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Yes - that's a better way of saying it!

I have a GH5 and I shoot home and travel videos in available light and I must say that having a 0.95 lens really makes a huge difference. I just turned off all the lights so the room was only lit by the monitor and at f0.95 in HLG the 400 base ISO and 1/50th shutter is almost as bright as my vision. I'd love an extra stop or so, but in terms of practicality being able to shoot whatever people can see is a good reference point for low-light performance. The P4K should be a bit closer to that limit.

I agree - bringing people into their ecosystem is likely to be their long-term vision. Amazon and Apple realised this long ago. Lots of profit to be made from taking the Hotel California style of customer relationship, where "you can check out any time you like, but you can never leave" It works for religion too, by excommunicating people who want to leave you raise the price of switching above what most people are willing to tolerate..

I'd be quite excited by an update to their stabilisation engine. I shoot hand-held almost exclusively, and the combination of the GH5 IBIS and Resolve stabilisation does a great job already, but I suspect that the stabilisation engine has far more potential than the current interface allows. I'd especially like the ability to control zoom/pan/tilt/roll independently, for example if I do a hand-held horizontal pan I want to eliminate rotation and tilt completely but smooth the pan motion only a little so it keeps a steadier pace. Unfortunately you can't currently do this (or I haven't worked out how yet!) because you can't have stabilisation occurring in more than one node in series - at least the last time I checked each node you try and stabilise does its analysis on the unprocessed file, sort of ignoring the previous nodes that should already have been applied. Using an external monitor without their cards would also be lovely, but considering they essentially have a captive audience I'm not sure how likely that is!

I've been following Resolves progress as an industry standard editor since v12.5 and my impression is that if you're a professional editor it has some ways to go still before it would fully replace FCPX or PP. I'm not a professional editor so I don't really see the shortcomings myself, but I've gathered that impression from reading articles or comments from people who are working on films with large teams and huge budgets. I believe the sticking points were certain editing features / modes that it's either missing or hasn't fully implemented yet. As I said, I didn't understand what they were or why you might want them, but I got the impression they were for people who use a whole keyboards worth of keyboard shortcuts without even looking, and the other theme I noticed is that Resolve isn't as great for projects with huge amounts of footage like feature-length docs or high shooting-ratio features. To this end, the banner saying "The revolution in editing starts..." may indicate that they've done a gap-analysis of editing features between Resolve and PP/FCPX and just implemented everything they found. I guess the other way it might be interpreted is that instead of 'editing' meaning the edit page, they actually mean the entire post-production process (which I think is more how smaller productions and studios might use the word) in which case it could refer to them leading the charge in having a one-stop-shop that does media management, editing, VFX, sound design / mixing / mastering, and delivery. In this sense it would be more like an Apple marketing campaign where "everything is new.... yet again, again" means something that looks identical to the last one and people talking about tiny tweaks (OMG, the notch!!). Certainly an interesting space and it will be existing to see what they are bringing us for very early birthday/xmas present this year I think it's a very interesting comment from Andrew about a "pro" P4K having IBIS. This is literally the opposite of what Panasonic did when they took the GH5, made it 'pro' and took IBIS out because the pros use external stabilisers and rigs. I genuinely have no idea what BM would do, but in my head the choice between the GH5 and P4K wasn't a choice between cameras, it was a choice between fundamentally different types of cameras. Of course, BM have a very solid cinema lineup between the P4K and UMP, especially with the UMP update, and perhaps a tiny screen-less Micro-styled version would complete that range. Should they have done their market analysis and thought 'lets have a second line where we jump the hybrid/cine line boundary to compete with video-side of the GH5/A7III/XT3' then that would be fascinating. It would be the same logic of Panasonic with the GH5 and GH5s and a P4K that was oriented around the hand-held single-operator segment would truly be a thing to behold, but I suspect it's unlikely as BM have started in the cine world and although they have come down in price, they haven't come anywhere near the mass-market as a GH5 competitor.

I suspect you're right. I have seen product pipelines before and was surprised at how long a lead-time they require. IIRC one example I saw was that a company had a development time that was 4 or 5 times the length of their release cycle, so you had 4, 5 or maybe even 6 products in different stages of development simultaneously. This approach suggests that the incremental and advanced models in development simultaneously concept is quite likely. We're at an interesting time right now where the Sony A7S3, GH6, and others are due very soon but have no place in the lineup, because for them to provide any substantial improvement to their predecessors will mean they leap over sections of the lineup of cameras above them. Of course, one aspect to this is that we shouldn't really compare a DSLR form-factor camera with a cinema-camera form factor as they're not really for the same purpose. Yes they're both cameras, but they're for different end-users to use in different ways in different situations. I'm surprised that people are surprised about 8K: Sharp has a prototype we have the sensors the data-rates are only double 4K60 and processor speed doubles every 1.5-2 years and it's been more than that since the GH5 was released P4K has the media solutions with sufficient data rates and is a third the price of a top-end camera the TVs are coming and the Japanese are pushing the whole thing as a world-wide technology PR stunt for the Olympics...

Apart from the update @BrunoCH mentioned, I recommend you overcome your lack of calibration by keeping the demo videos of the ARRI and Canon cinema cameras handy and comparing your grade to clips in those videos. I specifically mention these two brands because both are known for their excellent colour science, but have very different approaches to skin tones and other aspects so it kind of gives you a couple of data points that you can place your grade anywhere between and it'll be fine. Also, demo videos are their finest example of footage and will have been graded to perfection from a high-end colourist so you can be sure that the quality is there and you're safe using them as a reference. One could theoretically download them, pull them into Resolve, find great frames and capture stills so that there is a range of reference images right inside Resolve only a few clicks away at any point, but copyright issues obviously prevent anyone from doing that Nodes is definitely a different way of thinking and takes some work to understand, but the advantage is that nodes can do things you cannot do with layers, or cannot do easily (depending on the software) so it's worth the effort to work through it to get familiar with them. I agree that the database method only suits a particular way of working, and I haven't found a way around it. I don't know how they would change this but I can see how it would be useful - once again I think this is a hang-over from Resolve being an industry-leading tool scaled down to software-only rather than a PC tool scaled up to have industry-leading functionality.

You probably already know this but there are present keyboard shortcuts for people used to the other NLEs that might be useful. Not saying there aren't other significant differences, but every bit helps..

Have you noticed differences in style between different cultures or countries? In a sense these videos are in the universal language of visuals and audio, although the music YouTubers I follow have shown me that there are still interesting differences in music between cultures. I'm curious to hear what differences or preferences might exist, especially because I'm not attuned enough to see them myself if I watch foreign content.

I have read magazines and followed people on forums across several industries and there is a point that each business-owner reaches at some point in their career which will decide if they go on to be successful or to struggle and perhaps close up shop. That point is where they are worth more than the majority of available budgets and they either take the view that some clients aren't worth working for, or they go negative and complain about budgets but muddle through. Those who choose the first approach take the path of charging a healthy amount for their work but also focusing on customer service and quality of work, and are respected in-turn by their clients. These people normally make that decision blind, that is they decide not to take the under-budget work even through they have no confidence that they will be able to win enough work to stay in business, and they often reflect back saying they don't know why they were worried and that they've built a client-base of good clients who appreciate their work and the value they bring. In a contracting or rapidly changing industry this decision becomes more important as it's the people that don't value themselves and go negative that end up going out of business. Work hard, do your best, but value yourself.... We teach the world how to treat us by how we treat ourselves.

You forgot Mojo!! I agree. Comparing a Corolla to a Ferrari requires some accommodation of pricing. I like the "X vs Alexa" because it serves as a good reference for the state of the art. It also does some small good to educate people that are new to this space and think that their $3k camera setup should be the best in the world. I also like that it (can) spawn some interesting conversations around various cameras having strengths and weaknesses. A cellphone is a lot more 'professional' a camera when the shot required is wide angle and in plenty of light with deep DOF, for example. That knowledge is useful to those people who respond to the "$100k movie camera" clickbait titles. We could definitely do with more nuanced debate around things though, sadly it seems that the world has become more polarised and succumbed to more black-or-white thinking now that globalisation is really kicking in. Watching on a phone is actually more meaningful than you might think. The differences between 1:1 RAW and 12:1 RAW are visible, even through YT compression which must be hundreds-to-one, which tells you something about the nature of compression and signal processing through a signal path. It's the same with resolution, although most phones are 1080p displays now. Besides, most camera tests are completely useless at worst, or just a reflection of how well they were graded. Content and story loose neither dynamic range nor resolution when viewed on a phone...

Not too much but definitely at the upper end of that genre. Considering it's already been raised, I wonder what your impressions are (as someone who pushing this genre) of the future of this style of film making? Some say it's innovative and entertaining, and others say that it's using fireworks to replace story (as I would suggest many Hollywood action films are guilty of) and the associated kick-back from this style of film-making, as well as the Vlog style from Casey Neistat / Peter McKinnon where the lesser practitioners rely on B-roll over content. Is this style still evolving? or has it peaked? What's next?

Nice work!!

I've got 7 cine-cat videos at picture-lock but i'm still perfecting the grade. I've got about 53 nodes in Resolve across the final timeline, but I just can't get it to be cinematic enough. I thought that any camera that shoots 4K120 came with a basket of kittens? Or maybe it was just a multi-year promotion that I saw that has now lapsed? It's hard to keep up. I think the general idea is that if your production is using a cine camera (which requires a number of crew to successfully operate and is big and heavy) then your production will have enough people and sufficiently limited portability that you can use artificial lighting and not require low-light performance. Even in scenes that are shot in 'low light' such as external street shots or whatever would get enough light because you'd build a set for it. My impression is that large productions typically spend a very low percentage of their budget on the camera, and it's only smaller productions that have this as being a significant cost. In this sense, a cinema camera is actually a camera for a completely different type of film, rather than it being the same but just nicer quality. [edit: or they would just shoot day-for-night where they shoot during the day and change the shots in post to look like they're shot at night]

Yeah, when I was looking at cameras the Fuji lens system wasn't as appealing as the MFT system, partly because I already had some MFT lenses, but also because I use MF and the decent selection of Panny/Oly lenses combined with the huge range of third party lenses spanning all areas across the cine / super-fast / vintage / adapter / Frankenstein territory was a real draw-card.

More cameras = more competition = better for customers

Cool shot... This thread might be of interest...

It sounds like you are very sensitive to colour rendition, I can understand because you're using colour more as a scientific instrument rather than aesthetic for entertainment. In this case, I'd be worried that changing camera would change the colours - camera brands have colour differences much greater than individual lenses. Maybe try to rent the camera bodies before you commit to buying - it would be better to find out if they're going to work before you pay retail price for one!

You're looking at spending thousands of dollars to use your existing lenses instead of spending a thousand or less getting the right lens for your GH5s. I would question the logic of that decision. There are wide and fast lenses available for MFT, people don't talk about them much because they're expensive, but they're cheaper than buying a brand new flagship camera body. Plus they'll hold their value longer. What are your specific needs? You talk about "best color HD" because you "lose angle in my lenses". It sounds like you just need a wide designed for MFT with little CA to match your APO lenses.

Not until you're delivering in 4K. Seriously, as the owner of a 4K monitor the only uses for it are delivering in 4K or as a tool to reduce time spent on story and increase time spent pixel peeping. I guess you could also argue that 4K monitor is useful to have a 1080 window with room for a GUI in your NLE, that's useful too.

I'm not surprised. The P4K has great colour science, but zebras have no colour so they're not compatible. I think to shoot zebras you have to be a black-and-white thinker. Maybe having a DPreview account would help?

I saw that one. It's a pretty fragile effect, you'd have to be careful applying it otherwise you're likely to get a hard edge and artefacting. They apply it pretty non-carefully in the video and it's bordering on breaking the image.

Hilarious! Well done Andrew!!

Surely a curved sensor for all lenses would be a better fit on average than having a flat sensor for all lenses?