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Much appreciated! Thanks for watching.

No-Whichever route you choose at the beginning, leave it that way. There’s nothing wrong with video level. If you think you get a better result that way. But Resolve and your display have to match on that setting. And you need them set that way before you create the 3D LUT. For me, data seemed better.

@@writedirect ok thanks, I tried it on full and it was all washed out no matter what I did. I'm on an OLED proart and had to tinker a bit, but I think I have a good calibration lut now with it all set to limited. It is quite a process for sure. Sadly the display I'm using is not as common I guess among the communities. Its this one, ASUS ProArt Display OLED PA27DCE-K 26.9 I wish there was more info on it, as it was almost 2 grand, but I guess its up to me to take a scientific approach...

@@RememberThisShow how are you connected to computer? Using BMD hardware?

@@writedirect yes the ultra studio monitor 3g

@@RememberThisShow if I used a 4K display for monitoring I’d prob do a decklink so you could send 4K out. Not that this is your prob. Just side comment. Is the manual part of the monitor calibration working ok and getting in good range? With that display you might want to do change to BT 1886 and experiment with black setting, if the display has 2000:1 contrast.

You might have to buy a multi camera control cable separately. I don’t use one of those as I’m not messing with camera control. I’m just using a focus motor and that’s it. DGI sells them for like 20 bucks.

Hopefully it was helpful!

Nice! Thanks for your comment. It's crazy how many details are tucked away in this application. I still don't know half of them.

Right on! Happy they’re helping. I really like FL so far. Had mainly used Avid/ProTools prior.

Thanks man! So I primarily use a Senn MKH 416. Love the microphone. But I do notice at louder levels even if the field recorder doesn’t peak, I get bad audio that I have to do damage control with an EQ in post. Have you seen this with mic? What’s your preferred dialogue mic?

@@writedirect 416 has a relatively high SPL rating but the design doesn’t handle room reflections very well and can lead to phasey sounding recordings. It’s generally better suited for outdoor work. I have a few MKH50 I like a lot for sit down interviews. DPA4017c is my favourite all around shotgun mic.

@@nicolasfieldsoundservices thanks man! I've read that a supercardioid is a better dialogue mic at times. Will keep a note on your recommendation.

Whoa! I don’t think I’ve received stats like that. Thank you! And by the way, the RS4 and RS3 Pro are pretty similar. I just got the four and with initial review, sure there are some things that are nice, but the 3 is a solid setup.

Typically you’re using a mic & field recorder to get your production sound. Or running a mic to the camera. If you’re using this for run and gun documentary type stuff, I would mount an external shotgun to the camera cage and position as far forward as you can. But most follow focus systems that are motorized are going to make some type of noise. The assumption for filmmaking is that you’re not positioning the mic by camera.

No prob! Happy filmmaking.

I guess you could use this for photographs. But this assumes a 180° shutter. That is double the frame rate. So 24 frames would be a 1/48 shutter speed. So you can just do the math and set your frame rate to get the shutter speed you’re after and then you’ll get the correct setting. Hope that makes sense.

Thank you!

Green screen is about lighting, things like that. There’s nothing you’ll do differently in camera. You’ll be shooting and exposing like normal. Shoot the highest resolution you can in BRAW.

Thanks man!

Not at all. The primary reason I use a cage is to attach an external battery. I don’t use V-mount, I use NP-F.

Cool-Your welcome. Make movies! 🍿

@@writedirect absolutely!!

This varies from camera to camera. But they all typically have a play button where you can look at your footage. You won’t be able to control that from the gimbal typically. At least I don’t think so.

It’s because your BRAW filed are in film mode, which is essentially log mode. They contain all the data on the color science used to capture the footage. And this is what you want. You need to put Resolve into color managed mode. Check this video as it will have some info on that: th-cam.com/video/9rpAgd8KgCM/w-d-xo.htmlsi=RieS2nmIRVHi8Psh

Hey man-I have not used the camera on a full scale production yet. only used it for pickup stuff on the current film. And that was outside in daylight. Gorgeous footage. But from my testing, it does not perform as well in low light as the pocket cameras do. That’s disappointing to me. With the horizontal banding: I’ve read online that people have run into this inlow light. I don’t know if it’s a batch of bad sensors or all the cameras have the issue. Honestly, I would contact BMD and ask them directly. And I would love to know what they say if you do that! kyler@writedirect.co.

Hey! Very kind. Really appreciate your words. I hope in some small way I’m helping your filmmaking process! Been busy, but have a fun video coming out soon. Going to take a deep dive into comparing focal lengths. Thanks again for your support.

Nice! Glad it made sense. Thank you!

I don’t think there’s any disadvantage. You just can’t upgrade a single component later if desired. Without of course, replacing the whole setup.

Thank you!

For manual control of the focus motor from the gimbal, you don’t need two cables. Just one cable going from the focus motor to the gimbal. And I have not experienced what you’re talking about. Regarding DJI: remove any confusing component for them. So take the problem down to the minimum. And make them fix it. The focus motor is a very basic operation for that gimbal. It shouldn’t have an issue. Do you send the focus motor in with the gimbal? I’d include both in case it’s some weird issue with that component.

Right on! Thank you. If you do Sound design, check out the Fairlight lessons.

Much appreciated!

That’s a great question. You’d think the larger sensors would have a larger data size. My take away: I would never shoot 4K DCI mode on the CC6K. The other 4K mode is doable. But what’s the point? If I want to shoot 4K have the pocket 4K. Or a camera with a full frame 4K sensor.

@@writedirect oh I mean on the files you pulled up and showed some of the 6K’s files have different clip resolutions and sensor area resolutions for the same clip. Yeah the 6Ks noise is worse on a pixel per pixel basis. It only becomes “better” when you have more pixels (when you shoot in 6K) and the noise thus becomes smaller. I have the 6K too and you really need to learn its limitations to be able to use it without surprises in post. Larger photosites should have been more light sensitive in theory but I guess the sensor is only half of the story when it comes to light sensitivity. Am guessing the A/D are to blame.

@@MrCoffis I also need to put this camera through some work to see what it can do. Larger photosites should win all day long. So I wonder if there’s a quality difference in this sensor versus the pocket 4K sensor? I’ve heard this is a 3rd party sensor, not made BMD themselves. However, they must believe in it because they put the same exact sensor in the PYXIS. So I’m hoping it’s solid!

@@writedirect I doubt the performance on the pyxis will be any different am afraid. I also get heavy banding in my image when there is a lot of purple and blue underexposure in false colours. This is a killer to the DR of the camera. You can always use NR on noise but banding can only be pushed away into the shadows. Blackmagic always has been using sony sensors. According to the limitations of the sensor in the FF it should be the sony IMX410. Idk if they use their own ADC or the sensor comes with inbuilt ones which can make a difference.

@@MrCoffis yeah, the PYXIS will be identical to the CC6K. I can't imagine BMD being okay with something like this. I need to do more testing...been slammed. Have three new prime lenses in and haven't even put them on the camera yet.

It’s odd that the 4K DCI cropped sensor is producing smaller sizes than the pocket 4K.

You need to take the card out of the camera and use a card reader to copy to your computer. Assuming you recorded to internal vs external SSD.

@@writedirectokay and how do you delete footage ?

@@Kizzy603 format the media when back in camera.

Right on man! Thanks for your kind words. Really happy to help someone with their transition to Resolve. Your friends are right-Premiere isn’t the NLE to go with. I also moved to Resolve after years with Avid. Never looked back. In fact, can’t imagine going back now.

@@writedirect Lol... Thanks again chief! Looking forward to more of your stuff. Subscribed! 🙌🏽

@@CyrusAgbo thanks man! Good stuff to come.

Green is good. I think the mode you’re after is gimbal auto check. That’s in the settings menu and it will move it all over the place testing your balance and gimbal in a detailed way.

@@writedirect Thanks what a crazy performer this gimble is out of the box

I love SmallRig. Well, until they didn’t make a cage for the CC6K. They forced me to Tilta. But this matte box rocks.

Very kind. Thank you for your comment!

Haha. Yeah, what’s up with that YT? Welcome to the channel. Thanks for watching.

Right on! Awesome to hear this is helpful. Sound design is so important. And the integrated DAW in Resolve is incredible. It’s so much easier than it used to be.

Weird...what version of Resolve are you on? Also, where are you storing your cache files? I'd get on the latest -- even a 19 beta as that's been stable for me. And store your cache files on an external SSD or something and see if it changes.

Sweet man! Thanks for the kind words.

Thanks so much! I appreciate your comment. Enjoy your gimbal.

Hey man, sorry for the delay. As far as I understand, regardless of a LUT box you want apply vcgt checked. If you weren't using the UltraStudio that would be different. If you have a 2000:1 contrast ratio display, try the Rec. 1886 setting vs what I said. But leave black offset at 100%. Now...this is just what I've read. You can rabbit whole on this app like crazy. Worst case you can try both, export quicktimes of your sequence and see which quicktime looks better.

@@writedirect No worries at all for the delay! I went down a rabbit hole a while ago trying to get the Python Version of DisplayCal going and recently updated ArgyllCMS to 3.2 (which was released in April). Last night I was scouring some forums with top level colorists and it seems like a never ending battle. So, if this info can help you at all as well, here's what I've gathered: BT1886 is the standard. Rec 709 doesn't have a pure gamma curve of 2.4 attached to it. There's charts around you can find that show the difference in the curve when measured. I think WHY it gets confusing is that most colorists are using high end OLED and now QD OLED (and those that still use lower end Eizo's) where they have high contrast ratios or where black can be measured at zero. In monitors with high contrast such as the ones previously mentioned, BT1886 will get you a true 2.4 gamma curve measured from a 0 nit black. Low contrast monitors such as lcd, ips, etc with a contrast of 1000:1 or 1500:1 don't have enough contrast to reach a measured black point of 0 so if you try to calibrate with BT1886, your blacks will end up lifted because the curve has to bend. Therefore, in this case, it's better to use a Rec 709 gamma 2.4 Relative calibration as that will measure from the black point of the monitor and the blacks won't get lifted. WHEW. That was a lot to type but hope the info helps! -- For myself, I did end up calibrating with BT1886 with black output offset set to 0 and the results looked pretty spot on and the verification report showed all tolerances passed. Will try an alternate calibration with black output offset set to 100 tonight to see if there's much of a difference.

@@christopherpiccione9335 nice. I really appreciate the thorough type up! It’s crazy how confusing and all over the place all of this stuff can be. I think if you drop two grand on software from Calman, you could probably get more detailed info. But that’s two grand. Were you able to get the new display cow working with Python 3? I tried it a few months ago, maybe even a year ago and ran into issues. But haven’t tried since.

@@writedirect Yeah, I think that's probably why most colorists just shell out the money for professional calibration. Haha. As for DisplayCal Pyth 3...It works flawlessly and is getting pretty consistent updates. I think they're aiming to release 3.9.13 soon. The big issue I had was that the TPG from Resolve wasn't working on Sonoma but they fixed that. I did have an issue with the tar.gz not working properly but I found a workaround. If you'd like, I can shoot you an email with further info for you to explore and try out?

Also, I do believe from what I've read over on the Github discussions as well as the DisplayCal forums that the new devs are currently working on getting 3.9.13 out AND are also working on getting regular installation packages out for Mac & Windows after that sometime in the near future because there's been so many requests to get normal installers out since the Python3 workaround has been a nightmare for some.

If you’re at ISO 400 and getting noise at any frames per second something is wrong. Assuming you have proper exposure. You could try putting the camera back to factory defaults. I had to do that once with a pocket 4K for a different reason. So restore defaults, update the firmware, and if it persists, something might wrong with the camera.

@writedirect I reset the camera, and it did help. I don't think it's completely gone, but it's certainly more manageable. Thanks again!

Interesting! Thank you for this feedback. Good to know it’s coming across that way on those.

Nice man! Glad it helped. Thank you.

Hey David, I demo using a Black Pro Mist screw-on filter with this matte box in this video that you're commenting on. So not sure what you're saying is misleading?

Yeah, my bad. But the good news is, I don’t claim to be perfect. But I do claim to be helpful.

You’re right. It’s a Thunderbolt hookup.

Thanks for watching!

Right on. I cut three feature films in Avid. And a ton of shorts. Never thought I’d leave that NLE. But it’s all Resolve for me now. The integrated DAW, color and VFX. On the NLE side, once the keyboard is mapped, it’s very close to Avid.

Thanks so much! Happy this helped. I love BMD cameras.

I typically only do that in my private school forum. But do have a new FB group you can ask in. Just search for “micro budget filmsking.”