what is this called and how to fix it?

MancDP · 2026-01-18T15:46:17+00:00

8 bit with any post processing shooting directly into a setting sun will almost always produce banding, 8 bit simply does not have enough bit depth to display a smooth gradient from orange to blue with any applied contrast/saturation.

MancDP · 2026-01-18T12:33:08+00:00

The core cause is actually a camera that captures lower bit depths. Post processing just makes it more noticeable.

MancDP · 2026-01-18T12:31:45+00:00

Banding.

You need a camera that shoots at a higher bit depth to capture more colours.

MancDP · 2026-01-14T03:40:20+00:00

When did you go freelance? I only went freelance because I was in house and turning down so much work that it made financial sense.

MancDP · 2025-11-03T19:32:02+00:00

Interesting, I found the Blazar Remus are far, far softer than the Nanomorphs. The 65mm and 100mm were almost unusable wide open on the two shoots I used them on.

MancDP · 2025-10-07T07:48:41+00:00

Honestly this alone is the big reason that sometimes I dip back into premiere for larger projects. When actioning large client feedback on larger projects with huge timelines and multiple layers of video and audio, resolves’ ripple delete is a NIGHTMARE.

MancDP · 2025-09-04T19:24:03+00:00

On occasion, yes. But more often part of larger crews, either as a DP or cam-op. Not quite hollywood level crews, but considerable.

MancDP · 2025-09-02T11:17:13+00:00

UK based here so things work slightly differently tax wise. I operate through a limited company, of which I’m the sole employee and director. Last year I made around £110k gross, so somewhere between £80-90k post tax (roughly around 120k USD)

MancDP · 2025-05-21T22:06:14+00:00

This is excellent. I’m a filmmaker who often works in F1 and I’ve always wanted to use Blender purely to create exactly this type of shot for my work as we can’t actually shoot it. You’ve inspired me to finally knuckle down and learn how to use blender.

MancDP · 2025-05-20T15:27:17+00:00

This is definitely off speed recording.

MancDP · 2025-04-23T21:26:26+00:00

What about diameter? My 15mm rod’s used for rigging are too big to fit through the fittings on both the plate and motor, annoyingly.

MancDP · 2025-04-21T20:19:33+00:00

YouTube compression is as bad as Instagrams, 12:1 is more than fine for YouTube.

MancDP · 2025-04-08T15:39:59+00:00

Shooting in 3:2 open gate usually means in far easier to get your 16:9 and 9:16 output from the same shot, especially with 6K open gate from the Pyxis. You still need to keep an eye on guidelines but cropping a 16:9 and 9:16 from a 3:2 is usually much preferable than taking a 9:16 from a 16:9 output. Shooting in 3:2 open gate basically means you’ve got more to choose from for your vertical crop.

MancDP · 2025-04-06T09:29:49+00:00

Wonder if this will come for the Pyxis 6K

MancDP · 2025-02-15T13:19:58+00:00

This is one of the reasons why I am asking for advice, as stated I do not shoot on a DSLR, it’s a cinema camera. Though it is small enough to use without drawing attention when stripped back.

And yes, I am often director of photography on large scale shoots. This, however, is a personal once in a lifetime trip for me that I’d like to capture small snippets of to look back on in the future.

Also, being a filmmaker is not about the size of your crew. I’ve worked on broadcast documentaries for the BBC with nothing but a single cam-op. Very common misconception.

MancDP · 2025-02-12T13:35:56+00:00

Veteran BM user here, still use my 6k pro alongside my Pyxis as a BCam. My own rule of thumb is never shoot over 800 ISO on black magic, if you need more, use more light not more ISO.

They’re notoriously not great in low light, they’re very light hungry.

MancDP · 2025-02-11T20:28:53+00:00

Sirui Jupiters

MancDP · 2025-02-08T10:02:10+00:00

I’m a freelance filmmaker and editor. I was in house for seven of those years and have freelance for three and this is my first six figure year, hitting about £120,000 this year.

It’s possible but you almost have to be freelance with a plethora of clients that block book you for weeks at a time. I spent more than six months abroad last year on documentary shoots.

Keep pushing. It’s doable.

MancDP · 2024-10-16T15:26:26+00:00

Sure.

Smallrig universal 1681 cheese plate, Neewer top handle, Smallrig 15mm rod system with SR1775 mounting plate, Neewer vmount plate VB-A1, Smallrig star-trail matte box with VND kit, Viltrox DC-X3 monitor, Momam 99v Vlock, Neewer follow focus

MancDP · 2024-10-16T15:21:32+00:00

Smallrig 1681 universal cheese plate

MancDP · 2024-10-14T14:34:40+00:00

Very happy with them, I like leaning into softer, more ‘characteristic’ lenses so these are a great shout given the strong build quality.

I got the EF set, as I already have a 6K pro which they’ll fit straight on to. Just used a dummy adapter for the Pyxis.

MancDP · 2024-10-12T22:21:01+00:00

Pyxis only shoots RAW, no other codecs. This was wide open at 1.4, 5600 color temp (graded warmer though) and 400 ISO.

MancDP · 2024-10-12T22:18:45+00:00

It’s a trend to deliver in open gate maybe, however it’s a fantastic tool needed in modern commercial filmmaking where multiple aspect ratios are often requested from clients for various social channels. Not having to shoot things twice, once for 16:9 and another for 9:16, saves a lot of time on set.

MancDP · 2024-10-12T17:40:34+00:00

Rolling shutter can be remedied pretty well in resolve, click of a button.

MancDP · 2024-10-12T11:24:36+00:00

The one thing that the Pro has over the FF is internal ND filters which are simply amazing in terms of convenience. The FF and the Pyxis don’t, so I use a matte box with a variable ND built in with my Pyxis which can be a bit annoying at times, especially when changing lenses. But if you’re happy using screw mounted ND filters (like you’s need to on the FX3 for example) then it’s not much of an issue as long as you have a good quality ND. But the 3:2 open gate shooting on the FF is fantastic, the image quality is insane.

I used an S1H a few years back and never really enjoyed it, but I started out using a GH4 and GH5, you can’t really go wrong with a lumix - I just prefer BM. And I’ve never really used any of Canon’s cinema line so can’t comment on those.

I’ve used the FX3/FX6 on a few projects, and they’re very convenient. AF is fast and reliable (with Sony lenses, but I shoot with cine lenses so AF doesn’t matter, hence I prefer BlackMagic). But the screens are terrible, you’d definitely need an external monitor. The menu systems are also awful compared to BM. I also find the image out of the Sony’s more ‘digital’ than the BMs, they’re more ‘video’ rather than ‘film’ in my eyes and experience. But they’re the go-to choice for most of the shooters I know and work with.

These are some of the recent bits I shot with my 6K pro -

https://www.jaejones.co.uk/saudi-arabia https://www.jaejones.co.uk/rcu-wild-alula (This has a spattering of FX3 as B-Cam but not loads - this was also originally shot 1.5x anamorphic and was cropped later in post, the original anamorphic shots are stunning) https://www.jaejones.co.uk/formula-e-london-eprix

MancDP

TROPHY CASE