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of course! *facepalm* What an amusing series of events it would be if Panasonic were the ones to release the ILC XC-15 style camera that so many were interested in! However it goes, I expect that it will be a solid product that will be put to work immediately by many working pros.

I'm re-evaluating what my priorities are. The 6K 10-bit h265 200Mbps mode is basically unusable without proxies, but the 4K 10-bit h264 150Mbps mode is quite useable, so I'm wondering if the extra IQ benefits are worth it for what I'm trying to do. Yes, there is sharpening, but I normally output in 1080, and even if I uploaded in 4K I could just put a DLPF across it. I'm tempted to do an A/B between modes, then put them both through their paces with how I edit and see how hard it is to match the h264 image to the h265 and how much I care about the differences.

Yes, his post-processing is pretty powerful. He also seemed to know a lot about lighting and what conditions he wants, which is a good start. Lots of those images would be so much less without the dramatic weather to go along with them. I would imagine that a big component of the popularity of his images is the interaction between animal and environment and especially powering on through adversity, as that's something that most people can identify with on a personal level I think! ???

Unless it is the GH6 and somehow they're using the word 'cinema' in the marketing. I guess with people complaining that the P4K has the same limitations every other cinema camera has people simply don't understand it anymore so maybe it's fair game?

Interesting. Do we think it's a FF EVA equivalent, higher price/performance, or lower in the range? I'd imagine that it would make sense in a lineup that also contains the GH6.

Apologies, I was distracted by the non-sensical nature of the conversation to get every word right

From BM (link)

I'm talking about this: See how the gimbal shot bobs up and down? A slider (or dolly) won't let the camera move up/down or perpendicular to the track.

But it requires ridiculous amounts of training to get good results. Gimbals smooth where the camera points, but not if the camera wobbles when it moves. Stick with the tripod on wheels approach if you want a flawless result I think.

Great video, and some useful ideas in there I think. It reminds me of street photography where you're never sure what's going to happen, but it's about reading peoples behaviour, anticipating in the moment, and preparing technically with things like pre-focusing and manual settings, but also finding an interesting spot and studying the backdrop so you know where the compositions are and when someone crosses into the scene monitoring when the composition is good and when the gesture is good and hoping like hell they happen to align. I could paraphrase his ideas by saying it's preparation through understanding the unknown (behaviour, weather, etc) as much as possible, and persistence by keeping at it, and keeping on pushing harder for better and better results. Lots of us are probably doing this. I'm doing it for my travel videos and also my kids sports games. I'm not great, but I keep at it and I learn and adapt and push forwards

Aren't we simultaneously having two conversations? The P4K is way too sharp!!! 4K and modern cameras aren't cinematic, the Alexa / older BM cameras are all lower res and have magic. The P4K is way too soft!!!! BRAW is clearly inferior because it smooths fine detail. Not to mention conversations in other threads that also include: Who needs 4K - 1080 is fine and you can't tell the difference and ...... blah blah blah 8K!!!!!! OMFG!!!!! ??

You'd be able to look down at all the YouTubers who only shoot on their REDs and think "one day they'll get a proper camera" ???

There's more to it than this. Sensors vary significantly in design and how much surface area of the sensor actually receives light. For example: Not saying your explanation is wrong, just that it's oversimplified. Also, remember that 4K downscaled to 1080 is 1080 4:4:4 and the downscaling process smooths some of the ISO noise, and 1080 sensor is 4:2:2 without any noise smoothing. Everything is a tradeoff. The best way to actually work out what is what is to do a real-world test and go from there.

Me too! So much knowledge packed into such a short amount of time, they're deceptively simple too.

Jeez, you guys are harsh.... he does a couple of side things the wrong way and so you throw away what was (for me) the point of the whole video - the layer of skin tones put back over the LUT to get a believable result even if you have a strong grade. That's why I posted it. I agree that not converting to rec709 properly wasn't the right way to start, I agree that smoothing then blurring the skin wasn't a nice thing to do either, but if you're going to discount someone because they did that then go watch Juan Melaras videos on repeat because no other youtuber meets your standards. I've watched hundreds and hundreds of grading videos and I'm pretty sure I've seen every YT colourist do either one or both of those things on their channels before!! ???

Makes sense. There's a few channels I watch where they do talking head stuff, and all the B-Roll is stock footage or graphics / animations. There are even quite a lot of channels that don't have any filming at all and you don't know what the channel owner looks like because it's all motion graphics and voice-over.

Just curious (I'm not in the market for this) but do you need a crew to just shoot with it, or is the crew really to setup & teardown? The reason I ask is that there's a bunch of YouTubers who make shows from a home studio setup where the camera, lighting, sound, and set don't move, and it's just about workflow efficiency and content. We're talking completely predictable exposure, WB, focus, and infinite power via wall outlets, etc. I know lots of those shows have multiple angles and that kind of stuff, but if you run a talking-head style channel with one angle and b-roll, maybe these old cinema classics will find home studios in suburbia to age gracefully in

Ooh, I don't know... if you wait long enough. Those VHS plugins were/are pretty popular in music videos! Having said that though, there is still something about ML RAW, even on a non-classic Canon body, that is delightful in a way that even the nicest non-RAW modes of any modern MILC just don't quite have. And the image from the Alexa really is just exquisite ???

From Toms video? What about it don't you like? I could do without the skin tone smoothing myself, but the technique is pretty standard, I just don't think I'd posted a video showing how to do strong colouring and still keep reasonable skin tones.

Thanks! I've shot a ton of sunsets, most aren't amazing, so it's just a numbers game. I think the first video was with the GH5, the second was the GoPro (waterproof!), and the third was probably my iPhone 8. You're right about shooting images and processing in post as you get much better quality. Resolve is great for timelapses too because it treats image sequences as a single clip so it appears in the Media Pool as a single clip, drag onto the timeline, edit, grade, export as a single clip. No messing around with special software. It's because some cameras shoot RAW as image sequences, so they include it natively and it's seamless. I'm quite fond of making timelapses with the GoPro because you just position it, hit record, then do whatever and basically forget about it. I just ordered an Sony X3000 replacement for my GoPro so will have to work out how that one works.

Some may find this useful... Toms videos are pitched at people less familiar with colour grading, but are thorough. TL;DR: First node is to convert whatever format you shot (eg, log) into a more rec709 amount of contrast and saturation Second node has a key for skin tones and you can adjust mid-tone detail for a beauty effect if you like Third node is applying a LUT for a cool look Fourth node is in parallel to the third node, and gets inputs from the second node of both the image and the key (which is inverted) The third and fourth node go into a Layer mixer which goes to output What this does is basically put the skin tones on top of the LUT, and then adjusting the Key Output you can adjust how transparent the skin is, blending it into the overall look.

Good stuff - I look forward to seeing what you come up with. I shoot sunsets quite often, mostly time-lapse but not always, here's a random few: What are you thinking of shooting? Timelapses have their own challenges separately to normal speed video. Some general thoughts are that unless it's very cloudy the DR will be more than your camera, so you'll have to choose between blowing out the sun (and maybe the sky around it) or darkening the shadows a huge amount. The answer to this is to think about what the subject of the shot is and expose for that. In my case the subject is normally the sunset itself, so I just expose for that, letting the sun blow out but not the sky around it, and then it is what it is and grade appropriately. [Edit: the best approach is to just do it every day, or whenever there are clouds in the sky but not on the horizon, and then just do it over and over again, until there are no more mistakes to make and you start getting what you want ] and I totally understand about the Aussie sun - it's pretty harsh. On my travels I'm regularly surprised at how much less DR people in other countries require!

Went out to shoot this mornings game, new rig (as posted above) and new monopod (one of ebay's cheapest). I didn't have time to test the rig out before going to the game, and the verdict is.... The head on the new monopod is an example of you-get-what-you-pay-for and overall it's slightly too long, and moving the mic forwards resolved the conflict with my forehead, but not the conflict with the brim of my hat. DOH!! New plan is to move the mic to the side to make it hat-compatible, and to modify the monopod to remove the head. This is my first attempt at putting the mic to the side: I've disassembled the monopod, but unfortunately the head didn't mount to the body via a 1/4-20 so I'll have to order a 1/4-20 and install one myself. I figure I'll be using it with the monopod basically vertical anyway as I'll be panning basically the whole time, so I won't need the head. Watch this space...

So let's see if that's true, and if so, by how much.......

If you look at the tests from the iPhonedo Hero 7 review showing the waveforms you'll notice that different cameras expose slightly differently (where they put the darkest part of the histogram) and also have different DR (how stretched the histogram is) and also have different clipping points (where the highest values in the histogram are). How fast the lens is will mean that a camera can get a certain exposure level with a lower ISO, or faster shutter speed at base ISO, but that will only matter in low-light. The exposure levels aren't a factor of the lens, they are a factor of the cameras auto-exposure function and where it tries to expose. Action cameras are typically used outdoors in bright light and considering they have a very wide angle the auto-exposure algorithm will probably be tuned for when the sun is in frame and to just let it clip. If you use auto-exposure on a normal camera and put the sun in frame they often darken the frame radically such that your actors are silhouettes so that they're not blowing out the majority of the sky, which is a different approach because they're cameras for different things. Ultimately what you want is something with the shadows raised up a little so that there's a bit more information there, you want the DR to be kind of squashed to get more in, and you want the clipping point to be as high as possible so you clip the least. You also then want the highest bit-depth (although they're all 8-bit because they're action cameras) and the highest bit-rate so you can push and pull the image around more without breaking it. In terms of PBs video, it will be very interesting but it's a pity he didn't get more cameras - the X3000 of course but also Yi 4K and RX0ii as well. I get it when an extreme sports person only looks at action cameras, but PB is a pro cinematographer who should cast the net a bit wider.