KnightsFan

Especially if the lens has OIS.
 

what is WUSS? No bmpcc for me, first beacuse it is complicated to use with all the addons it needs and last bat not least i don t want wait endllessy before getting it!

https://***URL not allowed***/best-way-downsample-4k-smartphone-footage/
interesting

@mirekti Apparently production was on break because of Chinese New Year, and they sold out of existing stock. The Z cam people say it will be back in stock soon. The E2 has been in and out of stock a number of times at B&H.

I’d like to to see a new camera from blackmagic to replace the micro, but they should rebrand it as an Ursa micro with the following:
-similar design to ursa mini pro but smaller
-p4k sensor
-mft mount
-2 sd card slots, 1 cfast 2.0
-2 mini xlr (or full xlr if possible)
-able to connect with ursa mini handle
...And with best wishes...
-internal ND
-3-4” side flip out screen on side or maybe (back like c100)
-sony npf battery
 
price: 2-3.5k

The GH5 has a mode called Open Gate where it shoots with the whole sensor - 5K 4:3 video.  This mode has less sharpening than the 4K modes with the sharpening turned all the way down.  Also, you can soften things up in post quite easily too.  Your vintage lenses will also do that in-camera if you're using them for those shots.
I don't know what editing software you are using, but if you have the time and energy to do it, Resolve has a free version that you can use to basically make the footage look however you want it to look.  There are also LUTs that make the GH5 look like an ARRI Alexa, including the sharpness, so the image coming out of it is very flexible if you want it to be.
4K can be downsampled to create extra bit depth and colour information, however it depends on how the codec performs and how much noise there is in the signal (less is worse).  
The explanation is very technical, but basically it works because for every 1080 10-bit pixel you get after the conversion, you've averaged 4x 8-bit pixels, and so the average can be between the 8-bit limitation, and those 4 pixels contain all three colours before debayering.  In practice it will be somewhere between 10-bit 4:4:4 and 8-bit 4:2:0 depending on exactly how that camera operates, but the benefit is real.
If the OP is willing to wait for the computer to render proxies and take longer to render out the final project then basically any computer can edit any resolution.  We forget that people used to make broadcast TV in SD, which is 27x less pixels than 4K.  Resolution pretty much doesn't matter when you're editing (it matters when you're grading or doing other things) so that means you can render proxies and edit them nicely on a computer that is less than 4% of the performance required for 4K editing.  
I render proxies at 720p and edit them on my laptop on the train. My computer is perfectly capable of playing 4K files but I don't need the extra resolution and saving space on the internal SSD that I'm editing from are advantages too.

I can confirm that turning OLED Color on/off creates a visible difference when shooting a colorchecker. Attached a photo of each. Looks like a bit higher saturation overall, but it is also not linearly increased for each color. Rather, blues seem to be a bit higher in saturation with OLED color on, and the magenta trace seems to pull true to magenta, while the magenta trace pulls slightly to the blue side of magenta with OLED color off. Also, my wallpaper, which I consider to be in the white family but containing some color looks much more yellow/warmer with OLED color on. However, the white squares on the color checker are almost identical between on and off, so white balance isn't really affected directly.
oled off.bmp
oled on.bmp

I wonder if Atomos is seeing the end of mainstream external recorders in the coming years. For a while, Atomos had a niche market of being the best option for people on a budget to record higher quality footage. Back around 2014, I had discussions about external recorders, and my position was that they were a bad long term investment, since I thought it was only a matter of time before internal recording was higher quality. Now we've got several photo/video hybrids and budget video cameras that shoot 10 bit, and even a couple that do 422, essentially removing the benefit of an external recorder as far as quality goes. I know there are still benefits to external recorders and will be for the near future, but as internal codecs and formats continue to improve, I predict that fewer people will buy external recorders.
I think it's smart for Atomos to both pursue higher quality with ProRes Raw, and to also expand to building dedicated monitors for the market that is satisfied with improved internal recording.
As far as this product, it has some cool features. I'm sure it's a fantastic screen, and the Analysis tool looks amazing. I would prefer more physical buttons and less reliance on touchscreen, though.

The camera RAW tab is kind of like the CST plugin in a sense, because it forces you to change your RAW clips into some other format that Resolve can work with.
The controls are broadly the same too:


You could try decoding a clip straight to LogC and not doing the CST plugin and see if that has a different effect.  In theory it shouldn't, but the RAW tab doesn't have all the nice Tone Mapping and Gamut Mapping rolloff features, so it might be in your interests to keep your current workflow.
Good article.  Resolve is so flexible that there are lots of ways to do the same thing.
I tell people to use the CST plugin because it's the simplest and because it's the most flexible.  If you adjust the colour space in the Media pool then you can't make adjustments before the conversion, and you only get a conversion at the start of the processing and then at the end for viewing or for export.  Some people prefer workflows where you can adjust the clip before it gets converted (I do WB and exposure adjustments before the conversion) and sometimes you want to have multiple conversions and do different grading steps in different colour spaces.  The Film Look LUTs included in Resolve work with a LogC input, but you probably don't want to grade in LogC, so you convert the clip to rec709, then need to convert it before you use these LUTs:

You can also hide the transforms within a node by changing the colour space that a single node operates in:


These work by changing the colour space, applying the node adjustments, and then changing the colour space back again.  These don't take up extra nodes like the CST plugins do, but I think they can only change from the timeline space and then back to it afterwards, so they're not as flexible as the separate plugin.  They can also confuse the hell out of you if you lose track of what colour spaces are being used where as it's not obvious the order of operations.
There are kind of two main types of colour work, the people that just want to convert the colour to something usable and move on with their lives, and those who have the time to have complex node trees.  You can turn complex node trees into an efficient workflow if you know what you're doing and set everything up with presets etc, so there's no right answer.  
I think Resolve is showing its age with things like colour management being everywhere, because it probably only used to exist in one place, and then they added it to another to make it more flexible, then another, etc.  In some ways Resolve is like the plucky startup who is challenging the big players with new technical offerings, and in other ways they're the technical behemoth that has existed for 15 versions.

Just buy a Sound Devices MixPre3 and stick it under the camera. 

Am not normally a fan of the MixPre series, as I feel the Zoom F series are just so much better value and better featured. 

But for a OPC cameraman, then the MixPre3 makes a lot of sense. 
 
Digital AES is what you're looking for here. Some cameras already can do it, like the Sony F5/F55.
 

I am curious to see what z cam does.

It's true that internal codecs have become pretty darn good and will only improve in the next couple of years, so it makes sense that Atomos would start focusing on just making solid monitors. 
The one thing that I wish third party manufacturers would really focus on is creating high quality audio options for mirrorless/dslr cameras. I'd love some sort of battery-grip sized recorder (no screen) that had a few XLR inputs and that's it. Would probably need external recording in order to have 2-4 channels of audio, but it would be pretty great to have that option. Something like the Video Devices Pix LR, but connected directly to the camera: https://www.newsshooter.com/2016/03/15/video-devices-pix-lr-audio-interface-adds-xlr-inputsoutputs-to-the-pix-e-series/
Either that or just work to improve on the XLR modules made by Panasonic. Panasonic's is OK, but doesn't really have great audio. Or even if camera manufacturers started adding a second 3.5mm jack and 2-channel audio or added a mini XLR like the BMPCC4K. 
Monitors are nice, but the ones that come with the camera work just fine 98% of the time. I'd much rather see 3rd party manufacturers work on audio enhancements - we really don't need more monitors at this point.
 

After getting used to bezelless smartphones, my only complaint would be that the frame around the screen is unnecessary large. They can justify it for a recorder, but for a monitor-only I wish they could make it smaller.

Overlooked in the first articles about this camera is the 4K H.265 mode of the Panasonic S1. Similar to the Fuji X-T3, this will allow 10bit internal recording in HEVC with launch firmware version 1.0 - no need to wait for the paid 10bit update.
3840 x 2160 is available in 10bit at 24p, 25p and 30p with no crop - it is full frame.
The later paid update is for a higher bitrate 10bit 4:2:2 mode and V-LOG, but in the meantime 10bit H.265 provides the silky smooth colour of 10bit with HDR and much smaller file sizes.
Read the full article

I heard way back when the movie came out that Bane's voice was 100% dubbed.
However, I would definitely record audio on set, even if you plan to dub it all. First of all, you can give your actor nice recordings to listen to when dubbing. Second, you will probably want to process the dubbed audio to actually sound like it come from the real space, and the original recordings will be an excellent reference tool. Third, in the event that your actor is not available to dub and you can't find someone else suitable, you have a backup plan.
I might not go all out and be super picky about the sound. Like don't redo the perfect take because a car two miles away backfired during a line, but put some minimal effort into getting usable audio.

ok thanks for the pointer.  I just want fusion for animated title openers, and 3d tracking text, animated split screen.  nothing too fancy

Ive been using Premiere Pro for last 5 years and personally think the program is garbage.
I switched to Resolve Studio 15 earlier last month and its been great, no more constant crashing/bugs, better audio interface, and rendering final videos is like 1000x faster.  I haven't played with the Fusion tab much as i'm not used to a node based workflow.
 However with Resolve your going to need a system with some serious horsepower to run it well. I don't that GPU is going to hold up either. 

i find resolve and fusion to be better than premiere and after effects. While premiere does have some nicer editing features, i have spotty reliability and significantly worse performance than on resolve. Node based compositing is easier for complex comps, and overall i find fusion's design to be more consistent than after effects'. Fusion does have a timeline as well. Using fusion is less intuitive coming from traditional video editing software, but is very nice to use.
However, blackmagic software is GPU heavy. Your mx150 might not be sufficient for resolve. Fortunately, resolve and fusion are both free so you can go try it risk free. But if you decide to use blackmagic software, you can upgrade your gpu for the cost of a year subscription to adobe.

Can't believe you're all missing the obvious Star Trek line here.
"Captain's Log....No, hang on it doesn't have any sort of Log."

Also if you're just starting out from scratch,  then you could really begin with any DAW in the world as you'd be a beginner with all of them. Thus I'd suggest you learn Reaper instead which is a fully featured DAW,  over Audition 

Someone should tell Picasso that his art does not accurately reflect real people.
Art doesn't exist in a vacuum, it is always created and viewed in reference to previous work. Over time, film has deviated from being completely in reference to the real world, and has developed its own conventions, symbols, and nuances. New films are viewed in reference to other films, not the real world. In the same way, narrative storytelling, sound design, musical scores, and all other aspects of filmmaking are built on previous films, not just real life
You seem to be implying the color should be accurate to real life unless the artist specifically wants it to be different. This implies that using color as accurate to expected film convention is the work of a "hack." I think this is false.
Would you consider Max Richter's album Vivaldi Recomposed to be creative?

Seems like a lot of cameras should have the processing power to do this in 1080 at least. 

I think offering full frame (no crop) 12 bit raw video on a US$2000 hybrid body pretty much meets the definition of going into complete and total overdrive.

Same for me in my day job.  If I come across potential work and I think "wow, that seems like it might be beyond my skill level" I stop and think about the alternative, which is someone else doing it.  That usually 'inspires' enough confidence to jump in and do it
My advice if you're contemplating taking on jobs you're not sure if you're up for is this:
Get as much experience as you can in your own time When talking to potential clients, highlight your strengths and previous experience, but be honest and don't promise anything you can't be 100% sure you can deliver If the client takes you on, work your ass off to make them as happy as you possibly can (both by how you conduct yourself as well as the quality of the work) - even if you don't care about the work or the client this is the strategy to learn the most from the job Leverage that successful work to 'level-up' and get better work next time (if you deliver a $2K result on a $500 job you will have an example of $2000 work and can use it to book $2K jobs, etc etc) Opportunity looks a lot like hard work.
I've had a lot of growth in my career because I took on jobs that stretched my abilities.  I didn't get those jobs because I'm great at selling (I'm not) - I got them because they were awful jobs that the more experienced people didn't want.  I took jobs where everyone else would suck air into their mouths when they heard about them, I took a job where I was the fourth person to do it and the previous person quit after the first day.  I've gotten lots of experience because of this and learned a ton on basically every job.
By being humble, asking for input from others (when appropriate), and focusing on the work instead of yourself, you can build trust with people.  I've been on jobs where everything went sideways because that was just how the situation was going to go, and the people around me saw that I was making the best of the situation and didn't blame me, in fact they had a higher opinion of me for keeping calm and keeping focussed on the work.  People will re-hire those people that they like to work with because they have the right attitude, so that's the best long-term strategy.

I have this condition where I can't leave well enough alone...
That's a really good idea for down the line when I've got a mostly-finished product! It's still early days. I looked into a lot of those systems when you mentioned it before.
I checked out Movie Slate Pro and a handful of other apps. My app is primarily for personal use/just a fun project that will do a LOT of work for me in post. My idea is quite different, with a little bit of overlap of course.
Thanks for all the advice!