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You’d be putting the same amount of water in a larger bucket. No increase in detail, only an increase in file size.

you don't ? i always thought there was something wrong with with you?

Psychologically three figures appeals more than 4. Although it's usually two figures I give to Canon.

I posed the same question recently, and after my own investigation which involved actually doing this with the short im working on, heres my position on this... the answer is: yes and no YES, transcoding to a higher resolution, higher bitrate, etc, format could benefit your work in post IF youre • doing vfx • sharpening the footage *doing other stuff like that, theres lots of benefits BUT! NO, • you wont get some magic out of this process to get more out of your grade per se. what youre doing with color and exposure isnt gonna have more latitude just bc you make your crappy phone footage prores 444. u kno? thats my take on it, correct me if im wrong guize~!

I'm glad they're adding log, but I would only use it for monitoring raw recording. For that, it's crucial. The log image with LUT will then match the RAW image with LUT in Resolve (different input but same output image). So as long as: - They publish the log curve and wide gamut they are using. They need a conventional Cineon/AlexaLogC/ACEScct type of log curve that will hold all the highlight information of the raw sensor. - It can send a log signal over HDMI so that you can record DNG raw and monitor with a lut on the HDMI log image. If it's sending out raw over HDMI that's quite cool, but as far as monitoring, you are limited to the Atomos Ninja V vs. every other EVF or external monitor on the market that allows a custom LUT. As for exposing raw, the only two things you need to think about are: 1. Expose with a grey card and a lightmeter like you are exposing film. You can also use false colour and a grey card but just make sure you're aware of what gamma setting the false colour is expecting, or make your own false colour LUT. 2. Check where the highlights are clipping. If you need to protect the highlights further, then underexpose by 1 or two stops and push by the same amount in post. Use Neat Video to clean up the noise floor if necessary. Zebras are for a video world. They can be semi relevant for checking highlights in log since it puts everything in a 0-1 range. Again, we need log output for monitoring and if for example shooting for ACES we can put a log to ACES rrt/odt LUT on the camera monitor/EVF and see how the full dynamic range of the highlights are rolling off. Then get the exact same result on the ingested DNG raw images to ACES in Resolve. Log for monitoring raw recording is crucial as it allows any Chinese 8 bit monitor with custom LUT option to display the full raw image dynamic range and get a very close match to what you will see in Resolve with your beautiful DNGs - as long as you have your technical LUTs set up correctly. Published log and gamut is a MUST though. Sigma, please do a white paper documenting this. This way, we can do a direct correlation with the linear raw image. And allow sending log over HDMI while recording raw.

Wonder if this thing really is up to snuff: https://www.kickstarter.com/projects/2124504218/warpdrive-high-speed-portable-ssd/description

Yes, that makes perfect sense. With most codecs you can losslessly trim a portion out. It can be done with ffmpeg, I've done it for archiving GoPro footage from long events. I don't know whether any mainstream editing software can do this--there is an option to "only re-encode when necessary" in Resolve but I haven't tried it. On All-I codecs such as ProRes, this should be possible with cuts on any frame, but with intra-frame codecs, you would begin your trim on a I frame. Unlike an uncompressed format like your TIFFs, cutting out a portion of a compressed codec won't be lossless across edits. For example, you can't color correct it and maintain your complete fidelity with this method. On the other side, most codecs will not show any degradation over a single re-encoding. Avoid it when possible, but it's usually not the end of the world if you're not doing it a few times.

According to this list you will gain ~4.5ms of less rolling shutter if shooting 60p. ?

Haha ya, we need to use our Musicbed ambassadorship more in the future... Good song though!

You're not going to gain any increases in quality. The only benefit would be to improve performance when editing prores vs h264 or similar.

and the fact that things like Fusion comes with the free version of Resolve.... really now it's just down to how much work you put in to learn the skillset, the tools are basically free.

If you are sure you wont be slowing it down, then shoot in the frame rate you will display at. Light loss is dependant on shutter speed also. So 60p with 1/60 will be identical exposure to 30p with 1/60. On many cameras higher frame rates are lower quality due to binning, compression, or different sensor readout. 60p has no advantage if you are just going to convert to a lower frame rate.

/blink three times if you need help....

I succumbed and bought one. I will test more fully over the next week. Ergonomically from a stills view it's very much a urgh. No EVF makes life very difficult for me but i do have the VF on order so maybe that will change things. Cine mode. DNG. It's heaven. This is all you need from a camera. I've side by sided UHD 8bit onto SDXC vs A7sII UHD Slog2/Sgamut and there's no joke. It's almost comical. The low end and the highlights are literally playing in different ballparks. What crushes the A7sII footage is the compression. Simple as that. So that 8 bit UHD is remarkably good. I'm pushing and pulling it and comparing to the same thing shot FHD in 12 bit and it's incredibly robust - so much more than it should be. Over the next week i'll push and pull properly. I got it as I needed a lightweight B cam to my Red for a shoot - so i need to intercut and i'll be finding it's comfort zones side by side with everything. So far the best resolve post in in ACES. My fear with going into any 709 space is that the camera native spectral response will be outside of 709. All Sony sensors push red way out and it's easy to see with bright red subjects. If you don't debayer into a larger colourspace then those reds get clipped or mushed into gamut. I don't know enough about DNG support in Resolve but visually into ACES appears much better. The only other valid option i think is Linear in, certainly none of the BMD Presets as they're for very different sensors. Cheers Paul

Works perfectly for me with panasonic lenses. Haven’t tried the sigma but I’m sure it’ll work well

@DaveAltizer How is CAF with non Olympus lenses? IE, Sigma 30mm and Panny 15mm. Thinking if doing the OMD EM1 mkii as a b can to the GH5

Right? I can’t wait for GH6 or a EM1.3. I just got a Weebil S gimbal. It’s great but after using it for about 30 mins I was like I can’t wait until I don’t have to use something like this. Just so much faster to translate the movements you want with your arms and hands and a good ninja walk. Im also thinking about picking up a EM5.3 for photo and for occasional video. So many people knock it and then say after using it it makes photography fun again.

The thread is sleeping, so I thought about sharing updates after having used the S1 for a month (and the newly announced firmware updates are a good occasion for that !). So I used the S1 during a 1 month arctic journey across northern Swedish mountains and Norway in last September/October. I only took the S1, for photo and video, and brought with me the 24-105 f4 kit lens and the Sigma 14-24 2.8 dg dn (the new one, designed for mirrorless) which I brought 3 weeks before I left home. I wanted to film (not doing time lapse) the northern lights, but we were not very lucky with the intensity of lady aurora, despite one or two explosions in the sky, and the f2.8 aperture of the sigma was not enough. I will soon sell the Sigma and buy a 20 1.4 Sigma art, and maybe wait for the newly announced pana 16-35 f4... (or a used canon 16-35 f4). I was a bit frustrated with longer reach need, because, when I bought the S1, I thought the ex.tele converter worked the same as on Sony (clear zoom if I remember) and on the GH5 and G9. So I did not bring any tele for this trip (despite still having at home a Canon 200 f2.8 L ii prime at that time), hoping to film with the 24-105 at 105mm in apsc mode + exteleconv. Some days before leaving home, I discovered that it does not work in 4k… So on 1 or 2 occasions, to film wildlife or distant landscape, I used 1080, and pixel/pixel mode. I checked the results at home on my computer, and the results are really really awful eheh ! APSC mode is, on the other hand, really good ; so, in the end, I had a little reach on some occasions. I really love the range of the 24-105, and find it very useful. Fot this kind of trip, it is perfect ; maybe the newly announced (yeah, so much "newly announced" today !) Sigma art 24-70 f2.8 dg dn will be better, I'll keep a close eye on it. The Sigma 14-24 f28 dg dn is a wonderful lens for photos, sharp enough for me in the corner, light etc. But the inability to put a vari nd on it was useless for video. I bought it for nighttime auroras filming, but a 20 1.4 + a wide zoom that takes filters will serve me better. I encountered minor bugs : occasionally, when I pressed the review button to check my images, it said "no valid pictures on card". Had to turn off the camera and I could access again my images. I had 1 or 2 freezes (really less than my fujis that used to freeze very very often) too. Ah, and the camera is slooooooooow to operate. Drives me crazy when in a rush ! All in all, it worked very well, even during snow storms and -10°C temperatures, and was covered with ice and used under rain with no problems. The handling and controls are phenomenal, especially in shitty conditions. So far, I only reviewed my footage on my computer since I came back home, and I barely touched the camera again (little time) but I managed to play with some clips. The Vlog shots are gorgeous... really ! I tried to play with them with filmconvert nitrate and varicam profile (I need to try the """newly announced""" ? S1 profiles), and with the varicam luts supplied by panasonic, and I love everything about it : colors, look... I think i prefer the result I obtain by applying Resolve's color space transform to the vlog clip, and then tweaking it to taste. I am still learning and, thus, is a horrible color corrector, but with minor stuff applied, I obtain a really pleasing result. I also filmed a lot with Cine-d and HLG. The former seems to be very good, and the latter... I still did not figure out how to treat it in Resolve eheh. I wish I had more time to learn the camera prior to departure, because I played with the flat profile last week-end, and I really like it too. One thing I instantly noticed is the iso capabilities : amazing ! I sadly found some missed focus shots while reviewing my clips. More than I wanted... I mainly used MF, but with a lot of "AF first then switch to MF", and maybe the struggling AF in low contrast scene + not always easy to check the focus peaking in bad weather conditions + my poor fillmmaking skills are to blame. On the still side, not a lot of things to say : wonderful high iso performance, very flexible files... everything you want from a modern 24mp sensor. A great machine for my use : landscape, documentary, astro photo... Sorry for the very unprofessional review ahah, hope some of you will find something useful. I attach just for the fun an image I took inside the tent, after a short night (I still have to post process my photos). Don't pay attention to the "clean" appearance of the camera... I was always wiping it, as it was often covered with snow and rain ? I will sell my Sigma 14-24 2.8 and, in the future, I will slowly build a kit with a wide angle prime, lenses like the samyang 135 f2, takumar 50 1.4, and maybe the coming panasonic S lenses... But for now, I will add the smallrig cage for the S1 + a cheap 5.5" monitor, and I think about buying a Panasonic G9 + pana leica 200 f2.8 + tc (unbelievable sales + cashback right now) . It will allow me to "deport" the long reach video and photo use to this setup. @omega1978 sorry, I promised you to take sample images with the sigma 14-24, but I did not find time to do it before leaving. Did you put your hands on it ??