Snowbro

Wading into politics in this heavily polarized & heated environment is a good way to lose half of your readership.

From John Gruber (Daring Fireball):
“This is how Apple chose to unveil the packaging for the Mac Pro — in a poorly-shot overexposed propaganda video by the White House, scored with bombastic music that sounds like it came from an SNL parody of a Michael Bay film. Think about how it feels to work on that team at Apple.”
“A low moment in Apple’s proud history, and a sadly iconic moment for Tim Cook. I hope avoiding those tariffs is worth it.”
BEAUTIFULLY GRADED!
Apple’s latest ad is a brave new direction for the Cupertino tech giant’s brand.
To celebrate, I have created the EOSHD Tim Apple LUT.
The favoured look of the US President is perfect for factory tour videos or nationalist propaganda.
The LUT has a muted, washed, bleached contrast with no life and no joy in it. So if that’s what your scene demands, be sure to use the EOSHD Tim Apple LUT today.
Download the Tim Apple LUT (.cube format, free of charge, but at cost to your soul, 100% tested with Final Cut Pro X, Premiere and Resolve)
"I Can't wait to see What you guys creates [sic] with this fantastic LUT" - Donald

You have literally no way of knowing this.
RED has forced users to use over-priced accessories, they have a patent that stifles competition, and they're of questionable moral character, their marketing is mostly hype, but that doesn't mean that the cameras aren't capable of great imagery.
Komodo directly addresses two of the biggest drawbacks - price and proprietary media, and they still hold the trump card of real compressed raw. Add on top of that PDAF and a mirrorless mount - there's no direct competition. Who are you to say that this won't grow their business?
 

A nice surprise. Phase-detect AF? Global shutter? $5000? I wasn't expecting that.

Not bad at all? Phone do 4K60p for years. 2.7K is unacceptable. And no RAW picture. Only JPG. Clearly they do cripple their models like everybody now. Such a let down. Raw and 4K30P and it was an instand buy for me, even for $100 more. 
And no flat profile. F*** DJI. 

Here you go Now shows your work 
 
This one was shot by my brother & i done the edit 

Just won an Oscar but nobody uses it for video? 

From freesolo director:
"What cameras and lenses did the high-angle team have in hand?
On the walls we were shooting with the Canon C300s [Mark II]. Since I was directing and shooting, and also shooting a NatGeo story on top of it, I was filming with the Canon 1DX Mark II so I could film but also shoot stills. But everybody else was on the C300s. When we were up on the wall, we were using EF lenses, but when we shot vérité we often had the Canon Cinema Primes. The long shots from the ground up the wall were through the Canon 50–1000mm Cine-Servos. As you can imagine, that was a very critical lens throughout this film. Canon went above and beyond in their support of this film. We were very lucky indeed."

They used 1Dx II also as remote triggered video camera, on the BTS you can spot them multiple time. They had custom made long range camera triggers build around Arduino and long range radio

Again tons of pro photographer for Action and Sports do shoot video and many do with the same DSLR that we use for photo. It is not for you but the pro action and sport market is much bigger than the hobbits or limited budget video market and yes we shot video too
 

It definitely does for docu and run and gun shooters. Dual pixel becomes invaluable once you’ve tried it. Contrast AF isn’t reliable and too slow to be useable. 

Both cameras are built for different uses and shouldn’t be compared with each other. 

You were saying? 
 
https://www.canonrumors.com/canon-to-add-24p-recording-to-the-canon-eos-90d-canon-eos-rp-canon-eos-m6-mark-ii/

The Blackmagic RAW highlight and shadow rolloff sliders affect the roll off of the "S" contrast curve you create with the custom gamma controls. If you add no contrast, they will do nothing as there's nothing to roll off. Increase (or lower) contrast and they will start to take affect. Choose "Extended Video" from the gamma selection in the Blackmagic RAW panel and you will see it's actually just a custom S curve with saturation preset via the custom gamma controls - you can start to modify it to your taste and the "gamma" automatically changes from "Extended Video" to "Custom". Or you can start from scratch with "Blackmagic Film".

If you want the highlight/shadows sliders that were in DNG panel, those are not RAW specific controls and are still available in the 2nd tab of the primaries (same algorithm as found in DNG tab and same exact effect on Blackmagic RAW clips as DNG).

If transforming to another log curve or colour space helps you get what you want faster, great! Different log curves like ARRI/Red or using highlight roll off sliders/presets don't give you anything you can't do yourself by using the curves tool etc, but not everyone is experienced with that stuff. Our log curves preserve the full sensor dynamic range though so the highlight roll off is completely in your hands, or you can start with another log curve if it suits.

Something I tend to do a bit is expose for the native ISO in camera, then later in the RAW tab I switch to the highest ISO possible and compensate middle grey with the exposure slider which will lower contrast and have the most highlight roll off we offer in our log curves for a particular camera. I start with Extended Video from the gamma drop down and tweak the contrast/sat and highlight/roll off sliders for the shot. Adjust white balance/tint and that gets me 90-95% there with most footage.

Getting popcorn ready to watch how @Mokara fumbles his way through this news
 

Nope, they raised enough money to pay the codec consortium, aka the Illuminati, the 24 cents for 24p.
I don’t think he was being pro-Canon here... it’s like the folks that say, Canon isn’t withholding features, that wouldn’t make any sense... they just don’t have the tech to do it. 

Correct

settings cog in the bottom right corner - colour management 

@Snowbro
Try these colour management settings for better highlight rolloff. It works quite well on the 4k

We see more and more computer generated effects in movies these days and less and less practical. Its certainly likely at some point Computational photography will replace practical lighting effects as well. However at this point in time adding a few lights is way quicker than trying to do it in post and less expensive.

 
I think he did more than just grading on that footage.

Large leaps in Dynamic range will be a game changer. If you have a camera that shoots 20 stops of DR, you could pretty much get away with not lighting your scenes. That said you still have to light if you want any kind of style. 

Tough we've been at the point for years, now more than ever where cameras are really cheap and really good. Yet still a lot of indie filmmakers would rather use 80% of their budget renting a RED camera. 

https://en.m.wikipedia.org/wiki/The_Congress_(2013_film)
 
 

Colour comes from many steps along the way, being finalised in post with corrections like saturation etc.  Essentially, if footage is shot well enough for the codec being used (better codecs are more flexible) then you can (*almost) make any video have any colour you like by processing it in post.  
I say "almost" because there are a few limitations:
the various filters in front of the sensor (including the RGB one) the processing in the camera itself how well the footage was shot and how good the codec is (10-bit, etc) the level of flexibility you have in your toolset (NLE, and other video processing software) the limitations of your monitoring (colour accuracy of monitors etc) the level of skill you have as a colourist In most situations it's the level of skill of the colourist that dominates how good the final result will be.  The rule of thumb is that if you shoot it well by setting exposure and WB on set, shoot in suitable conditions (not crazy DR, no mixed lighting, etc) then you should be able to get good colour in post with only a few simple adjustments.  Getting great colour requires everything to be almost perfect and a huge level of skill from the colourist, or just getting lucky.
Hope that helps..

5.7K/6K sensors are really needed to output true 4K after the deBayering process required off the sensor. So to get true 4K, you need a 5.7K/6K sensor, as a 4K sensor after deBayering produces roughly a 2.7K image. The cameras with 4K sensors out there add sharpening that's not in the source (some more than others - e.g. Sony more than Canon) and aliasing. So yeah, for true 4K, you need the larger sensor.
In terms of consumer, 4K is nice on my 65" OLED, but the HDR that comes with it is junk, so I don't watch 4K content for the most part. No consumer display can be calibrated for HDR REC.2020/P3, so the colors and black levels are all over the place and differ from display to display, as do mastering and display maximum nits. It's a total mess. 4K without HDR would have been perfect, but unless everyone had a 65" or greater, and the source was true 4K or scanned 4K film, nobody would be able to see a major difference worth investing in.

hello to everybody!
one taste of thermal springs bath from village that is pomaks village at Greece.
enjoy
https://www.youtube.com/watch?v=KzkTIRSERlI

I am pretty sure that button should be red!!! ;-DD

Appreciate it once I get it edited and colored by my colorist I’ll be sure to post it
I’ve done 2 extensive shoots and my p6k has not shut down and I’m using the Samsung 500gb ssd and I’ve filled them up with sparring 1 min on 6k braw.
 
 
Here’s a one shot scene I shot on pro res 1080 setting with 28mm canon FD with all natural lighting
 
https://youtu.be/0EY4TZ1YwNY

If this happens it's more likely to be the SSD than the P6K..  the data volumes we're talking about with this (and the P4K when it was released) are incredible and past the limits of all but the best of current technology.
It's also likely to be content-specific as (I would imagine) that Braw and Prores will compress the video stream more if there is less movement.  It would be interesting to see a torture test between a SSD and a CFast card, as one of the reasons CFast cards are so expensive is their blistering performance spec.

I have used my P6K (along with my P4Ks) for many hours on three or four shoots per week since I purchased it on release day. I have not had the camera randomly turn off or stop recording, not even a single time. 
I have a Sony NP970 battery plate on the cage and I use the 1TB T5 drives. I am not using original Canon batteries. I will sometimes also use V-mount batteries. I also generally don't fill up the entire drive, so I may be unintentionally keeping the drives below 50%.
In my usage, the P6K has been just as reliable as my 3 P4Ks.