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bjohn

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  • My cameras and kit
    BMD Micro Cinema Camera

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  1. Probably just because most users don't know how to grade, and/or are not using good lighting. In time we will see great footage from this camera but the pros need to be using it for six months to a year or so.
  2. I saw one editor speculate that an Avid editor with 20 years of experience would take twice as long as an FCPX editor with 5 years of experience to edit the same sequence. It is not just fast, but intuitive; there's that famous demo video called "Editing at the Speed of Thought" and I always feel like that's an apt description of Final Cut. There's some front-end work to do in terms of assigning roles and such, but then once you get down to cutting a timeline you can just get into the flow instead of thinking, okay, which of my 80 tracks to I need to select for the audio and video of this clip that I'm about to add? I saw that 10.8 update this morning, looks like they've added some useful new features!
  3. True, but if you're shooting raw it doesn't matter so much because you'll be adjusting in post anyway. That's why sometimes I just write down (or make a voice memo) with my color temperature meter's reading; with voice memos if ensure your camera's clock time is roughly the same as your phone's you can match them up later if you're taking multiple readings at different times. My cinema camera's WB settings are in roughly 200-Kelvin increments but my meter is of course more precise. So if I take a meter reading I can apply that in post and not even bother changing it in the camera. I tried using a color temperature meter on my phone (I bought a dome to go over the phone's camera) but it has to be calibrated to a professional meter so I ended up having to get a professional meter anyway (since I don't know anyone else who has a color temperature meter). The cheapest good color temperature meter I've used is the incident meter by Reveni Design, about $250, which does measure color. It's within 200 kelvin of my Sekonic but not as precise, but that's probably close enough as you can adjust to taste in post.
  4. Another, albeit more expensive, option, is to use a color temperature incident meter to read the color temperature of the light that's falling on your subject(s). You can either use that to set the correct temperature in the camera or if you don't want to bother, just note it down somewhere and dial in that Kelvin temperature in post. The problem is that color temperature meters are expensive: my Sekonic one cost twice as much as my camera. But it is quite accurate. A free but less accurate alternative is to use a phone app like Cine Color Checker (I think that's the name) or the Blackmagic Camera app, which will show you the color temperature of whatever scene you're pointing the phone's camera at. The Blackmagic app will only give you reflected readings, though; incident readings are generally more accurate.
  5. I also have both and would recommend Resolve. I'm not sure how much of a future Final Cut has anyway, although it's a far more powerful tool than most people who've used it casually, even for a few years, realize. It just operates very differently from other NLEs and thus most editors used to traditional track-based workflows don't do well with it. Once you understand roles and how to use them it becomes quite powerful and its audio abilities are actually quite sophisticated (which you'd never guess at first). The Ripple Training tutorials opened my eyes. But Resolve has many more features, is based on a traditional track-based model, and overall I much prefer using it. Obviously for color grading Resolve is better, and Final Cut doesn't have anything like Resolve Colour Management, which greatly speeds the process of bringing footage from multiple cameras into your working color space. With Final Cut you're limited to using camera LUTs, which is a poor solution in comparison. Resolve's audio module (Fairlight) is also much easier for traditional track-based editors to comprehend. Resolve definitely has a high learning curve, but lots of good tutorials are available. The free ones from Blackmagic Design will go a long way to getting you started; if you watch a variety of youtube video tutorials from different people you'll get confused as everyone has their own preferred workflows and a lot of the youtube people don't know what they're talking about. Ripple Training has a good (Blackmagic-certified) set of tutorials on Resolve that are a good investment, and they keep them updated as new versions are released.
  6. That might be the nicest, least video-like footage I've seen from that camera; it just adds to the already convincing weight of evidence that the lens makes the biggest difference to the straight-out-of-camera look of your footage. IBIS for stationary shots is not a challenge but I'd like to see how it handles slow pans and tilts...I'd want to be sure it's not playing catch-up and trying to correct those movements, resulting in jerky footage. There were a few short pans in that video that looked fine, so maybe it's okay.
  7. Right, but that's why he tested with and without NR. Sony applies NR in-camera and you can't remove it, so he added some NR in Resolve to mimic what Sony was doing for a more fair comparison. But he showed both the super-high Imatest result plus the "real world" lower actual DR you'd get on the Z6iii.
  8. Did you watch Gerald's review? He tested DR in Nlog and h.265 on different timelines (4K vs 6K), with and without noise reduction, and even with different log curves; the DR is better if you apply a Vlog (Panasonic) curve to NRaw.
  9. Gerald Undone did test dynamic range in his video review; he didn't experience any overheating but hey, he's in Canada and he admitted that his testing environment wasn't very warm. It does seem like a great camera; wish the IBIS was better....I think Panasonic still has the lead there.
  10. bjohn

    Lumix S9

    The BrightinStar 28mm pancake is actually better in terms of image quality on full-frame thick-stack sensors, and it's a fraction of the price. The MS Optics has a focusing tab and I actually love those for manual focus. You develop a sense of where you are in terms of focal range by the position of the tab; this is how street shooters do zone focus, by the feel of where the tab is. Quite a few rangefinder lenses have that tab; some people hate it but as a focusing aid I love it and it's very fast.
  11. I've had good luck making pretty radical changes in white balance in ProRes HQ 422, like from 3200 to 5200. I haven't been able to break ProRes yet, although I'm sure it's possible, but it's a lot more malleable than I expected. I can shoot CDNG raw with my video cameras but usually just shoot ProRes.
  12. bjohn

    Lumix S9

    Maybe true for an SLR pancake but my pancake lens is an MS Optics Apoqualia M-mount lens; with the adapter it's so small I can literally slip a Sony APS-C camera in a pocket.
  13. bjohn

    Lumix S9

    I still feel the main advantage to L mount is the ability to adapt almost anything to it, like you can with MFT, E-mount, Z-mount, etc. If I got an L mount camera the first thing I'd do is buy adapters so I can use my tiny rangefinder lenses, or my Minolta Rokkor lenses, or my Nikon F-mount lenses. I almost never buy native lenses, although I would if I used autofocus.
  14. What about CDNG raw, though? There's an uncompressed version (in the Sigma fp and in older Blackmagic cameras including the original Pocket, BMMCC and some of the Ursas). The BMMCC also has a compressed (3:1) version of CDNG raw as an option.
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