filmmakereu

So this leaves more attention for the famous EOSHD list of the less well known youtubers. Should become a sticky topic:
https://www.eoshd.com/comments/topic/35846-lesser-known-youtube-channels-people-should-know-about
How about this guy. The Iggy Pop of youtube camera craze. Love the straighfowardness and his own kind of realness and also mellow cheesyness. Still plenty to see for the minute. Great entertainment and display of friendlyness:
https://www.youtube.com/watch?v=-O6YuBixTPY

I accidentally bought an OG C100 during lockdown! This is my first outing with it - although there's not a lot of action around at the moment!
 

Andrew, mate, and I am even abstaining of any comment in that struggle in those threads out there, go figure! LOL No likes, nothing. More fuel to the thing, why? I believe these boards must chill out. I personally don't like to read any personal attacks, let alone to you or anyone else.
I humbly think you're not in the best of your moods tonight : ) and no matter the divergence we can all have to each other (I don't mean you and me but any of us), we are all different people, we cannot expect to see from someone else's keyboard what we'd like to read or write instead. You're the only webmaster, we are all here for fun, after all, no other pay off : -)
That my post in this thread is about the topic I believe the majority of us appreciate to read from you: cameras related.
No secondary (mis)interpretation(s).
 
So, you open this thread. My wonder: why and what single advantage you're willing to show us with that combo? Sincerely interested to hear/read/spot your finds. Hence my comment before. Is it really worthy? Nothing against photos of more gear as further add-ons to our rigs. But you should be blamed for your incentive to more purchases, you know? : D BTW any plans to post some footage of that GFX 100 Ninja V you decide now to tease your guests? Be careful with that mouth watering : P Hard to be indifferent to your posts, provocative publisher... hehe
 
Please keep this beloved forum (so yours, I consider it a bit mine or ours as well) as friendly as ever. Keep up the best of your good word, thanks man and enough deep pockets, shame on that ; -)
Let's be positive and avoid private yadda yadda, especially when ends bitter and nonsense then. Life is too precious to be wasted.
- E.

Actually, this one is available on YT:
 
Just only snaps and not video... : ( Seems the right job for you, Andrew...
I believe we cannot ignore how valuable the results all these combination tests can lead.
Maybe with Brian's bless?
I think everyone has everything to benefit from this sort of initiatives left by your forum members... Pure thumbs up ; ) finally in a much more (co-)productive way in the good old tradition of this forum : )
Let's obviously second the plea : -)

Exactly for the same reason the user up there is wondering about. Horses for courses. One doesn't exclude any other. This works to people posting, the same way to gear.
We can mimic any look out there, of course. RAW and/or a robust codec will allow it but each camera has its own intrinsic trace and this can be explored in a very plural creative way.
I don't think all cameras produce the same results. When I recommend some device or workflow for a production of mine or to others, it is because of that singularity you can only expect from a diverse range of combinations as much as possible you'll enrich your content.
- E.

Emanuel, you are a Blackmagic supporter. Do you see it any useful some other better option? Why your curiosity?

Indeed. Promising to say the least ; )
https://www.phonearena.com/news/learn-how-to-shoot-movies-with-the-xperia-1-11-5g_id124828

Sensor tech is cool but I'm more excited about the overall package which Sony seems to be in a lead position with Alpha series team & Alta Cine pro line features trickling down into their new: Xperia 1 II
4K60p. Venice CS. H265. 23.98FPS. Manual focus. Shutter Angle etc..

Alongside triple lens Zeiss DPAF system.
 

Hello,
Not sure you guys saw the stabilization on the FX9. But looks pretty great to me. Apparantly it saves gyro information in camera and the catalyst software uses it to stabilize it in post. (so kinda like the steadyxp, hopefully Blackmagic will implement this in their  next batch of camera's)
 

Doc shot mainly on RED cameras (90%+ of the film was shot on the Epic MX/Dragon), I am professionally involved throughout my activity as film producer and this unique endeavour with my veteran buddy Andrew Benz (Executive Producer and Cinematographer https://twitter.com/benzdigital) over 8 summers in Brasilia (Brazil) and the producer Sebastian Alvarez.
Directed by Yoni Goldstein and Meredith Zeilke.
 
One of 8 films selected by 2017 Dok.Incubator.
Top prize, the Finishing Award, valued at over €12 000,00 to have credits and 2K SDR and 4K HDR color correction & DCP done in Luxembourg at Espera Studios.
 
North American Premiere at True/False Film Festival 2020.
 
International Premiere at Visions du Réel in their Burning Lights International Competition.
https://www.visionsdureel.ch/en/2020/film/a-machine-to-live-in
 
https://www.instagram.com/amachinetolivein/
https://facebook.com/profile.php?id=673829559432300
https://twitter.com/AMTLI2020
http://blog.ultrabrasilia.com/
 
 

I've always appreciated your digest research BTW for obvious reasons. YT is unbearable these days. Suggestions by AI don't fulfill the purpose at all. Hence I believe we can't wear all the same shirt for sure : -)

Unfortunately, YT is a mess flooded by the monetization mania and I concur, the participation on footage subforum here is underestimated, anyway.
No new cameras in the horizon to launch nowadays follows, the talking heads live sessions on YT grow up as new hype... as well, brands seem to choose youtubers to promote their marketing as a sort of new internet shills.
Even the ads we had to avoid from generalist TV channels are now transferred ad nauseam to YT each couple of minutes, well, a weekly digest looks like a great idea for a new website indeed, Andrew ; )
 
With the current quarantine, I'm afraid we'll have exactly what Kye has mentioned on his new thread, and a decrease on content quality until the crisis will last, so be ready yet for some months to come...

Was browsing TradeMe (NZ's version of eBay) for radio equipment, when I saw to my surprise a camera:

Panasonic GX80 for dirt cheap! Yusss

https://www.trademe.co.nz/electronics-photography/radio-equipment/amateur-radio/listing-2583819575.htm


https://www.radiomuseum.org/r/panasonic_5_band_receiver_gx80_rf_1680l.html
https://youtu.be/EoJ_okQl5vU

Oh wait, that is indeed a radio! Not a camera at all. 

Interesting, Panasonic "reused" a model name?

Emanuel, inspired by those youtube videos (massive information you've added), that still echoes in my head.
https://gaddisvisuals.com/colorguide/
https://ymcinema.com/2019/10/15/color-wheel-a-filmmakers-main-instrument-in-digital-cinema/
 

Not being defensive, even though seems to you and I bet for 66% others over here if so : D BTW majorities don't break my heart anyway, I confess I have a weakness for minorities... ; )
The point is we live in a selfish society. People go to YT but mind you they post their findings here?
I just see many of people today coming everywhere and collect to their own benefit. It's sick. Wanna know my opinion? I write it anyway... LOL
I didn't take as offense (hence my disclaimer up there), I address it merely as a point.
People are too lazy to scroll the page down. Reason why many videos to worth your time as you say or bother your curiosity are always better to pretend you're not aware of their existence... LMAO
People prefer to jump and comment on YT among strangers more often than I like to see. I still fuel these type of forum communities to flourish so I'd rather bring the discussions to here for some good reason.
Take a look on my posting activity, my friend, I am even ashamed for the time spent so I don't see the need for words when I can avoid them.
BTW "recommended" by AI, you mean? ; ) It is not the same as coming from my scrutiny, trust me, I rarely post anything randomly, well, I even take my time to choose them yet ; -)
 
In a line: YT is a mess.

I have always found Emanuel's selection fairly thoughtful.

I figure out your point and obviously respect that but, the same way I won't comment if I subscribe or not the way you or anyone here introduces your content or the color you choose to wear and rule your choices or daily life, I believe we must be tolerant with the difference. To begin with.
Words or declarations of will are not enough. People reveal their guts along their deeds, above all.
Even because I think you're used to already see me to write dozens of lines over here, isn't it?
Then, I guess the fact I second that venerable premise of a picture is worth a thousand words, it should be sufficient to also fit your turn trying to understand the other side. Comes to my mind when people don't make a single effort to learn the foreign idiom but are expecting we have to be fluent on theirs... LOL ; )
On the other hand, search button didn't orient me to any thread you or any other here had remembered to open on such interesting topic well expressed through a couple of words as thread's title coming from 1st video posted BTW... can you answer me why?
My turn to add my two cents now : ) In my native land, we're used to resume the whole thing in a couple of words. To resume my point: sofa coach.
I am eager to see your contribution to be straightforward with you as well. I am not paid as much as everyone of us guests here, but I'd sincerely appreciate to see more people to find and select content outside and address it to this community. Really. Rather than criticize who spends a few of his time, even short, to do it. Because if you don't care, you always have the option to ignore it. Don't feel too bored or constrained to do it please : -)
 
Maybe my habit to invariably post not only one or two videos as 99% of people usually do when bother to contribute, to follow my customary deep research (I only found 13 videos this time, I'm sorry : P), may have produced your reaction? If so, I invite you to read again the 1st paragraph of this post and show a bit more recognition or even gratitude once you arrived in this page after all. Pardon my lack of modesty now, but when I perform anything I am used to leave it complete, despite the form chosen. You know what? I normally start to look for coming to these boards and only when I see none of you had the generosity to add anything substantial on subject or organized in a thread, I decide to share the product of my search. For the sake of promoting discussion in addition. As index applies besides.
 
Disclaimer: I sincerely appreciate and don't mind at all about your words, Snowfun. I take them as useful add-on anyway. My response is more prone to be addressed to some other ones who may concur on that, though :- D

Yeah I am not a fan of the modern focus by wire lenses. I have a 35mm 1.8 but its a bit of a nightmare to focus. I much prefer the older AI or AI-S lenses.

DaVinci Resolve 6.2 is out (lots of things, imo):
https://www.blackmagicdesign.com/support/
What's new in DaVinci Resolve 16.2
Fairlight timeline editing toolset improvements.
New mouse and keyboard based editing toolset. User adjustable per track scalable waveform display. Keyboard shortcut editing actions now include fade, cut, select and move. Support for alt/option dragging clips to create a clip copy. Support for pasting clips across timelines. Support for bouncing individual audio clips to files. Support for dragging audio clips to separate tracks using modifiers. Support for dragging audio clips to specific positions using modifiers. Support for converting multichannel tracks into linked groups. Support for a user preference to align audio edits to frame boundaries. Support for an action to trim all audio edits to frame boundaries. Fairlight sound library.
Release of the Fairlight sound library installer for foley effects. Support for searching and displaying sound library description metadata. Effects and plugin management improvements.
Automatic sorting of AU and VST audio effects into types and categories. Favorite audio plugins are now displayed at the top of the mixer plugin list. Additional immersive audio support.
Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio. Improved pan and balance including the ability to constrain panning. Track Index improvements.
Support for the edit index in the Fairlight page. Drag selection of tracks, mute, solo and record controls in the track index. Drag and drop reordering of audio tracks in the track index. AAF import/export improvements.
Support for importing AAF sequences as new tracks in an existing timeline. Support for importing AAF sequences with an offset to an existing timeline. Support for importing multichannel tracks from an AAF as linked groups. Support for broadcast wave files when exporting an embedded AAF. Support for exporting audio cross fades and fade handles in AAF files. Audio mixing improvements.
Support for additional notch filters in clip EQ. Support for new FairlightFX Meters. Support for new FairlightFX LFE Filter. Fairlight Audio Editor improvements.
Support for dedicated controls for panning up and down. Support for editing clip EQ. Support for copying and pasting clip EQ. Support for creating and applying presets for clip EQ. Support for adding, managing and custom mapping of plugin parameters. Support for changing relative clip levels. Support for resetting clip levels to unity. Support for editing fade shapes and deleting fades. Support for saving and recalling user defined track view presets. Support for enabling layered audio editing from the desktop audio editor. Support for choosing automation curves from the editor panel or console. Improved behavior when moving track selection with no tracks selected. Support for improved timecode entry and high frame rate timecode. Support for entering relative timecode values. Support for inserting 00 in timecode entry by using the colon key. Support for master spill on console faders. Support for finer adjustment of controls using the mouse or audio editor. Support for media left and media right selection keys. Support for a text-only labels mode. Support for a traditional Fairlight keyboard layout. Improved support for legacy Fairlight project import.
Improved import of EQ, automation and fade from legacy Fairlight projects. Improved speed when importing large legacy Fairlight projects. Editing improvements.
Improved performance when switching to large timelines with many tracks. Support for creating a compound clip from an in-out range in the timeline. Support for previewing timeline audio during live overwrites of video edits. Support for editing individual angles to the timeline from a multi-cam viewer. Support for updating clip duration display while editing in the cut page. Support for a change transition duration dialog. Support for viewing duration in frames or timecode format in the viewers. Support for Fusion transition templates in the edit page. Support for Fusion generator templates in the edit page. Support for timeline view options per system in collaborative projects. Media Pool improvements.
Improved audio track metadata support with support for up to 24 tracks. Support for duplicated clips and timelines being placed in the source bin. Support for sorting media pool clips by date added. Support for showing synced audio filenames in the media pool list view. Support for revealing the media pool location of a clip from a smart bin. Support for a media pool context menu to duplicate clips and timelines. Support for only additional files when repeating media management copies. Color grading improvements.
Multiple stability and usability improvements for collaborative projects. Support for smart filters based on keywords and people metadata tags. Support for modifying primary grade values using numerical values. Support for retaining out of range data when monitoring at video levels. Support for Fusion MediaOut name tooltips on the node graph inputs. Support for feet and frames data burn-in options. Support for disabling output sizing and blanking for individual clip renders. Scopes improvements.
Support option for showing scopes at video level and data level. Support for HLG gamma when using HDR scopes. Support for highlighting the color viewer qualifier position in the scopes. Codec improvements.
Support for Blackmagic RAW SDK 1.7. Support for rendering audio only timelines. Support for decoding 32 bit floating point audio. Improved support for color space and gamma when decoding H.265 clips. Support for displaying EXR codec name based on compression method. Support for overriding the color space and gamma tags in render settings. Support for RED SDK 7.2.1 and decoding clips from the Komodo camera. Support for two new parameters in the RED camera raw settings. Support for REDWideGamut Log3G10 IDT for ACES projects. Support for the Canon EOS-1D X Mark III camera. Support for decoding u-Law Audio in QuickTime clips. Support for alpha channel clips with the bypass re-encode option. Scripting, API and general improvements.
Support for running the primary screen as a window in dual screen mode. Improved scripting API with the ability to close an open project. Improved scripting API to set frame rate for media pool clips. Support for new scripting functions to return ordered lists. Support for video monitoring advance and delay on the Fairlight page. Support for GPI/GPO control on the Fairlight Audio Interface. Multiple performance and stability improvements.
 

Here you go: 
Visit the Vimeo link to download a full res 3840x1080 Prores 422HQ file.

After many requests, P4K2Alexa PowerGrade + LUTs coming in the next day or two.
Dawn to dusk, one PowerGrade, no adjustments to the transform.





 



 

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges.
Thanks mate! Much appreciated.
 
Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point.
The interesting thing is how that actually translates in real world scenarios, and what that difference looks like.
Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure.

The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation.
It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail.
Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.