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@webrunner5 was right all along!

I finally recieved the mc-21 adapter today so I did some totally unscientific moire tests after seeing that dpreview chart which I thought initially looked very sketchy. To my suprise it did conform to reality. The S1 does seem to suffer from alot of moire in APS-C mode. I find the levels of moire in aps-c is near unacceptable, I believe panasonic has messed up here in their quality control. Also the 4k image is a bit softer than expected. However in 24/30p the moire levels are very low and the image is much cleaner so there it delivers stellar results. I think S1's strong points is its dynamic range and low light performance but it does come with some drawbacks unfortunately (atleast for us that mainly got it for its 4k60 and high frame rate modes..). Setup: S1 firmware 1.2 GH5 vanilla firmware + dummy adapter Lens: Samyang 85/1,5 AS IF UMC II VDSLR at f4 S1 settings: All default. Standard picture profile and 8-bit video. Might try to play around later and see if the moire can be lowered with some settings adjustments.

I hear a lot of people complaining about a lot of things recently on the internet, then you just realize they are 14-24 years old, and it's on the internet! I, too, am very happy with what I have seen in my life. Starting pro work at 1999, I seriously do not have much to complain when I can get a dual ISO speedboosted m43 camera with raw(even with a B in the front) and a perfectly fine, professional even, editing program for 1500€ and I can fly my own 10bit log 1" drone and stabilize my cameras and have computerized sliders and other such devices. The horror of Adobe Premiere 15 years ago! 400 ISO was the absolute maximum, cameras and lenses cost an arm and half a leg, to shoot aerial production companies were flying actual planes. It is good to have some perspective in life!

Hallo friends, here is my contribution. I hope you like my final film. Looking forward to the great pleasure of exchanging experiences and technical odditities and tricks once Andrew gives the signal for releasing info next week. Thank you for your beautiful films, discussion and the awesome spirit. Thanks Andrew and everyone for inspiring us to film something personal. Here is my labour of love, shot last week and edited over night until just now cheers! Thank you very much!

@Anaconda_ beautiful shot and colors! would love to see that video. @Alex T beautiful stuff, you make your topics and subjects shine! the slomo is 48p mode in ML RAW? Love this thread! One of my favorites. Lots of examples of classic and classy camera work here, not even to speak of the beautiful RAW magic and the thrill of the hack.

OK, I‘ll do it. But: Seeing the masterpieces you guys submitted I’m seriously afraid to lose my camera (it’s old and cheap and partly broken but I’m somehow fond of it), so I’m entering only for the jury prize... ?‍♂️ Shot only with a camera and a rather old lens. No grading. Here it is:

Just completed an edit of my showreel. All footage shot with my 5d II + ML. Been using it professionally (As in making a living with it) for about 1 year. https://www.youtube.com/watch?v=1js__2cAdjE

I'm submitting this 50 mins after the deadline, I don't know if I'm in or if I'm out... Damn, I know that this thread has been open since around a month, but didn't had time, didn't thought on participate, and last week I thought about it and said "let's give it a try".. unfortunately didn't had any time, and just today I was able to sit in front of the computer to edit.. so sorry for the quality, I tried to do the best I could on the image part but didn't even had time to normalize and do something with the audio ?‍♂️ I hope it's good enough. The camera used can be bought used from $124 very used, and all the way up to $200 in mint condition. I aded a BONUS SHOTS part where I put some unrelated and random shots with different lighting conditions to see how the camera performs on those situations. Here is the link, it's still uploading:

At the moment i don´t have the Vlog upgrade ( in Italy i have to pay for it) but i am very with the result from every shot i come back. i don`t know if the upgrade brings a lot shooting weeding ?!? mixed 50p flat and HLG, DJI Osmo pocket + Mavic 2P

You young guys are so slow to catch onto things lol. ?

Ohhh.... how far off was I? Up or down? Don't rule out an OG Shogun, as they can be found dirt cheap, and have the basic capabilities to capture the 4K raw from a FS700 (although yes, an Odyssey would be able to get even more out of a FS700)

It uses the same stream as the Panasonic Image App, so latency/quality/behaviour when recording will be the same. But it does offer a lot more on the monitoring side, particularly with focus The full details are here https://www.adamwilt.com/fieldmonitor/

You are very liberal with my time mate

It's so crap, I ordered a second Fuji XT3 body yesterday for video so I can carry on making more crap wedding videos. Actually, I'd be quite interested to see what DJI come up with as I love the look of the Hassleblad...just that its; too expensive and doesn't suit my needs anyway. Further to this topic... Yesterday, I was again wrestling with another wedding video, - trying to match up; Sony 1" camcorder static footage with Fuji XT3 footage with DJI Mavic/Pocket/Action footage...and there is little consistency and though in isolation the camcorder footage looks decent, compared with the XT3, it's garbage. So I had a little word with myself and made the following decision and that is bar anything actually breaking, forcing me to replace it, instead of looking at what I might be doing next year and speculating on what new kit might be coming, I'd embrace what I have and make that work. I shoot stills and video at the same time so ideally, having just one system would be best but as no single manufacturer makes 'everything', I have to use multiple brands. I've pared it back to Fuji & DJI. Fuji as the principal and DJI for the aerial and backup. The camcorder is going to be sold and I've ordered a second XT3 body to replace it. For the rest of the year, I'm just going to shoot the Eterna profile only, so no Flog or HLG on the basis I can judge the exposure of the film profile far better in the real world conditions of often uber-bright sunny SW France and concentrate on my capture rather than having the kit and technology get in the way. I'm planning on getting to know the set up as intimately as possible as I believe that is where the results will come from rather than the next latest and greatest. So the BMPCC4K, the Sigma FP and the potentially new DJI et al all look great, but none of them are going to make me any better at my craft. Maybe HLG next year, but for now I think the negatives outweigh the positives and consistency is the key. Sorry for the ramble!

well thats inaugural (is inaugural the right word ? ) round one, done and dusted. I think the reveals will be interesting. I also cant help but think that the idea of losing a camera may of put alot of people off, statistics say there's 29606 registered members, pretty sure the submissions don't quite tally up too that. Which is a bit of a disappointment. Personally i learned alot about myself and resolve and associated video stuff with this competition and it was interesting to see other peoples submissions and how they tackled it. Looking forward to the next challenge although next time if i may suggest lets not make it about losing anything.

You ought to have tried to do this stuff 20 years ago or longer. You need to get on your knees and Genuflect. It was hard mode.

try this one. Sorry i had enough last night seems like you cant embed a link before the video is converted by vimeo. Something else i have learnt.

S1 + 70-200 f4 S, iso 6400, VLOG 10bits 422, UHD2160p25, all handheld. Link in the description to the non graded. He said in the comments section he feels the S1 as a mini varicam.

I remember reading that the 4K of the NX500 had superior rolling shutter to the NX1, and I believe to other cameras as well. I cannot find a thread or the source of this information though. Can anyone cite a scientific source (controlled test on a camera site) that reveals this? I know the 1080p and 2.5k footage is marginally worse than the NX1 1080p.

Samsung 850 and 860 Pro are the way to go, they work in all Atomos.

@mnewxcv Sensors usually have a number of different readout modes with different resolutions, noise levels, and RS values. Samsung might be using a different readout method for HD on the NX1 and the NX500. 120fps requires a readout under 8.333ms, and Samsung might have just made all HD framerates on the NX1 use that same 7.9ms mode, for whatever reason. The NX500 can't do 120, so there's no reason to use that readout mode at all. BUT... Tbh I am not sure whether the DVXuser test measured the NX1 HD in all frame rates. We'd have to dig through the thread to find out. It's possible that the NX1 has 7.9ms in 1080p120, and 20ms in 1080p30.

user Otto K on another forum posted the following: so it would seem you were pretty much on the money with your estimate. That is the only info I have been able to find on nx500 rolling shutter, though interesting that the 2.5k is so low, and also that the 1080p is significantly worse than the nx1 (7.9ms according to this thread: http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! )

or maybe 2 years from now ?

I haven't seen anything specifically about rolling shutter on the NX500. So take this with a grain of salt... The NX500 4K is a 1:1 crop, unlike the NX1's full pixel readout. Rolling shutter is likely proportional to the crop size, since it's the same sensor. That would estimate to be ~19.3ms for UHD. (NX1 reads 3650 vertical lines in 32.6ms, NX500 reads 2160 vertical lines. 2160/3650 * 32.6 = 19.3).

And you are too humble to give it a try, avoiding even more gratitude of this community and beyond. No, seriously, I would not like to come across as too persistent. Anyhow..

not that super nice to say but too funny!

The guy will look back at that haircut 20 years from now and cringe.

thanks for the question! I second it. Also, how is the 2.5k quality, bitrate and codec quality for grading? love the robust panasonic codecs. the 8bit 100mbit hd codec of the gh4 is really cool. interested, if nx500 would offer this, paired with an awesome readout speed, tiny rolling shutter. give me gh3 quality with a 7ms readout. Thank you!

The market for weeding videos hasn't really matured yet. Hedge trimming might work, but weeding get's a bit repetitive watching after even just a few minutes ?.

Seems like the S1 is a pretty darn good choice still, and I am sure the S1H will really take the cake. That said the Z6 will likely be my first full frame camera. The prices on it are just insanely low used. Like any other camera if you get decent exposure and nail white balance your stuff will look good.

I was just reading on another forum about someone's struggle to find a vlogging camera... Surely nothing less than Fujis' 100 megapixel job will be up to this task? It could work as a temporary measure until something bigger and better comes along?

This one doesn't specifically detail it having the upgrade but MPB have sold quite a few FS700Rs (they have 3 now actually) so its worth checking with them as they may well have taken it in with an FS700R kit originally and are selling it separately. https://www.mpb.com/en-uk/used-equipment/used-accessories/used-photo-and-video-accessories/used-other-photo-and-video-accessories/odyssey-q7/sku-863775/

I'm guessing $1K?

Recompression will make an image worse in all kinds of ways, depending on what settings were in there and what was in the source. I'm not saying that the image in question was perfect to begin with, but just clarifying that the artefacts are a mixture of what the camera saw, what the artefacts the codec in-camera created, and what artefacts the still image compression put on top of all that I all my travels with equipment I learned that: I prefer Manual Focus over AF, because AF isn't there yet and with MF I have full creative control I don't mind the aesthetic of human focus pulling and don't need everything in focus at all times (I shoot only travel and home videos so I have full creative control) I really like being able to get subject-to-background separation via background blur, which if you're at a distance from subject requires a large aperture I also shoot exclusively in available light, and shoot a lot at night, and I have pretty good night vision so I also want a camera/lens combo that 'sees' in the dark as well or better than I do, which means a combination of high ISO and large apertures I really really like 10-bit files as grading them is just as good as 14-bit (IMHO, but I did comparisons between compressed 10-bit, and 10, 12, and 14 bit RAW) I'm not very good at mixing the focus direction (I've shot with the "wrong" MF direction lenses before and afterwards it screwed me up for a week or more each time) I'm not super-picky about consistency between shots and I can always compensate between lenses etc in post (at least to my personal standards, probably not to others) When I shoot sports I want very very very long lenses (I shoot a lot at 840mm FF equiv) I hate hate hate clipping and I like ~12+ stops of DR (as opposed to less) as I like creating a lower contrast output image that shows off the full range (reminiscent of how high DR cinema is graded) I'm pretty good at spotting the most expensive / highest quality cameras and codecs in blind tests, so my tastes run towards RAW and ARRI colour science I like 16mm, 35mm, 70-80mm, FF equivalent focal lengths (and a very long zoom for sports) To this end, I ended up with: GH5, as it has 6K 10-bit low-sharpening H265 mode, 4k60, and 1080p180, EVF, loads of buttons, MFT crop factor for the long focal lengths, I don't care about AF, and the colour science and 10-bit make it nice to work with for nice colours (although I still have huge amounts to learn about grading) 8mm F4 SLR Magic (to be upgraded to 7.5mm F2 Laowa lens when I sell my Sigma 18-35) 17.5mm F0.95 Voigtlander (the default lens on the camera) 40mm F1.8 Konica Hexanon (on a dumb non-SB adapter) 58mm F2 Helios (on a dumb non-SB adapter) 70-210mm F4 Canon FD zoom on a 2x Canon teleconverter on a dumb non-SB adapter Rode VMP+ (with the attenuator set for a safety track) I am missing a prime in the ~80-85mm range but haven't managed to find a budget friendly option yet, considering how little I would use it the budget isn't that much. For trips I would either take a three-lens set of 8mm, 17.5mm, and 58mm, or a four-lens set with more extension of 8mm, 17.5mm, 40mm, and 85mm. I have bought a bunch of other lenses and literally have a box of stuff to sell, and there's a 135mm f2.8 Minolta in there that I'd also consider taking on a trip for extra coverage, so I'm not sure about keeping that one or not. It's always a compromise between travelling light and being flexible... Had a look over this and it's interesting to look at the Dog Schidt, which (I believe) is a Helios 58mm F2 modified to flare a lot (depending on the options chosen in the customisation). It really shows how soft it is at F2 and how sharp it is at F4. The bokeh on that is quite pleasing and quite reminiscent of the higher cost options. @mercer was right about the bokeh on the Rokinon being really busy and distracting, I didn't expect that from it. It'd suggest that's because it's dirty (which IIRC is what the texture in the bokeh normally reveals) but it looks like internal reflections or something and not just random dust or fingerprints or whatever. Any ideas? It's quite off-putting to me. I looked at a bunch of the cheap vintage brands like Rikenon / Mamiya-Sekor / Chinon / Revuenon etc but eliminated them because of the hard-edged distracting / bubble bokeh and the fact I want my bokeh to shift attention to what is in focus rather than be a special effect that pulls attention from what is in focus to the background!

True. Also I was on beta 7

I installed resolve 16 but didn’t really find much that I really cared about that was new (I don’t need the cut page) and the color page was dropping frames in 16 while playing at 24fps on 15. Long story short I am back on 15.3.1 as it is stable, well performing, and includes all of the features I want in a NLE.

The lack of innovation is debatable. In the past 5 years only we had: - Generalization of IBIS on many FF camera - 10 bits video files or even beyond that - Amazing and affordable lens selection from Sigma and other third part manufacturers (samyang, tamron, etc.) - Generalization of 4k and now 4k60 - Standardization of video assist features - Cheap, effective, and easy to use 3 axis gimbals. I built my first gimbal for drone in the early 2010s and just settings the PIDs of the controller was an immense time consuming pain. - Cheap drones everywhere thanks to DJI, Parrot and other brands like Autel, etc. So, yes I'm a bit amused about this level of whining and hysteria. Yes, we should have a lot of stuff in life, I would love to get a "Full Frame camera with full modern touch screen interface, DPAF with AI, Raw video and 4K60P 10 bit no crop, IBIS" but it won't happen ever. Each companies has strengths and weaknesses, technologies protected by patents and we will never get the silver bullet camera with the best of everything. Even Panasonic had hard time to come up with 4k60 in full frame. The phone and the photo industry are two different animals, sales are on the low millions versus billions for smartphone in volume. Not even talking about the margin. It's not hard to understand that the level of investment won't be the same. But Sony UI is just plain stupidity, it just happens everywhere. People like me denounced Canon conservatism many times in the past, just google my name and Canon, you'll find my articles, I even quoted Andrew there. But unlike a few years ago, Canon is no longer the only option so I just moved on, I got the right tool for my needs and went out shooting. Incidentally, I spent much less time on this forum crying about motion cadence, organic feel and other mundane stuff which are a bit irrelevant at this point. That said, I wish you the best of luck with your endeavor and your next video projects. Cheers.

They are more likely to do it the other way round just to spite everyone !

If you are looking for a genuine UK product then the safest way is to check the product codes on Panasonic's own UK direct website (though not necessarily buy from there obviously ) From their site the H-FS14140E9K is the original one. https://panasonicdirect.store.panasonic.co.uk/p-5508-panasonic-h-fs14140e9k-h-fs14140e9k-panasonic-lumix-g-vario-14-140mm-interchangeable-lens-black.aspx?psn=15 And the H-FSA14140E is the MarkII version https://panasonicdirect.store.panasonic.co.uk/p-5689-panasonic-h-fsa14140e-h-fsa14140e-panasonic-lumix-g-vario-14-140mm-interchangeable-lens.aspx?psn=12

Nice light... gotta love golden hour down the shore. How did you like that 70-200mm? I know a lot of people go gaga over it? Was this handheld? And that’s the appeal of zoom lenses. If I’ve learned anything about getting it done over the last couple years, I’ve learned that in the end, the film is all that matters and if a zoom lens can give you a better shot ratio, more efficiently, then they’re worth their weight in gold. Traditionally, one of the reasons you would buy the faster variant of the lens is because when you stopped it down to slower lens’ maximum f-stop it would be sharper than the slower lens. Take the Nikkor ai-s 50mm 1.2 for example. Wide open it’s a dreamy mess but by f/2, it’s the sharpest, manual, 50mm lens, Nikon made at f/2.

I'll preface this by saying I've got a pretty jaundiced view of that place and one that is pretty outdated as the Koolaid wore off a long time ago with me and this doesn't apply to every discussion or user on there but.... One very cynical and blunt interpretation of many of the conversations that I used to see on there was that when they say "modern" they mean too expensive for them to own and when they say "vintage" they mean the ones they can afford to own. That melting pot of high end pros and ambitious indies that I was referring to that were brought together on there led to a nuance around that language that, again, a cynical and blunt viewpoint would be suggestive of a snobbery/class divide. Because of that there was definitely a vibe that many people were dressing for the job they wanted rather than the one they had if you know what I mean and would offer up that caveat of "of course these lenses would only be for personal projects" to offer a shield against some perceived ridicule or scorn from people higher up the food chain when the reality was that the only projects they were doing were personal projects or low enough budget one where hiring let alone buying higher end lenses wasn't on the cards. I'm not saying everyone was doing that but there were certainly a lot of them that were and it was pretty sad to see. Instead of just feeling free enough to be able to say "I could just about afford the camera but fuck me the lenses and everything else are killing me, anyone got any suggestions for cheap stuff that I can use to get going with?" (which is exactly what would happen on here) a lot of discussion became couched in people not wanting to be thought of as not shooting this summer's Hollywood blockbuster so a kind of euphemistic/nebulous masking language developed. The cultism aspect of Red ownership and Reduser isn't just limited to the "How shall we fuck off oh Lord?" deference to the billionaire founder and his colleagues but also extends to the grip it has on the perception of a number of its more rabid followers in somehow elevating them into the higher echelons of film making. With some of them it was borderline cosplay. In about three or four years when everyone is sick and tired of cobbling stuff together and manufacturers are sick and tired of being caned by cellphone advances eating their real camera sales, we will all get camcorders again. And breathe a massive sigh of relief at the liberation of it all. I mean, I seem to recall you only wanted a bit of a bump in quality and shallower depth of field from your XC10 and look at the absolute rabbit hole you've tumbled down

Actually, I posted it as a peace offering because I thought you would find it funny. Unlike you, I have been nothing but respectful to you during this exchange. Whereas you became belligerent and offensive because I stated how and why zoom lenses are useful for run and gun filmmaking. So, my opinion about zoom lenses led you to attack me on a personal level where you called me meek, a loser and inferred I am not a man. So after you personally criticized and attacked me, I posted a joke frame to lighten the mood and stick it to you a little. If you can’t take it, don’t dish it. As a writer/aspiring filmmaker, I’ve learned to have a thick skin a long time ago and some person on a stupid forum isn’t going to get under it enough for me to weep and cry.

Anyway, here’s yet another shot from my film...

It’s not about embarrassment, it’s about legally being allowed to shoot at the places I’m shooting at. You need permits and insurance to shoot a film. In a lot of places, you can’t shoot a film in your own house without a permit. Now I would assume that 7 out of 10 times, nobody would care, but when I need to get a shot on a crowded boardwalk, without a bicycle cop giving me grief, I need to be as fast and as inconspicuous as possible. Hell, when I have my Rode Micro and deadcat attached to my camera, I get more looks and atttention than you can imagine... Getting this shot handheld, outside of a motel room, ended in a 5 minute conversation from someone who thought I may be a Peeping Tom... Also, you mentioned earlier about never needing to shoot with an f/1.2 or 1.4 lens... well when you shoot in public, if you get a bystander on video, you would need a release form from them granting me permission to use their image in your film. With a fast lens, they’re so blurred, it doesn’t even matter.

Unfortunately you have to buy his guide to access it. But it is $100 and I think it is worth it.

Beautiful image! This is why I can’t move on from ML Raw.

Well, even if I do have to reset some settings every now and then, I’m really enjoying shooting with my eos-m and 28mm f2.8 Canon FD lens...

Here's a still from my first shoot with the Andromeda tonight, video will be forthcoming! For a camera this old, the results are incredible. The portable laptop rig worked like a dream, and better than I could have hoped for: ::Hackintoshed PC laptop with modular SSD bay for recording (2TB SSD for shockproof, fast performance, up to 18 hours continuous recording) ::External laptop battery pack, 70,000 mAh for 7-8 hours of power-up time Once I had my settings dialed in, I could just close the lid to the laptop, set it in my special backpack and focus on getting my shots. It's incredible, and I'm looking forward to all the things I'll be able to do in the future. Footage in motion is just awesome!! Video coming soon, but in the meantime enjoy this still! 000001.tif

Bring it on! 15 hours work per week is my dream! Humans are not supposed to work 10-12 hours per day (+ an hour or two go and come back). Here, all the TV jobs are 10-12 hours, and in some productions it is even more. Most (almost all) of them do not even pay overtime. Everyone points out the negatives, but constructing machines to do the repetitive shitty jobs is a huge opportunity for the networked humanity to achieve great things (like explore other systems and colonize space e.t.c). Do we really need people working at McDonalds and Walmart? Is this what Aristotle, DaVinci, Nietzsche, Sagan dreamed of humanity? I say, bring in the robots, until they revolt, and kill all of us, of course...

Honor put this larger 48mpx sensor behind a f1.4 lens: https://www.gsmarena.com/honor_20_pro_sample_photos_show_off_the_ais_super_night_mode-news-37065.php