app - it's not a complicated problem "I want high quality sunset timelapses" or a difficult challenge technically (a quick burst of multiple exposures with heavy exposure bracketing every <interval> and a combine algorithm). I'm sure @BTM_Pix could do with another project?

I agree that a great number of travel videos aren't well made at all. I typically end up with videos in the 3-6 minute range, but these are for friends/family only. Making a video that is nice to watch for strangers is a completely different challenge and I'm not sure I'd be much good at it TBH. I have thought that I could take some of the more interesting trips I've had and make a 'public' version, but I haven't gotten that far yet. In terms of longer travel videos, I really like Kraig Adams on YT who seems to have pioneered the Super-Vlog genre of long form travel videos. His Japan one is particularly good, and he has also made some BTS videos too which are quite informative.

Which is ALWAYS welcome in my book!

Seems unlikely it's related to the new cine camera from them, but price reductions normally accompany new cameras, right?

iPhone or Android? I don't know if it does everything on your list, but ProCam on iPhone is the app with the most features that I know of.

Impressive zoom range. The sixth image appears to have some separation between colours in the top right of frame (the edges of the tree leaves)? It's got that red/blue 3D colour separation look. Is that the 3CCD alignment issue, or just a bit of CA exacerbated by JPG compression perhaps? I can't see any separation on any of the other images though, which seems odd.

@BTM_Pix thanks for those videos, I haven't seen them. I am a subscriber to This Guy Edits and it's great stuff, possibly the only video editing YT channel. @mkabi I like the Good / Bad / Ugly analogy, it works well. @User 17000 clips would be a nightmare for most I'd say. I'd also imagine that lots of those clips would be interviews where it's not one moment, more like an entire dump trucks worth of dirt in a pile and you have to dig through and really hope there are some gold nuggets in there somewhere. I'll have to go through my YT watch history and browser history and find some of the good editing stuff I've watched over the last few years. There's quite a bit, unfortunately it's not nearly enough, especially compared to how many videos are telling you to buy an ND filter and use a 180 shutter. As my videos are basically just random shots of where we were, what we did, and that sort of thing, for me it's not about re-arranging the footage hugely, as the plot is mostly written, the story elements (inciting incidents, challenges, etc) are all from what happened, so my job is basically filtering all that down into a highlight reel of sorts. My films don't really have much dialogue either, so they're mostly visual storytelling with music and ambient sounds. To that end, my first pass is an assembly where I pull every potentially usable bit onto a timeline to cull the Ugly as Mkabi says. Then second pass is to go through that and on a shot by shot basis I sort them into several categories using tracks. Track 1 is the default track, if a clip is of no interest it stays here Track 2 is nice B-roll that might be useful for establishing shots or whatever Track 3 is spectacular B-roll, potentially being visually stunning or if I know it's a critical shot for something we did Track 4 is any usable shot of the people I was with (because people are more important than random b-roll, however pretty it is) Track 5 is any great shots of people I was with (beautiful, funny, memorable, etc) This stays as the first timeline. Then I duplicate that timeline and delete all the shots from tracks 1 and 2. Then I cut out entire sections I don't care about. Then I go through and start making the little micro-stories by only putting back enough shots from Track 2 (or track 1) to make the great shots make sense. At this point I can get a sense of how many people shots I have and start removing the bad ones if I have too many of a person. For me, coverage of the people is more important than the quality of the shot, so if I have a usable but not-great shot of a person then I'll probably leave it in rather than them not really appearing much (or at all) in the video. Then comes music, and I start editing the timing of clips because now I can get a sense of pace and rhythm from the music. Then it's titles and grading etc. I've just started using Markers in Resolve and it's quite good actually. I have the list of markers open in the side panel, and it kind of treats them like chapter headings, so if you have marker 1 on clip 10 and marker 2 on clip 20, then if the play head is anywhere between the two markers it keeps marker 1 highlighted, so you kind of always know where you are. The problem I've had with this edit is clip order. This trip was shot with the XC10 and my iPhone. Ideally I'd sort the footage by timecode, but the iPhone doesn't have it, so you get those in the wrong order (all at the start IIRC) so I sort by Date Created, which mostly works. The issue is that as I'm editing on the train from my laptop, I've generated proxy media and the dates on the proxy media isn't quite right because (for whatever reason) Resolve didn't process the clips quite in sequential order so the date created for the proxy files is a bit messed up, and you get different events split into 2 or 3 chunks. By creating Markers every time there's an event change in the timeline I can detect separate chunks of clips and easily highlight all the clips from that chunk and move them next to the other chuck of clips from the same event, thus giving me that next level up view and sorting the footage properly. Then once all the footage from an event is together I can just zoom in and work out what shots to keep and what stories to tell, or even to mention that event at all. So far so good.

Shame, I could have done with 4k120 in 12-bit!

It's interesting but this is one of the things that you don't really get people on YT talking about, it's kind of a blind spot. I guess that people who make YT videos, therefore have short and frequent production cycles, aren't experts in managing long infrequent production cycles Kind of like most things in high-end professions, the people who know how to do it are either off doing it, or are selling the content and not giving it away for free! ???

Yeah, I'm right there with you!

Cool. I am more and more tempted. Damn my curiosity! Interesting about being fine wide open. It's not what is said elsewhere... eg https://***URL removed***/forums/post/60459694 The guy sounded knowledgable too. Or this talk of an optically corrected adapter: http://www.dvxuser.com/V6/showthread.php?360652-2-3%94-B4-lens-for-GH5&p=1986756211&viewfull=1#post1986756211. Gotta love the internet! It seems like the smart move is to at least get the 2x built-in so you're not paying extra. Depending on the design it might be that they cover the ETC mode, or even full m43 sensor when zoomed in a bit? Personally I could live without the widest end so that part wouldn't bother me. @BTM_Pix has played in this space.. What did you do on your GX80 / B4 lens setup? Was it sharp? Did it cover the whole sensor?

I am just starting to edit the largest project I've taken on, and I can quickly see myself getting a bit lost in the footage if I'm not careful. It's from a 5 week trip I took through Italy and there are ~5400 source clips totalling almost 6 hours (average 4s per shot). I have done a leisurely (~10 hour) first pass and pulled in any sections that I think might be useful in the edit, and I'm down to 2300 shots and just over an hour. My strategy with this first pass was to cull the dud stuff and never go back to the source footage again, only ever looking at this timeline for the rest of the edit. I typically do each pass on the footage and then duplicate the timeline to work on the next pass, so I can easily refer back if there are shots I culled previously but want to find again, etc. I like creating little sequences that tell micro-stories with 3-5 shots and linking them together to create the broader story arcs, so I find I often choose hero shots then need the other random shots to make the story work, so I refer back quite a bit for the supporting footage. My next step is to look at what sequences and locations I have so I can get a high-level view on the project, ahead of deciding the overall structure, which locations and sequences I will keep, etc. I'm doing this with markers at the moment, but will probably make a list in a text editor outside the NLE. I don't have a target format or final duration so for me it's just about shaping it the way I want it, then paring it down so it's constantly interesting, and it will be however long it ends up. My challenge will be that my footage isn't quite in the order I want it to be in, and I'll need to go through a process of rearranging it before I get into it on a shot-by-shot basis, and I fear that I'll make a mess of it and confuse and frustrate myself in this phase. My understanding is that people who edit docos do this rearranging all the time, essentially making the story in the edit. What's the best way to manage this volume of footage during this process? Is it just an admin process, do people sort footage using Compound Clips, separate Timelines, Bins, colour coding the clips, something else? I'm using Resolve, but I expect that the tech doesn't really matter, it's more of an admin challenge of sorts. Who is editing on this scale? What do you do? What advice do you have for me?

So, is the servo attachment just turning a manual zoom ring? and if I remove the servo then does it become a normal manual zoom lens? That would be pretty sweet, and although I love vintage lenses, I think I can probably mess up a sharp image to look vintage in post, so I'm open to the idea. A f1.7 becomes f3.4 with the doubler, but don't you also have to stop down a stop or two in order to overcome the alignment problem they have because they are tuned for 3CCD sensors? If I had to do that it would become a f5.6 or f8 zoom, which is considerably less attractive. Your video won't let me play it saying "Unauthorized". Is it set to private or something?

Yeah, stills would be far easier, especially if you could find the money for a 45+ MP sensor which would give resolution to burn. I do shoot 4K and deliver 1080, so cropping in post is definitely an option. I kind of shoot to crop anyway, as things like stabilisation etc all crop to a certain extent. TBH I'm shooting a lot but not really editing all that much as I'm still working out what to do with the footage, but because the object is to document the family I can get away with editing later - it's pretty difficult to shoot later - even the 100+ MP cameras can't see backwards in time ??? To a certain extent by not editing I'm missing the feedback loop to improve my footage, but I do review the footage, and I'm working on it. Nice shot! Interesting about the 200mm limit. I didn't take a photo of it, which I now regret, but when I was in Bangkok at the golden palace there was a sign saying that personal cameras weren't to be more than 8mm film, so I figured that the GH5 not having any film was totally fine, and didn't put the Rode mic into the cold shoe until we'd gotten a few hundred metres inside the gates past security ??? That's a good description. Potentially an overriding factor is that the parents from one team all sit together, and moving elsewhere is a social statement of sorts. To that end I pretty much take what I can get, although the nature of the game is that the ball can move around very quickly and the players often roam freely too, so it's quite variable, which gives the edge to a zoom lens. When I was shooting on the 200mm prime I just figured that the closer people got the tighter the shot I got of them and the nicer the subject isolation was

I agree. IIRC this was 200mm (400 equivalent) at about 100m. Not terrible, but not a medium shot either! I did a bit of a quick look for 100-400 zooms, as the difference between 70 and 100 isn't that much, and the Canon FD 100-400 looked good, but it definitely wasn't free either, so I decided to put it to the back burner and wait until I got used to the 70-210 I now have and see what limitations there are there. My dad offered me a 500mm lens, but I think part of the reach it had was that the end of the lens was a good distance closer to the players than the camera was, so I declined A 100-300mm might be good. I'm not sure how well my hand-holding (or monopodding) would be at 400mm!

Please share if you go that direction! It's probably beyond my level but would be a fascinating setup to see ???

Nice. Maybe this tech will be included in the forthcoming Panny FF Cinema camera, or the GH6 perhaps? I think so. Not sure how far it got though.

Did some research, but ruled it out because: they're expensive, I have to stop down (3ccd vs 1 sensor), powered zoom is a hassle, and they're big enough to move other parents from thinking "look at that guys camera" to thinking "what do you think that guy's up to? hmm..." I already get noticed (some kids were kicking a ball behind us and it came pretty close and the kid who came and picked it up said "sorry camera dude!" which I thought was pretty funny) but there's only so far you can stretch the 'enthusiastic parent' role these days.