FHDcrew

I can dig both approaches. Some things having manual everything on a camera allows you to get the shot looking really nicely. (If the camera responds to that and gives a great image because of it.) It takes more time though and just won't be fast enough to record certain events. Other cameras that are automatic, have image stabilization, auto everything are great for events where you don't have control and just have to record stuff. It gives a different look but that's still appreciated footage.
We live in a golden age of so many very good cameras that for a relatively low cost we can shoot something. (It does also mean more people are shooting and producing so there's more competition at festivals, etc. ) The choice people have now is no longer whatever they can get their hands on or can budget for but what look they want or what type of situation they're going to be shooting in.

Today we had an early xmas lunch (to avoid the conflicting invitations on the 25th) and I shot it with the GX85 and 12-35mm F2.8.  Shooting was really fast and not under ideal conditions (massive window which is often backlighting people) but it did a great job.
Here are a few random stills, SOOC - zero editing.  




Standard colour profile, with -5 Contrast / Sharpening / NR and 0 Saturation.  People often lower saturation in-camera but I  push my grades to have lots of saturation so I prefer to have the camera do the 8-bit conversion and compression on stronger saturated colours so that I'm not boosting up a weak colour signal in-post.
When I grade it I'll be softening it up, fine-tuning the colours and adding some colour grading secret-sauce but for a someone shooting a family gathering with an 8-bit camera while also being part of the festivities, the images really speak for themselves.

I think the idea of nailing it in-camera is in and of itself not that big of a deal nowadays - if you have a basic color workflow and most importantly, know how to really nail the story you're trying to tell.
That statement isn't meant to dismiss the importance of nailing it in-camera - but to say that imo nailing it in-camera has always been less about hitting a fixed target dead on - and more about a ballpark. And that ballpark is so much easier to hit thanks to the aggregated knowledge base of spaces like this, and of course YouTube. To the point where asking someone with experience for assistance is usually not as prudent as simply typing the question in YouTube's search engine! But that ball park around the target of perfection is also much wider than ever before, thanks to the corrective tools we now have within Resolve, Premiere Pro, Finalcut, etc. Not to mention basic in-the -field tools like a color chart and/or Sekonic C-700 or C-800.
I was a deejay for most of my life, and I still pride myself on knowing the basic theories of bar-counting and melody-matching and taking the time to know the unique bar construction of every single song I was gna play, so that when I hit the party and got on the 1200s, my 'in-camera' settings were pretty good. But then Serato came along with other recent mind-blowing advances - and now in 2023, a deejay simply does not need to have/understand those 'in-camera' settings. 
Is it something deejays like myself lament? 100%!!! But the REAL deejays of those past generations also understand that the actual mission, first and foremost, was always: to tell a great story.
So while there are deejays I know and admire, who still love to do 'all-vinyl' parties as a way to exercise/show-off the skills they HAD TO developed in the past, as a means to the ends of telling great stories, again, the REAL ones within that cohort also understand they are doing those parties for the sake of nostalgia, which is also very important and life affirming.
All that to say, hopefully when we are in passionate pursuit of getting it right in-camera (as I am myself, to a degree) we aren't losing sight of the more important plot of getting the story right in our minds - which is a whole other skill that still demands that we strive to master it at the highest of levels.
 

I wouldnt highten one skill on the expense of another. I wouldn´t label a certain skill set as nostalgic just because off the point in time it was working wonders. But then you know about your art and skills of DJing and can put it into context, which both I am unable to. Getting things right in camera is not about story but about the ooc image.

Awful in my line of work as any change/changes mid scene is near impossible to overcome in post. Just a headache.
But otherwise yes, fixed WB of ‘5500’ works nicely and is my go to (not 5600) as it’s the recommendation for the conversion LUT I use.
I also meant 4500 indoors not 4000, so 4500 and 5500 are my two programmed default options.

There's a school of thought that says you just set a fixed WB of (IIRC) 5500K, which will make day seem on the bluer side golden hour / sunset warmer, blue hour cooler, and incandescent lights warmer.  The idea is that this is sort of intuitively how we experience the world on some subconscious level, so the final result will seem right intuitively.
Personally, I set auto-WB because it's more likely to get closest to correct than I will, because I don't shoot at a lightning pace rather than a snails pace, and gives me the least amount of adjustment required to do.
In terms of getting it right in-camera, you should absolutely do it if you have time to.  I don't, so adjust in post, but the better you can get it in-camera, the more potential your footage has in post.

Hopefully it’s reasonably priced!  While the ZF looks tempting I am not loving it ergonomically. I want a more utilitarian design personally. 

In a world where you can push and pull a camera’s image to your hearts desire, I’ve found that getting things nailed in-camera is not only under minded, it almost is becoming a lost skill. Shooting log and 10 bit made me lazy with white balance for example. I can correct it in Davinci Resolve to such a great extent that I don’t worry about nailing it on set. 
 
Let’s chat about tips regarding nailing things in camera. A lost art if you will. It’s something I’m trying to get better at. I shoot more and more in 8-bit internal on my NikonZ6 because of the convenience of internal recording. But I have to really nail my exposure and white balance to have a pleasant grading experience. 
 
Here’s my question:  what’s a good method to quickly dial in white balance that is as accurate as possible, when in a run and gun mixed lighting environment?  And you are stuck with 8 bit colors too. And you are doing it by kelvin only. I don’t find myself shipping custom white balancing very often during run and gun. 

Yes.  30p and 60p completely ruin the viewing experience for me - like if someone peed in my drink.  It doesn't matter what else the drink had in it, I'm not drinking it with pee in it.
You're not convincing anyone to like what you like, we're not convincing you to like what we like. 
Time to stop posting.

Has anyone tested BINNED 1080p resolution? Full sensor output is often around (above) 4K, but it can be saved in connected 2x2 pixels to get 1/4 of 4K resolution, i.e. 1080p.
Unfortunately, I noticed a problem with this binned mode - it is highly pixelated, when analyzed approximately it looks as if horizontally it was not two pixels combined into one, but 4 into one because it looks like it was actually 960x1080 and stretched again to 1920.
The photos are a recording in full 4K DNG and the same in 1080 BINNED and two examples of manual resize 4K to 1080p in PS - you can immediately see the colossal difference. Do newer versions of MotionCam RAW fix this?
I reduced the RAW DNG 4K in PS to 1080p resolution using two resize modes - nearest neighbor and best for reduction - in both cases the difference is colossal between pixels with 1080 binned mode.
 
1080 binned DNG:

4K native DNG:

PS resize 4k to 1080: (1)

PS resize 4k to 1080: (2)

 
1080p binned DNG (crop) :
It looks like the horizontal resolution was stretched to 1920 from 960...

 
4K native DNG resized to 1080 in PS:

i think the sensor design then was way more free going than now. now all sensors try to mimic alexa, not bad, but not much diversity. 

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

In all seriousness though, very sad.  Such an iconic piece of photography history; I loved their stuff.  I just got into video right as Kye was in his last year with DigitalRev, but suffice to say I really enjoyed his content and still enjoy his independent reviews.

Looks like DigitalRev TV deleted 100% of their YouTube videos.  RIP the old GH2 and 5D Classic videos I used to watch.
https://www.youtube.com/@DigitalrevTV

Happy R5C/R5 owner/user/hobbyist here.
I love the R5C's form factor and having the C-line video menu, along with the ridiculous amount of pro features squeezed into that dslr-styled body. I also love being able to build it out or barebones it depending on what I'm shooting. But then audio-wise the Zoom F3 allowed me to put down my bulky Zoom F4 and now I have a 2 camera run n gun setup that all fits in a Nanuk 935/Pelican 1550. 
And now that the battery power issue has been addressed with the R5C (I get over a couple hours easy with the grip) - and the overheating issue has been addressed with the R5, I've got two capable cams that are future proofed with 8K (yes, I have the Ninja V+ paired with the R5). 
Finally, the RF-EF adapter means you really don't need to go to the RF lenses. There are so many amazingly priced used EF-L lenses at your disposal. But also the VND drop-in filter is fantastic imo and never leaves my camera bodies!
Coming from using C300/C100s professionally as a producer - and then owning the 5D MKII/III, 1DC as a hobbyist, I honestly feel like the R5C is my final destination cam purchase. The only thing I might do is sell the R5/Ninja V+ and pick up a second R5C body... maaaybe get a C70 when the prices get to the $2K USD range, just so I have an all-in-one C100 type cam.
Either way good luck with whatever you purchase!
 

In all seriousness though, very sad.  Such an iconic piece of photography history; I loved their stuff.  I just got into video right as Kye was in his last year with DigitalRev, but suffice to say I really enjoyed his content and still enjoy his independent reviews.

I didn't catch that the videos are only 8-bit (he mentioned it partway through).  That's a real bummer.

Also, the fake motion blur that was shown near the end looks bad.

My Priorities for Panasonic:
1) Release a VERY SMALL M43 camera body with PDAF and full-sensor readout in 4k NOW!
2) Release a GH7 with variable ND and PDAF.
3) Release a high-end video camera with variable ND and PDAF for L mount.
4) Release a pancake (28mm or 40mm or both) lens for L mount.

Ha! I don't think anybody owns individually 3x Sony BURANOs
But if you're part of a wide production, say just shooting a few days on a doco or coming in as an extra camera on reality tv series or doing a pick up day on a feature film, then yes, what camera you are using is very important.
As you're just one small cog in a bigger machine. (maybe that's one of the big differences vs a lot of photography, there is no "machine". Or if there is, the photographer is a much bigger cog in the machine, or even more likely the driver of it)
 
I'd say there is are two very different classes of DoP:
Those who own a camera vs those who don't and just rent in the cameras for a project as is necessary. (although, anybody owning an ARRI ALEXA Mini kinda fits into that second category. Just the difference is whenever they want they can access "a free rental" of their Mini from the rental house where it is being stored. As they probably won't have it being stored at home, or at least that's been the case with people who I know who own one)
And those in that first category are very much so are broken up into different tiers depending on what sort of camera they have. 
Side note: there are people in the second category who own a camera, but still sit in the "second category" because that's how they portray themselves and do most of their work as. Their RED Raven or Sony a7S or whatever that they own is merely just their play thing, and something to do occasional passion projects with. So even though they own "the same" camera as someone in category one, they're still in a very different position, as their personal camera isn't one they daily work with. It's almost more like their hobby camera. 

Yeah, that's sort-of the same as not using colour management, as (unless you use the HDR palette to grade with) you're not getting any of the advantages of colour management.  Your workflow is basically the same as applying a LUT and then trying to grade in 709, which is essentially ignoring 95% of the power of the tools at your disposal.
Without teaching you how to do colour management, as there are much better sources for that than me typing, what you want your pipeline to look like is this:
A transformation from the cameras colour space / gamma into a working colour space / gamma Do all your adjustments in the working colour space / gamma Transform from the working colour space / gamma into a display colour space / gamma (e.g. 709) What you have told Resolve to do is to transform the cameras colour space / gamma into rec709, and any adjustments you're making to that using any of the tools will happen in rec709.  Some of the tools are designed for rec709 but some are designed for log, and most of them won't really work that well in 709.  Only the "old timers" who learned to grade in 709 and won't change still do it this way, everyone else has switched to grading in a log space - some still grade in Arri LogC because that's how they learned, but everyone else grades in ACES or Davinci Intermediate, as these spaces were designed for this.
I transform everything into Davinci Intermediate / Davinci Wide Gamma and grade in that as my timeline / working space (these mean the same thing).  I can pull in Rec709 footage, LOG footage, RAW footage, etc, and grade them all on the same timeline right next to each other - for example iPhone, GX85 (709), GH5, BMPCC, etc.  I can raise and lower exposure, change WB, and do all the cool stuff to all the different clips and they all respond the same and just do what you want.  If you've ever graded RAW footage and experienced how you can just push and pull the footage however you want and it just does it, then it's like that, but with all footage from all cameras.  Before I adopted this method, colour grading just felt like fighting with the footage, now everything grades like butter.

Indeed, being untruthful is never a good look is it. Standard par for the course in marketing land though.

EX1/3 have exactely that, 3 CMOS sensors,  1/2 inches each @zlfan 😊 Still cool cams. Really like the EX1's ergos and lens with nice zoom and focus rings and servo zoom lever. Despite in a 10bit container,  output over SDI is still only giving 8bit colour. Don't know if true 422 or not. Pana HPX250 is definitely a cam i wanna try. A 2/3 inch sensor version of it with interchangeable lenses... Nerds have different wants than other people:) A 100mbit AF100. Love the body and the huge eye piece of that cam. GH5II sensor and codecs in a AF100 body. Dreamcam. Nerds are weird.:)

In all seriousness though I do think this is a great step forward. Have been spending a lot less time on YouTube lately. Tired of the hype. 

Hahaha. Blackmagic Production Camera 4k. Global shutter. 2012 baby. 

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting.