kye

Interesting comment about colour, thanks for sharing.
My impression of Vivid on GX85 was that it boosted the saturation.  In theory, this is a superior approach to recording a flat profile, as long as it doesn't clip any colours in the scene.  This is because if colours are boosted in-camera they will be processed in RAW and not yet subject to quantisation errors and compression errors.  Then in post when you would presumably reduce the saturation any quantisation errors and compression errors such as blocking etc will be reduced.  This is why B&W footage from older cameras looks so much nicer than full-colour images.
I've also noticed that downsampling in post or adding a very slight blur can obscure pixel-level artefacts and quantisation issues.  I learned this while grading XC10 footage, which is the worst of all worlds - 8-bit 4K C-Log.
I've also had success with a CST from 709/2.4 to a wider space (like DWG), then grading there, then a CST/LUT to get back to 709/2.4 output.  This has the distinct advantage of applying adjustments in a (roughly) proportional way, so if you change exposure or WB it does it in proportion across the luma range, much closer to doing it in-camera than operating directly on the 709 with all its built-in curves.

they made it!!! only 40% of their nests produce young
LFG!!!!!!!!

Their only job is to record and legally identify criminals.  That doesn't require 15 stops of 10-bit 444 in 800Mbps!!

Ideas for your new channel:
"Ask the beard" a channel with you reacting to videos and viewer questions from a NZ perspective "Hold my beard" a channel where you do challenges and review the many extreme sports in NZ "For the beard" a channel focusing on progressive fashion culminating in launching beard-care products for both men and women The possibilities are endless, just like the talent available!

Time for us to ditch Sound Mixing etc and become "social media influencers"??? 

This is the exact reason they made the GH5S.  It was a non-IBIS companion to the GH5, designed to be used on gimbals and other mounts.

Interesting. Neither my G100 nor my GH6 have "object prediction" as part of their settings. I'm also a "keep the subject in the center" type; so, I understand where you're coming from.
I also have the 12-32 and it's been a regularly used lens. I've even been able to add the Panasonic wide-angle teleconverter on it and it works very well for video as long as you shoot in 4k, making it about a 24mm angle of view with IS (with my G100). The lens is also super sharp. The only bugaboo with the lens is the lack of a manual focus ring, but this isn't that big of a deal.

On my last trip I ended up using the GX85 and 14mm F2.5 as the main setup, and the saved profiles defaulted to the lens being wide open at F2.5.  I did a single AF (using the back-button focus method recommended by Mercer) and then hit record, and normally didn't AF again during the shot, although I only do short takes typically as I'm shooting for the edit.
I also used the 2x digital zoom, so that emulated a 28mm F5 lens on MFT.  According to the DOF Calculator, this lens wide open would have infinity in focus when focusing anywhere further than 17ft / 5m away.  I have since done some testing and the lens is sharper than 1080p (which is what I edit in) when wide open, so not much advantage to stopping down other than for extra DOF if I want it.
My videos are about the people interacting with the environment so DOFs that obscure the background aren't really necessary and beyond lending a bit of visual interest and depth to the shot, aren't desirable.  The DOF with the 14mm wide open was almost too shallow for closer shots, as I'd want to show more of the environment.  
This was likely wide open, simply for the low-light advantage, but I wouldn't want to blur the environment any more than this:

..but it did provide a nice background defocus for detail shots - this one is with the 2x engaged:

I've since decided that it's worth it for me to sacrifice a bit of speed for greater focal range, and will get the 12-32mm F3.5-5.6 pancake zoom when I travel next.  
I could just use my 12-35mm F2.8 lens, but it is significantly larger and I think the extra low-light (F2.8 vs F3.5) on the wide end isn't that much.  I don't typically use the longer end in low-light situations, and definitely don't need the extra speed at the long end for DOF - at 3m/9'10" the 12mm F2.8 has a DOF of 23m/75' and at the same distance the slower zoom at 32mm F5.6 has a much shallower DOF of 1.6m/5'3.  I can always carry that lens in my bag in case I need it, along with my 50/1.2 prime.
Obviously having larger apertures for narrative work would be desirable because you want to have consistent T-stops across the range and also to have the potential to open up a lot more if it is artistically appropriate to the emotional arc of the story.  Every good movie has a moment where the main character feels overwhelmed and disconnected, so needs a long shot of them with everything else blurred, right? 🙂 

IMO, many people just do it to justify their FF cameras and f/1.2 lens. It can look lazy, stupid, and cliché nowadays. For me, I go for everything in focus when it looks good; otherwise, I aim for f/2.8-f/5.6 on S35 (f/2-f/4 on M43)- there's a reason this has been a standard for such a long time- it looks right and like the films I enjoy.
I also use AF-S, but sometimes I try AF-C.

PL is of course. But their EF is not sadly. 
https://www.bhphotovideo.com/c/product/1324258-REG/blackmagic_design_cineursamuprotef_ursa_mini_pro_ef.html?sts=pi 

Ah yes, sorry, I'd completely forgotten the pulsing.
I suspect that there's probably a tradeoff in the coding somewhere.  My understanding was that the only advantage of PDAF vs CDAF was that PDAF knows which direction focus is in, whereas CDAF just knows what is in focus but not which direction to go in to get better focus.  This is why DfD is pulsing - it's deliberately going too far one way and too far the other way just to keep track of where the focus point is.  Maybe Olympus has just tuned their algorithm to be more chill about it, which would result in less pulsing but potentially more time slightly out of focus when the subject moves.
Of course, the reason that eye AF is now a thing is because people want to have a DOF that isn't deep enough to get the whole face in focus, so they need an AF mechanism that won't focus on someones nose or ear but get the eyes out of focus.  This really makes the job of AF much more difficult, and any errors that much more obvious.
I wonder how much Sony is implementing their focus breathing compensation due to the crazy amount of background blur that people want nowadays.  Even if you have perfect focus, when it tracks the small movements of an interview subject moving their head around the changes in size of the bokeh are so large and so distracting that focus breathing becomes a subtle (or not so subtle) pulsing of the size of the whole image.
I'm glad I don't have to deal with it.  Even though I'm moving to AF, I'm using AF-S only and having DoFs that are much more practical (and TBH, cinematic).
Maybe it's time to reverse the 'common wisdom' online and start saying that if you want things to be cinematic then you need to close down the aperture, and that the talking-head-at-F1.4 is a sign of something being video rather than cinema.
Wow..  So we're back to my iPhone 6 Plus where it had PDAF but didn't use it for certain things!  I didn't expect that from Panasonic in 2023.
I've seen a number of those "the AF is great, but you have to know how it works and choose the mode and perform integrals in your head to get the most out of it" videos, and I'm glad that I'm not using it TBH.  

Even very pricy cameras, such as the Sony VENICE I've seen coming down by thousands and thousands of dollars vs what they were just a few months ago. 
This young guy just got a VENICE, upgrade from an URSA Mini Pro G2:
 
How long until a VENICE is as affordable as an F3?? hahaha
A hype video about the old F55:
One day soon they'll be talking about the Sony VENICE like that!
Here is a youtuber who is not using the Sony F3 any longer, got a different older Sony camera (the FS7! Like me):
However he quite quickly got himself a Sony FX9 shortly afterwards (and announced the F3 is sold, to a lovely lady in the UK, hello there! If you're reading this thread): 
(he is still keeping the FS7 for B / C Cam duties) 
Here is another youtuber who is still making F3 videos, has quite a few recent uploads:
https://www.youtube.com/@xavierdegreeves
 
Another video about the F3, which I think has not been shared here yet:
 
Maybe we should make a thread dedicated to old forgotten cameras which were for their time amazing. 
Such as the Sony PMW-EX3? Philip Bloom's video on it, back when he was almost totally unknown, one of the early videos that helped make him well known (there were so few other people back then doing this!!):
More EX3 videos: 
 
Of course if you're shooting a cinematic short film in 2023, don't even choose a Sony EX3! But I reckon if you want a simple, compact, all in one camcorder with massive zoom range & reach, then the EX3 holds up well as a low budget choice in 2023? Or is there anything better I should look at?? 

Was browsing eBay, seems like F3 prices are finally becoming sane again! After they were for ages completely out of whack, had no sense whatsoever, due to the hype generated about it due to a few youtubers. 
Hopefully this new video doesn't make them spike up again! But Nostalgia Nexus only has 29 subs, so I reckon we're safe. 😅 (great video though, he deserves many many more subs!)
I wonder if the writer strike is also causing a decline in camera prices. I've noticed Sony FS7 / Sony PMW-F5 / F55 / Sony PMW-EX3 / Panasonic Varicam / Panasonic EVA1 / RED Dragon / Canon C200 / etc are all becoming a lot more affordable than they used to be. (I don't pay so much attention to DSLRs, but it feels like the Nikon DSLRs which I kinda follow have begun to drop more too?)
Partially due to yet more depreciation I reckon, but also now that the easy credit is turned off, and people are feeling a financial crunch, they're selling more gear eBay. 
If you're in a good financial situation, now is the perfect time to grab bargains! 
I'm juggling studies now with work, so trying to watch my cashflow more, but if I wasn't then I'd definitely be grabbing myself a Sony PMW-F5 (or heck, maybe F55!) and a Nikon D500. (maybe I'll get a Nikon D7100 as a treat for myself this Christmas)
 

I’d argue modern hybrid cameras are noisy too unless using heavy internal noise reduction. Shadows are always noisy at base iso. You gotta over expose to negate that. 
 
for example on my pana S1, for a noise free image, I would overexpose by 2 stops. Pretty much the same thing on my Alexa, I’ll shoot at 200 iso if I want it completely clean. 

I had a play recently (inside a camera shop) with an S5ii, X-T5 and OM-1.
On the S5ii shooting FHD at 50p, in full-frame mode it does not use PDAF (it uses DFD instead) but it does use it in APS-C mode.
The difference in C-AF responsiveness and focus speed was very noticeable - it was pretty snappy in PDAF, much slower in DFD. I was pointing the camera alternately at something in the far end of the shop and at something quite close using a simple mid-size focus area (no subject detect). I would say the AF was pretty confident and smooth in both cases though.
The X-T5 AF was very 'snappy' (with the 16-80 lens on it), the OM-1 similar to the S5 ii in PDAF (with the 12-40 mk2 lens) - but both have adjustable AF speed and sensitivity (as does the S5ii) so that doesn't necessarily mean much.
At the current offer prices in the UK, an S5ii kit with 20-60mm plus 50mm lenses is quite tempting at £2099, but as I normally shoot in 50p it's basically an APS-C video plus full-frame stills camera for me. The X-T5 is smaller and lighter (the X-S20 even more so), but for video the Fuji lenses seem to be a mixed bag in terms of AF speed and smoothness (and the IBIS isn't yet at the Pana/Oly/OMDS level).
Personally I find the DFD on my G9 works perfectly well for the use cases I have - confident with smooth focus transitions and no/minimal 'pulsing'.

omg 🤣
that is NOT their 4k 😹
wow i had no idea how awful these could be 😮 

Ah!  When I read "S16 sensor size pocket love" and I saw the lovely organic colour grade I took the word "pocket" to mean the OG BMPCC...  You did very well!
The more I learn about colour grading (and other post-production image manipulations), the more I realise that the potential of these cameras is absolutely huge, but sadly, un-utilised to the point where many cameras have never been seen even remotely close to their potential.
The typical level of knowledge from solo-operators of cameras/cinematography vs colour grading is equivalent to a high-school teacher vs a hunter-gatherer.  I am working on the latter for myself, trying to even-up this balance as much as I can.
As you're aware I developed a powergrade to match iPhone with GX85 and it works as a template I can just drop onto each shot.  Unfortunately I am now changing workflows in Resolve and the new one breaks one of the nodes, so it looks like I will have to manually re-construct that node, which I have been putting off.
I've also been reviewing the excellent YT channel of Cullen Kelly, a rare example of a professional colourist who also puts knowledge onto YouTube, and have been adapting my thinking with some of the ideas he's shared.  One area of particular interest is his thoughts on film emulation.  To (over)simplify his philosophy, he suggests that film creates a desirable look and character that we may want to emulate, but it was also subject to a great number of limitations that were not desirable at the time and are likely not desirable now (unless you are attempting to get a historically accurate look) and so we should study film in order to understand and emulate the things that are desirable while moving past the limitations that came with real film.
I recommend this Q&A (and his whole channel) if this is of interest:
As I gradually understand and adopt various things from his content I anticipate I will further develop my own power grades.  
I'm curious to see how you're grading your LX15 footage, if you're willing to share.

Wow, that is small!  I'd love something that small..  it's a pity that the stabilisation doesn't work in 4K or high-frame-rates.
Having a 36-108mm equivalent lens is a great focal range, and similar to many of the all-in-one S16 zooms back in the day.  I love the combination of the GX85 + 14mm f2.5 + 4K mode crop as it makes a FOV equivalent to a 31mm lens.  I used to be quite "over" the 28mm focal length, preferring 35mm, but I must admit I did find the 31mm FOV to be very useful when out and about, and having the extra reach is perfect for general purpose outdoor work.  I want to upgrade to the 12-32mm kit lens, which gives the GX85 a 26-70mm FOV in 4K mode (and 52-140 with the 2x digital zoom for extra reach).

At this point, even if the CDAF made coffee and told you next weeks lotto numbers, no-one would believe that it was capable of anything.
I've maintained that DfD and AI based processing AF would get good enough that it would catch up, but haters gonna hate and "PD=GOOD CD=BAD" was always a simpler and therefore more desirable view to have.  Plus, anyone over 20 has had a bad experience with a super-cheap CDAF system.  Maybe the prejudice will finish with Gen Z?
It's been years since I've seen a cameras AF fail to focus, these days focus "failures" are where the camera focuses quickly and accurately on the wrong thing, and PDAF does this just as much because CD or PD AF has literally nothing to do with that part of the AF functionality.

Beautiful video. Title is giving the price of the F35:) The description got right though. Love again, how camera motion looks with several focal lengths. Great video, beautiful image quality. This video is a labour of love and the DPs voice sounds like from the Media Devision gentleman. If that is not a Sunday evening treat, I don´t know what else would be. Tell me in the comments section. Nooot:)
Btw, Fujifilm imprint on the board of the camera. How cool is that! And no chroma smearing this time! 😉
 
 
I feel you, cause I feel the same. 🙂

Ah!  When I read "S16 sensor size pocket love" and I saw the lovely organic colour grade I took the word "pocket" to mean the OG BMPCC...  You did very well!
The more I learn about colour grading (and other post-production image manipulations), the more I realise that the potential of these cameras is absolutely huge, but sadly, un-utilised to the point where many cameras have never been seen even remotely close to their potential.
The typical level of knowledge from solo-operators of cameras/cinematography vs colour grading is equivalent to a high-school teacher vs a hunter-gatherer.  I am working on the latter for myself, trying to even-up this balance as much as I can.
As you're aware I developed a powergrade to match iPhone with GX85 and it works as a template I can just drop onto each shot.  Unfortunately I am now changing workflows in Resolve and the new one breaks one of the nodes, so it looks like I will have to manually re-construct that node, which I have been putting off.
I've also been reviewing the excellent YT channel of Cullen Kelly, a rare example of a professional colourist who also puts knowledge onto YouTube, and have been adapting my thinking with some of the ideas he's shared.  One area of particular interest is his thoughts on film emulation.  To (over)simplify his philosophy, he suggests that film creates a desirable look and character that we may want to emulate, but it was also subject to a great number of limitations that were not desirable at the time and are likely not desirable now (unless you are attempting to get a historically accurate look) and so we should study film in order to understand and emulate the things that are desirable while moving past the limitations that came with real film.
I recommend this Q&A (and his whole channel) if this is of interest:
As I gradually understand and adopt various things from his content I anticipate I will further develop my own power grades.  
I'm curious to see how you're grading your LX15 footage, if you're willing to share.

Wow, that is small!  I'd love something that small..  it's a pity that the stabilisation doesn't work in 4K or high-frame-rates.
Having a 36-108mm equivalent lens is a great focal range, and similar to many of the all-in-one S16 zooms back in the day.  I love the combination of the GX85 + 14mm f2.5 + 4K mode crop as it makes a FOV equivalent to a 31mm lens.  I used to be quite "over" the 28mm focal length, preferring 35mm, but I must admit I did find the 31mm FOV to be very useful when out and about, and having the extra reach is perfect for general purpose outdoor work.  I want to upgrade to the 12-32mm kit lens, which gives the GX85 a 26-70mm FOV in 4K mode (and 52-140 with the 2x digital zoom for extra reach).

this is fascinating
itll be in motion soon in amazing ways, this is after effects (etc) in 3 years. itll be soooo crazy
/the vfx will be INSANE!!! itll be awesome for ppl with unique ideas, but v bad for a lot of ppl. what about truck divers?
what say you @Kubrickian @tupp @mercer 

Yeah, they're pretty remarkable.  Zooming out is an easier task as often the edges of the image don't include people, are often out-of-focus, and are usually of little consequence to the viewer of the image.
My take on AI image generation is that it will replace the generic soul-less images that are of people that no-one knows and no-one cares about.  It'll be sort-of generated stock images.
I think it will be a very very long time before anyone wants AI generated photos or video of people they know rather than the real thing, except in special cases, just because they're not real.
AI has been good enough to write fiction for literally decades, but hasn't overtaken people yet.  Reviewers thought this 1993 romance novel was better than the majority of human-written books in the genre: https://en.wikipedia.org/wiki/Just_This_Once

No idea about that one.
I have a Ring doorbell, and you'd be better off setting up the telescope system in the bunker from Lost rather than using one of those.

Hi guys,
Something that annoys me so much is whenever you render individual clips in davinci resolve and are using a adjustment layer, it does not render the color grade from the adjustment layer (unless you make compound clips from each clip). 
Does anybody have a fix for this? If not would be a good feature request for bm.
 
cheers