MrSMW

Hey everyone! I wanted to share something I've been working on for the past while - Lumap, a DCTL for Resolve that consolidates all your basic grading adjustments into one intuitive panel.
The Problem I Was Trying to Solve
I got tired of using complex node structures just to do basic exposure, contrast, and saturation adjustments that would look natural. Coming from a photography background using Capture One and Lightroom, I missed having simple sliders in one place that just worked without having to think about CSTs, colour spaces, and multiple different nodes. 
What Lumap Does
Instead of wrestling with lift/gamma/gain wheels, Lumap gives you: 
Photometric exposure - Linear stops like changing exposure in-camera
Temperature and Tint - For white balance
Intelligent contrast - References your source’s format's middle grey without overcooking the toe/shoulder
Brightness - Targets midtones while preserving highlights and shadows
Organic highlight/shadow recovery - create organic, film-like roll-offs that seamlessly blend into your midtones
Smart saturation - Preserves luminance and prevents skin tone oversaturation
Film-style density - Control the intensity and depth of colours you get from subtractive saturation techniques 
 
Why Sliders Instead of Wheels?
Most of us aren't using professional grading panels - we're using mice and trackpads. Sliders are just faster and more responsive for cursor input. Plus, if you're coming from photo editing, this interface will feel immediately familiar.
There's a free demo version so you can test if it fits your workflow. 
https://www.dhyanverco.com/lumap
Would love to hear your thoughts if you give it a try! And happy to answer any questions.
 

Which is exactly how I’d use it with Tamron zoom’s, the: 20-40, 28-75 and 70-180 f2.8’s.

Not that I have tried it yet, but post-season, for the first time, I am going to as storage is cheap and why not at least try the full capability of the camera?, good point, the data rates on Lumix has always been good!

And that mount.
Megadap will be rubbing their hands at the amount of E mount lenses that may well be finding a home on this camera.
Not just from Sony defectors either but from new owners of the ZR who look at the plethora of appropriately sized E mount lenses on the new and used market and will consider the ZR as a de facto E mount camera.
 

Admittedly only looking on my phone but I wouldn’t know which is which unless I was told.
At the extreme, I am sure the RED camera has a marginally better image/latitude, but for 99% of the time for 99% of real world users needs (the latter of which is not RED’s market of course)…
The 2 best things this camera has is the image quality using the RED raw 12 bit and that screen.

I'm not sure I agree...
I think some folks expected Nikon to take everything from RED and simply dump it in a Nikon body and to then charge 20% of the price of a RED.
Was never going to happen. Who would then buy a RED camera going forward if they could basically get it all for a fraction of the price? 
Virtually no one and they would have cooked their golden goose.
What they have done is made a RED-lite camera (arguably more Nikon than RED) that can either act as a B cam to a RED user, or something for the Nikon user to use alongside other Nikon cameras they may already have such as the; Zf, Z6iii, Z8 or Z9. and give them a taste of RED, if not the full-blown illusion of shooting something much more than it is (the 'Creator FX3 effect').
Or for the minimalist, low-budget filmmaker (or content creator) who fancies a bit, but not full on, RED colour science and 'RAW-lite'.
I've watched a few reviews now and I'd definitely have gone for this (subject to overheating and battery life tests) for my needs as a hybrid shooter. In fact a pair along with a pair of Zf's (a pair of the new black & silver models) for a pretty compact, capable and fun to use set with a super-nice image output.
It's not a full-blown cinema camera and I do agree, the choice of placement for the card slots is bloody awkward (as it is for my S9), but that rear LCD more than makes up for it for me.
Now if they could just get the spec of the Zr into a Zf body...

Ditto.
I see this new Zr as more comparable with the S9 than anything else within the Lumix lineup.
It’s build by all reports is a notch up and the rear LCD on another level.
It’s a ‘red cinema colour’ Nikon camera though rather than ‘RED in a Nikon body’.
I like it and would have one if I was in the Nikon ecosystem, but nothing I’d switch to or build a system around.
And as a 50:50 hybrid shooter, vs the S1Rii, it’s not even a conversation.

I think this is a really compelling camera, especially for the price, BUT the card slot on the bottom, lack of active cooling, and no back up recording is really disappointing. 
The screen is very cool, though. I really hope more cameras come with larger, brighter screens like this. 
If I was choosing between the C50 and the ZR I think I'd go with the ZR on price alone, but also because of IBIS.
Overall though, I'm pretty content with my Lumix S5IIX and two S5s set up. None of these releases have made me feel like I'm missing out. 

Between the two, the new Canon and this, obviously if you are in the Canon ecosystem or with Nikon, the choice is obvious, providing either of these things can do what you need them to do.
I think they both look the part, but neither of them really suit my needs so still perfectly happy I went full Lumix, and even if they had been Captain Amazeballs, I still wouldn't have jumped.
If I had gone for one of them, I'd have gone the Nikon route, but only if I'd stayed within the Nikon body, adapted E Mount glass camp where I partially previously was.
I am happy they exist even if they don't tick all my boxes.

OK, the new Canon looks good, despite the spec not yet fully known and I suspect the Nikon ZR will also be competitive so Lumix, over to you, - how is that S1H coming along because the time to pop it out would be immediately after the other kids do otherwise you risk all the newly found brand hoppers, hopping in their direction?

OK, the new Canon looks good, despite the spec not yet fully known and I suspect the Nikon ZR will also be competitive so Lumix, over to you, - how is that S1H coming along because the time to pop it out would be immediately after the other kids do otherwise you risk all the newly found brand hoppers, hopping in their direction?

Absolutely. I could not work without a camera with great stability and I mean great, not merely OK.
If it can be achieved digitally, I’m OK with that but yes, Lumix is the best I have seen and experienced.
I have my S9 set up to be ‘gimbal like’ with both mechanical and digital IBIS, but it’s not reliable enough for consistency and next year I am going to pick up (for the 4th time 🙄) a gimbal, except this time it won’t have a camera that needs balancing, ie Pocket 3.

53 minutes recording 6k 30p continuously 31 degrees Celsius in the shade before the heat warning came on but it kept rolling and the speech ended before I got to experience a shutdown.
Not too shabby!

I don’t object to that ie, ‘stuff I was going to do anyway’ that just makes my life easier, all good.
I already use it in fact in Lightroom, but it’s the wholesale image generation that I oppose.

Absolutely. I could not work without a camera with great stability and I mean great, not merely OK.
If it can be achieved digitally, I’m OK with that but yes, Lumix is the best I have seen and experienced.
I have my S9 set up to be ‘gimbal like’ with both mechanical and digital IBIS, but it’s not reliable enough for consistency and next year I am going to pick up (for the 4th time 🙄) a gimbal, except this time it won’t have a camera that needs balancing, ie Pocket 3.

Or maybe they are a progressive thinking company for whom the glass is half full and their thinking is; we are a major player in the action cam market, we are a major player in the niche high end camera market, we are THE player in the drone market, we have a pretty unique piece of filmmaking kit in the cinema market, is there are reason we cannot bring some of our momentum and perhaps innovation and enter the MILC market?
It’s not a question therefore if they can, but if they should and that is up to them to determine but brands come and go and if anyone can make a strong case for entering into this specific part of the market, it’s probably DJI.
But we’ll see… They either will or they won’t but if they do, my money is it will be with L Mount.

Exactly. We live in a world where component and platform sharing becomes increasingly the norm.
IMO, if DJI were to release a FF mirrorless and try making that fly (not literally, - they have other products that do that) with their own tiny range of lenses, good luck with that, but it would be a recipe for disaster.
E Mount is dead so yes, using older lenses etc is all well and good, but Canon are all in now on RF.
And to truly compete against the likes of Canon/Nikon/Sony/Lumix, it almost certainly needs to be a hybrid rather than a pure cinema camera.
DJI already have strong links with Lumix, - the S1RII and Ronin 4D share a sensor (not officially stated but the general consensus is it is) and are already in the L Mount system, so a bit of a no-brainer.
But then maybe the the whole DJI mirrorless camera is just a fantasy...

Not necessarily...
Hasselblad might be owned by DJI, have their lenses built in Japan and source their sensors from Sony, but are still a Swedish company designing and building their own cameras (and I believe in designing their own lenses) and based on their most recent release, seem to happy to be chasing a purely stills orientated market. I can't see them producing a FF or smaller sensor camera as it wouldn't make sense but instead leave that to parent company DJI...
...who from an aerial perspective, makes sense to use their own mount or fixed lenses.
But any new FF camera, who would their customers be?
Well there is no existing DJI camera (outside of the Ronin 4D and that is a different thing) so they would wish to nab customers from all of the existing brands, so; Canon, Nikon, Sony, Lumix, Fujifilm etc
Realistically, in order to do that, they would need to be both innovative and mainstream, ie, have 'something' that the others do not but at the same time, be able to do what say your typical 'mid' mirrorless can do, ie, photo and video.
A handful of lenses wouldn't cut it so they would need to launch with a lot more than what is on offer or they'd be dead in the water.
People don't buy bodies, - they buy systems. Well business users do anyway, maybe not the average Jo Public.
As an existing L Mount user for all my ground based photo and video needs and DJI for aerial, having something that fits in with that has a lot of appeal such as my S9 is currently the most 'at risk' bit of kit in my lineup and it's currently part back up, occasional semi-static, sometimes gimbal-like use and I'm toying with getting another gimbal and making more use of it than I do, but this is where DJI might fit in with their history as also a maker of gimbals...and if the lens mount ties in with what I already use, it makes sense.
I guess we'll find out in a few weeks, but if DJI do enter the camera arena, I hope it's FF and it's L Mount and to me, it makes perfect sense that these are the most likely options.
But then what do I know?!

53 minutes recording 6k 30p continuously 31 degrees Celsius in the shade before the heat warning came on but it kept rolling and the speech ended before I got to experience a shutdown.
Not too shabby!

53 minutes recording 6k 30p continuously 31 degrees Celsius in the shade before the heat warning came on but it kept rolling and the speech ended before I got to experience a shutdown.
Not too shabby!

Lumix S1RII and it’s identical twin, S1II glare sullenly in your direction.
IMO, if it’s ‘cinema’ camera, it either can’t shoot stills at all, or it’s at least a bit crap in that department whereas if it’s ‘hybrid’, it should be able to do both equally as well.
Perhaps not video as well as a dedicated cinema camera and perhaps not stills as well as a dedicated camera, but at least both comparable to each other.
By its C designation, I would not expect this new Canon to be that great for stills so most likely, will be that smaller more dedicated cinema camera. But where will the hammer strike?
I came close to building a hybrid system around R3’s which despite their size are surprisingly light and I think are a really great balance for stills and video.
The only thing that put me off was the price and last year these were still commanding 5-6k on the used market but can now be had for around 3k so if I was looking today, they would be very strong contenders. Good stills, great video spec.
 

Or maybe they are a progressive thinking company for whom the glass is half full and their thinking is; we are a major player in the action cam market, we are a major player in the niche high end camera market, we are THE player in the drone market, we have a pretty unique piece of filmmaking kit in the cinema market, is there are reason we cannot bring some of our momentum and perhaps innovation and enter the MILC market?
It’s not a question therefore if they can, but if they should and that is up to them to determine but brands come and go and if anyone can make a strong case for entering into this specific part of the market, it’s probably DJI.
But we’ll see… They either will or they won’t but if they do, my money is it will be with L Mount.

Anyone seen my tin foil hat?
I’m sure I left it around here somewhere…

Watched and thought it was great but did spend a great deal of the time seeing BTS such as; someone is holding that door open, someone is cranking up the VND, the camera was just handed off out of the window to someone else, he's not really driving that van, it's being hooked up to the drone right...about...now.
I've watched and read a couple of BTS pieces on it and somewhat surprisingly, they used just the second take on Episode 01 but all the rest were...if I remember correctly, between 11-16 takes.
Any small mistakes they tended to let slide if they could get away with it, but obviously stuff happened and they had to restart at least 10 times on every episode after the first one.
Very well acted, especially the kids.
The single room psychologist scene, they both cocked up their lines a few times and ad libbed but this happens I believe in movies so...
Really well done and as someone who took part in a movie that was filmed at my school as a kid https://www.imdb.com/title/tt0090310/ must have been a lot of fun for those that took part!

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves?  And E mount coming third-party rebranded by DJI?  And EF and PL mount from third parties?  If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount.
I think you're just flat-out wrong on this, sorry.  DJi have a total of 6 lenses for DL mount, IIRC.  16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ.  These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens.  The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car.  I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP.
There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses.    This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration.
So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera.  That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.