Thanks. The Premista lens is far, far better than any lens I have had in 50 years of shooting stills and video. They are, sigh, not inexpensive.

First, watch my video at kzbin.info/www/bejne/d5yUgoNtj9-kgas. Then come back with your follow-on questions. Preliminary: You don't want anything close to a 10-second shutter speed. Every star will be shaped like a hot dog. You can checkout the "Rule of 500" for some guidance on how to shoot stars without making star trails (long hot dogs). Do you have a lens (30mm or less) that has aperture of f/2.8 or less? This is not completely necessary but it gives you flexibility. What do you have? What camera do you intend to use? Does it have internal time-lapse capability. If you don't have internal T-L capability do you have an electronic remote shutter control that you can set for an interval? Do you have a robust tripod? There's more to it but these comments and questions will get you started.

I use this technique sparingly because, while you can land short you still must be able to takeoff. It is best suited to dropping off heavy gear and then taking off light. The water is unlikely to have obstacles. Careful pre-landing observation from the air is vital. I have used the water-assisted technique many times in many places.

You need to explain your situation and result better. I do not understand "walking back and forth" vs "static shot".

Judder and compression artifacts are not the same at all. Watch the video again.

@@MarkAJaegerVideo What ever it's called, when you move you hands, it looks weird.

I don't see Judder at all. What do you call judder (as it is a specific problem)? At what time in the video do you see the worst "judder"?

It is most pronounced from 0:11 to 0:34 when you were doing the turns down low along the river. Most visible in the bushes as the water is a smooth surface. And then not so much at altitude and the wider angle without much pan/turning. Do you remember what your fps rate was on the initial acquisition and then on your editing timeline and finally the fps on the final render? Do all of your fps rates match? And incidentally what your shutter speed was set to when you were filming?

The extraneous motion from 0:11 to 0:34 is PIO = Pilot Induced Oscillation = me not making one smooth control input but several small ones. This is not an example of judder. If you want to explore judder, look at kzbin.info/www/bejne/naiWhZKLgLmDgLcfeature=shared on this channel. The original footage was 422HQ, 4.1K at 59.94. It was published on YT at the same resolution. I don't remember the shutter speed but I typically observe the 180 degree shutter guideline. As such, it is likely to have been 1/125,

The 3:2 pulldown problem is different from judder. If you don't like my explanation, go to RED.com and read theirs. Judder pre-dates video (it was present in the film era).

Believe that shaft is a 12.60mm. Pro taper about 14" long.

😃

You have a keen eye. The first clip was 422. The last two were CinemaDNG. The metadata for the clips doesn't tell me what lens was used (seems like this would be handy info but I don't see it). I only have the 24 and 35. It was probably the 35 but I say that only because it is my most common choice.. How are your Resolve efforts coming along?

@@MarkAJaegerVideo Yes, I'm telling you that I love the ProRes 422 HQ look with the normal color settings. Even though it's limited to 10 bit, I would still be fine with it if only it were not limited to 8.1k at 30 fps. The rolling shutter is a major issue with the kind of sports footage that capture. This problem is solved with ProRes Raw 8.1k 60 fps but then there's a lot of work to be done with these raw files regarding color grading. The work around for me will be to shoot ProRes 422 HQ 8.1k 30 fps for slow paced shots especially with panning, it works fine if you're moving in a forward or backwards motion. Then I will have to shoot in ProRes 422 HQ in both 4k 60 fps and 4k 30 fps S&Q 120 fps for that ultra smooth slow motion for action shots. Then I will shoot the next day completely in ProRes Raw 8.1k 60fps - the conversion is a lot easier than I thought. All you have to do in fcpx is click on modify Pro Res Raw settings and switch Raw to Log tab to the built in DJI D-Log and then click on inspector and turn the camera lut to the DJI website free lut x9 DJIlog to Rec709 and boom, suddenly all the weird colors and blown out whites go away and it looks really good minus a few adjustments to the saturation, color, and lowering mid tones. My God I wish I knew about doing this several months ago when I first started shooting ProRes Raw with this drone

@@MarkAJaegerVideo OK I've run into a couple issues editing the CDNG files on Davinci and please keep in mind I'm still a newb learning this new software system... maybe you can help me. First I followed the CDNG recommended workflow for the I3 pdf that the DJI website recommends... it seems much more complicated on Davinci than the two step process to change two settings for your prores raw footage to look normal on FCPX. Davinci has two places to modify the raw settings 1. the wheel at the bottom right: Project settings : Camera Raw where it shows you the Master where you can then change the Raw profile, Decode quality, and decode using - Should I avoid this section all together? 2. Then there's camera raw under the color tab where you can set the color space and gamma. I'm still experimenting with all of this but I noticed that my whites were more blown out when comparing it to the simple prores settings that I rendered on fcpx. Not sure what I'm doing wrong

email me your phone number at [email protected] and I'll call you

@@MarkAJaegerVideo Awesome

The video was shot in November 2022

More-or-less your advice about set your shutter accordingly and take your time (pan slowly) IS the essence of avoiding judder.

...and the 4.1K doesn't tear up memory like the 8K. I hope you noticed an improvement in the color grade. I used a different scheme that I am liking a lot. I've gone back to past work to see if application of the new method will improve the appearance. I've concluded - Not always but, in general, significant "YES".

@@MarkAJaegerVideo Yes I've learned a lot of things since the last time I commented and it's still ongoing as I'm on a mission to make my prores raw footage look as good as ProRes 422 HQ. I believe I will get there within the next week or two

From my experience you should have no trouble making RAW look way better than 422

@@MarkAJaegerVideo So I finally discovered my issue after trying to shoot raw on the I3 for 3 months. When you upload prores raw footage on FCPX, it automatically gets uploaded with color so if you add a lut it's like adding two luts. First you have to set wide gamut for your 8k prores raw and then switch none to dji to log, then you add the dji to 709 lut and start color grading from there. It's looking pretty good. For some reason the sky looks more intact and more realistic with Prores 422 HQ then CDNG or ProsRes Raw, clouds and the sun. What do you think?

This really makes me feel better because I'd rather shoot with 60 fps for action footage. I find that shooting 30 fps or lower always ends up with more rolling shutter, blurry, and unfocused unless you are moving very slow

The match was on a 'Barbox'.

That's not 9ft

Huh? The first one is legal as hell, two down and one under kitchen, what’s wrong with that break?

BCA rules say pocket 1 or drive 4 to cushion. So, what makes you think illegal?

It is called "Fire, then nothing".

There are transitions between shots after the cuts. You're seeing the 8-ball stop and then the one pocketed with a cross-dissolve in-between. After coming to the initial stop the 8-ball remains still until pocketed. There is no motion issue for the 8-ball..

Your comment made my day. Thanks

Thanks for the compliment. // Your comment makes me curious. I think, once the current wind storm (30+mph ) is over, I will do some experimentation with no-ND, 3-stop and 6-stop to see if I discern a difference in the vibrancy of the recordings. My first thought is that I haven't seen it with my Red (where I changed ND strength more often) but Red Monstro and DJI Inspire are not the same. I'll let you know what I come up with. // At 8k-75 the SSD goes like snow in hot water. My video above was 4.1K-60. // At this moment I am backing up 10.8 Tb to an LTO-8 tape. The 'write' is done but the 'verify' is still going at over 40 hours. Time consuming but I needed to get some space back on my external drive.

I decided that I would do the ND experiment even though it was windy. I put Inspire 3 on a table on my patio and shot North (down sun) from the table. I shot No-ND, 3-Stop and 6-stop with CinemaDNG, 60fps, ISO320 and iris 16, 8 and 2.8. I brought everything into DaVinci Resolve and edited the RAW parameters first. Then copied to make all clips equal. I then edited HDR and made everything the same with the exception of exposure. I added 0, 1.0 and 1.5 stops to get a sky match (all 3 clips cropped to fit on monitor simultaneously). Of course, 2.8 to 8 is 3 stops but 8 to 16 is 2 stops. As such I expected to need adjustment but the 1.0 for the 3-stop surprised me. Conclusion: There was indiscernible difference between no-ND and the 6-stop. The 3-stop was very slightly less saturated. All 3 clips were quite acceptable and any differences could be easily edited away. The key is equal exposure. I watched the histogram and it was close but no identical. As such, exposure was different and that changes appearance noticeably. Anyway, I advanced my understanding of the issue.

@@MarkAJaegerVideo From my experience testing the drone's exposure with the ND filters from the back of your car or from your table is not reliable because just about everything looks fine from there in any setting. You need to fly up high into the sky and try to film every angle of your surroundings especially after 10am into the afternoon. I also have Ariel shots where nearly everything looks fine expect for clear water and the beach and humans which shows areas that are blown out within the shot during a sunny bright day. With a mavic 3, you are just fine with a 16 or 32 ND filter during a bright sunny day but with an I3, you need a 64 ND at the bare minimum for your beach and clear water not to be overexposed and blown out. This is a problem that this review video from Oslo, Norway was also complaining about and the guy is right. Apparently the Ronin 4D didn't have a problem with this but the x9 does. I'm still trying to figure out how to deal with this because any cloud cover that blocks the sun when you have a 64 ND filter on is basically going to make your dim footage useless

When you test anything it is important to keep variables at a minimum. This is "design of experiments" in engineering terms. Having a fixed background of ground, shrubs, sky and clouds allows a reasonable conclusion about the single evaluation objective being tested = vibrance with varying ND. Shooting anything other than a repeating plan will lead to uncertainty about what(s) caused the differences. // The dynamic range of the Inspire is pretty good but it is not as high as terrestrial cinema cameras (Arri Alexa, RED, Sony CineAlta, etc). Inspire has the best drone DR that DJI makes. Some of their drones are severely limited in terms of DR. // Even with the terrestrial Cinema cameras it is possible to run out of dynamic range wherein things blow out or crush. DPs are paid big bucks to design shots around the limitations of the cameras. // In my experience, for scenes with varying sun and cloud cover, a 6-Stop/64 is still a useful ND that will not crush blacks. I recently shot a forest scene with cloud cover where I flew through the trees at 2-4 feet above the ground. I exposed for the shady scene. When the sun came out it it was way-bright but I was able to use the footage as I had shot RAW and had enough DR. When the sun looked like it was going to shine through the clouds for a bit I exposed for the bright scene. The sun, of course, went behind the clouds before the end of the shot but it too was useful footage. The dark forest floor did not crush with 6-stops of ND.

@@MarkAJaegerVideo I'm planning on doing more real world tests this week and I have a few jobs as well. For now I'm going to keep the EI to the lowest native ISO level leave the EV at 0 and leave the white balance and aperture on auto (auto tends to do a fine Jon in those two areas) 180 degree shutter angle or maybe double the fps and a 64 ND filter unless I have to deal with overcast or after sunset. 5 stop is perfect for sunset 8k 60 fps and 8k 75 fps for more active dramatic motion real time shots.

Kyle, The Cottonwood Canyon venue has a lot of nice scenery. Nice scenery always helps make shots look great. // Alas, although my wife/co-pilot has been training I shot all of Cottonwood solo. It is sometimes tricky (e.g. Grosvenor Arch where I was orbiting, climbing and panning with wind all at the same time) but I think I stayed in the acceptable range of bobbling. My flying is getting better and my co-pilot will be workin' it next time. // I charge all the batteries (5 pairs) every evening. Then, the next day, as the shooting progresses I place expended batteries on the charger in the truck. It has a 400 Watt 110V outlet that works when the engine is running. It's not a great method when the drive times are short but it works better and better as the drive time increases. // Midday light is always a challenge. I haven't noticed discoloration or distortion - just flat light with no "life". // I am in transition for my grading SOP. This was done in the 'new' method wherein I edit the raw CinemaDNG parameters. Then, in HDR mode, I do minor tweaks for shot-to shot consistency. I am using the 'Groups' feature in Resolve wherein clips shot close together in terms of light and composure can be edited as a unit. //. I rarely move off ISO800 with a 6-stop ND for midday. I just received a 3-stop ND that I will be using for end-day shots where 6-stop is too much and no-ND isn't right either. // Be sure that you set your exposure settings for a good histogram for every clip. I set on the ground, then takeoff and head in my direction of flight checking/adjusting again such that the histogram is as good as practical. I tend to bias toward the dark end as I think the Inspire has a tendency to blow out even though those shots are not way-right in the histogram. For me: middle to low-middle of the histogram is my go to. //. My CinemaDNG fps is 60. Best regards, Mark

@@MarkAJaegerVideo That's great Mark, we've been doing more tests with our drone so Kyle can get better results, I love your videos, so beautiful! 😊🙋🏻‍♀

Thanks for the compliment. Speaking of nice video - I watched your 2023 Waimea work. Great work in a tough environment!! Im envious of the venue where there is tons of action to capture. I'm curious - what focal length were you using? How did you deal with the crush of people when you came back to land? Did you have a pad where you wouldn't be bringing a 2 foot weed whacker close to people? My landscape work has NO people problems in comparison!! After watching your work I suggested to my wife "maybe we should go to Hawaii January 2024". It's been a long time since I was at Waimea and never when the massive waves were coming in.

@@MarkAJaegerVideo Oh he catch the mavic 3 drone in his hand but last month he had an accident to catch the inspire and and cut his thumb really bad 😬so dangerous! I don't know enough about drone or camera, he will respond to your question 🙏🏾

Catching drones, especially big ones like Inspire, is super dangerous. Not just the danger to the 'catcher' but if you drop the drone you could wreck big$$ worth of props or gimbal/camera.

I'm glad you like it! We lucked out with great weather for October.

At first I was thinking "who is this" but then realized it was my favorite mechanic and fellow shooter. I've been out a bit lately shooting and now producing the resulting video. There is some work in that 2nd step Anyway, glad to hear from you and I wish you the very best in all you do.

Thanks. It was the first shoot on a trip a couple of weeks ago. I flew and my wife collected iPhone pics.

Don't be too hard on the shooters. Sometimes judder is hard to avoid.

Do you know if KMZ import works? Or future firmware update?

Jim - Thanks for the nice comments here and regarding Flight Mode. I learned a lot at the "School of Hard Knocks" making this video. There's a lot that to know that isn't in DJI literature. Overall, I really like what Inspire 3 can do. Question for You: Do you sometimes have trouble getting RTK to pair? Most of the time, for me, it's easy but sometimes, for reasons unknown, pairing is tough.

I’ve read many posts about connection problems. Until it’s more reliable…can’t use with high end clients. @@MarkAJaegerVideo

I would not want to use the RTK with a new high end client….as I / we wait for the device to not connect.@@MarkAJaegerVideo

There is no way to plug into power outlet that I know of. You need a charged battery.

I am not sure what you're seeing. Perhaps you can give a little more information about what you're seeing and under what conditions the defects appear.

This is likely due to a mismatch in fps. Example: you shoot at 30fps and edit in a 24p timeline, or visa-versa. For drone shots, your best bet is to film at 30fps, using a 180deg shutter (or 1/60 speed), and edit in a 30fps timeline. Or, 60fps (if you want to slow it down in your editor), and edit in 30fps timeline. My recommendation is to void 24fps when possible, as this will always present judder issues. If you really want to shoot in 24fps, you’ll need to use speedwarp and optical flow effects to smooth the judder.

Colin - Sorry to not respond sooner but thanks for your comments. It made my day.

@@MarkAJaegerVideo You are welcome :)