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I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock.

I am going to build a directory of Alexa files for people to download and play with. Any helpful submissions very welcome. Or pointers to existing file downloads online.

Hello there ! Here is one (on three) of the first music video of french singer Esteban Luc I’ve done. This first one is about childhood. The upcoming second and third one will be about teenager and young adult. Each month one of this music video will be published. These three videos were shot in anamorphic with Aivascope lens. GH4 + Pentax speedbooster + Pentax-m 40mm f2.8 + Aivascope Pro 1.5x anamorphic lens + ND filter. Thanks for watching ! https://www.youtube.com/watch?v=SkcaxGIhjDM&frags=pl%2Cwn

Thanks dude. I am curious as to Arri's obsession with cows and bunnies? https://arriwebgate.com/directlink/b043cddb9c4658e0

Me too. In fact, when I bought the GH5, one of the things that made me choose it was that it removed the equipment as being a potential limitation on what I am able to create. Or, to put it another way, the GH5 is better than I am in every possible way, and I think may never put a limit on my ability to create. Now, I may buy new cameras in the future, (in fact, I will have news very soon) but I will never be buying a new camera because the GH5 is a limitation on my work that I want to progress beyond. I won't speak for other people, and certainly in Hollywood and the upper echelons of talent, the GH5 might be quite limiting to the artistic vision that others have. But for me, it's like buying a Porsche 4WD and only driving it up the street to the shops to buy milk.

Whos waiting for GH6? God i miss small ergo and weight compared to ff.

I think the GH5 is a sleeper camera, along with many others like the UMP, C100, etc. These cameras are good enough quality so the images easily meet a professional standard, aren't fancy or odd enough to be bragged about, and aren't used on large productions that have interviews with the cinematographer. People talk when someone shoots a feature film on an iPhone because the perception is it's not good enough. People talk when someone shoots a project with a camera that is fancy or odd, or when the camera doesn't traditionally suit the project. and if a film has a huge budget and wins awards then everyone gets interviewed and there are four paragraphs about the lens choices and the phrase 'colour science' gets mentioned. But when someone shoots a documentary / ad / training course / low-budget series / short / or indy feature with a sensible and capable camera, there's no press about it. That's the GH5, XT-3, UMP, C100, etc etc. I would be very curious to see what percentage of all edited content consumed is shot on these types of cameras. I think it might be a quarter. But that's the point - we'd never know, because it's not remarkable. Therefore no remarks are made, and we don't hear about it. These are the cameras of the people quietly working outside the limelight and delivering good quality content.

Yup S1H is the worst when it comes to autofocus i wished Panasonic did something about it since on GH5s it was flawless single point autofocus was dream come true but not so much on S1H😪 Now am learning to shoot manual

The S1H is growing on me. The image is just barmy. Cinema on a stick. I just wish it were smaller, lighter, and ergonomically less bricky.

Why is anybody bothering with the Pocket cameras when there is an image this good from the Panasonic S1 out there? I just don't get it. There are a lot of apologists out there for Blackmagic cameras. I think the brand has a very strong cinematic association. If it were the Pentax Cinema Camera or the Nikon ProRes Camera the hype would be a lot less. Blackmagic have done a lot of great things, Resolve, the codec side, but the S1 and S1H have a flat out better image. It's that simple. And why anybody would not want the other things offered like IBIS and EVF, also baffles me. Shootout coming soon.

Great one!

The company is based in Bavaria...

This is one of my favorite music videos of all time. I love surrealism and how the strangeness is grounded in reality.

You took an Instamatic camera And pulled my sleeves around my heart...

For sure DPAF works in 4k no crop 25p CLog Around 3:41 You can see that the icon is 4k DCI no crop And the 29:59 min limit is there

None. Freestanding Sirui monopod...though I have just bought the 16-80 F4 which is OIS 6 stops or something, but yet to have a play with that. This was my 2019 wedding season video combo. 2018 it was the monopod + XH1.

Crazy as it sounds, that's a possibility. My main concern there is bit depth density; SLog would probably not be the focus. The GH5S is next around the corner

Hehe, no idea there

Some of the best times was milk runs in my Ferrari. It’s only down the street but it only takes 6 seconds to go from 0-60.

Yes, as of this writing, it is still cropped. Don't know if further on down the road, with any more firmware updates, it will offer full frame readout or not. I know a few other S1 owners and they have said that they find there is a bit too much noise in VLOG to use 4K 60p so they tend to use HLG instead if shooting 4K 60p. I would assume that is due to the crop instead of using 6K downsampled in camera to 4K, which is what a full frame readout would give. I don't want to swear by it since I don't own one, but I believe the 4K 60p in the S1H is cropped as well.

Yes, the S1 can output 4K 60p (in aps-c crop) 10-bit 4:2:2 to an HDMI recorder. The S1 has some nice features when paired with the native Lumix 24-105 lens, but it has some drawbacks too, particularly on a gimbal. The native lenses are pretty expensive and pretty big and heavy. I use the S1 and 24-105 f/4 on my Weebill S and it is a bit hard for me to keep under control. The 24-105 is so big that you have to slide the whole rig back real far on the weebill s and that can limit how far up you can tilt the screen (I tend to shoot close to waist level on a gimbal, so it might be less of a bother to others who hold the camera closer to eye level). Oh, and that is with the 24-105 at the 24mm end. If you zoom in, then the barrel extends a LOT and you will have to rebalance and move the camera further back on the gimbal, if that is even possible. The S1 has two zebra memory positions, but unlike the S1H, you can't show BOTH zebras at the same time. On the other hand, some good things are that: The 25-105 is about as parfocal as can be, as far as I can tell and have seen on the internets The 24-105 has minimal focus breathing. While we all know about Panasonic DFD autofcus, doing a focus pull using the touch screen is REALLY smooth. It isn't fast, but it very gently eases in to the new focus point. It probably eases out from the first focus point, too. Yes, it is far slower than my Sony cameras, but it is much, much smoother and is pretty similar to a really good manual focus pull. (Much better than I can do manually.) And speaking of manual focus pulls, the S1 allows you to set the 24-105 to a linear focus response when turning the focus ring (so much better than the typical focus by wire response), and... You can adjust the amount of degrees of rotation in the focus ring from minimum focus distance to infinity. I think you can have a minimum of 90-degrees and a max of at least 360-degrees. There is a setting that says "Maximum" but got no clue what that means. The other good news is that the Sigma MC-21 seems to work pretty well with a lot of Canon glass (at least for AF-S, there is no AF-C at this time with the SA-21 adapter and ANY lens, either sigma or canon), and your typical manual vintage FF lenses work well on the S1. That's a good thing because there isn't a whole lot of L Mount glass available now. For example, the only native 50mm lens is an f/1.4 costs around $2,300 and there isn't anything on any lens roadmap for a native 50mm f/1.8 for a couple hundred dollars. There is an 85mm f/1.8 on Panasonic's lens roadmap, but I wouldn't be surprised if it is big, heavy and expensive.

These are quite good, reference samples from every current model: https://www.arri.com/en/learn-help/learn-help-camera-system/camera-sample-footage

Sage, why does the 10-bit HLG profile use the reduced range of 64-940 - wouldn't the extra tones in the extremities be an advantage?

@runderkimpling

SOC: And to those still wondering how useful these little devices can be, here's some idea(s):

75% lightning and composition, 20% lens, 5% camera with any camera made after 2016. I mean with the new way of filming... https://www.slashfilm.com/the-mandalorian-stagecraft-photos/ They probably could have filmed the Mandolorian with a GH5 and nice cinema lenses, definitely an S1H. You don’t need Alexa levels of Dynamic range when the background is a digital HDR screen.

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs. Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

Oddly enough camera matters less on big sets and more on small sets image wise. Big productions prefer "cinema cameras" for the workflow though, probably more than the image. If an XT3 was housed in an Alexa type body it would be great for big productions. Something like the Alexa really shines on a film like the Revenant where they used all natural lighting.

Gotta be controversial here and say some of the scenes don't blend very well. One looks like a million bucks big screen type of stuff, the other more of a small YouTube webseries video vibe. Though more than anything, I think post-production has made it stand out and make it still stick together. Fine grading. Let's not forget about sound design, that was bloody brilliant. Everyone can go out and get a GH5. It's those who master the things beyond the camera where the difference is really being made and where there's so much potential to still grow for me personally.

The GFX 100 is not a cinema camera. It is a mirrorless stills camera with video capabilities. Which is fine for one-man-bands or C-camera use on a set. But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

I've just found photoshop on my laptop so used that and yes, the UHD DC crop is a pixel for pixel crop from the centre of the sensor. You can A/B stills and cine and it's identical. So in this mode with no OLPF it would be interesting to see how much moire there is in motion. I could guess that perhaps the DC HD mode would be pretty good too. The full frame HD mode not so much but there's a even scaling for HD. cheers Paul

The S1 is there for those who can't afford the S1H. You lose high speed 10 bit but you still get 30fps 10bit full vlog, same sensor, amazing ISO performance, amazing IBIS. 4K 60p S35

I just want three things on the x-t4: 1) Better battery/battery life 2) Ibis 3) better CAF (ideally a touch-to-track option)

But at half the price!

Regarding the FP vs S1... I have a buddy that's shoots Alexa regularly and we've been pixel peeping the S1 a lot. He's pretty impressed with the S1 and claims it's "like 95% of an Alexa". The internal 10-bit files are great and flexible, as long as they're not terribly underexposed. You really have to do something crazy for the image to fall apart. The FP looks fantastic as an idea (their video promo is mind-blowing), but it seems WAY overpriced for the amount of hassle that the full DNG will be. When I shot raw on my Blackmagic, I used SlimRaw to convert my full DNGs to 7:1 compressed, but that got real old, real fast. Never again will I bother with full DNG sequences. Unless Sigma prices the FP to sell like cookies, like BM did with the original Pocket, then I'll likely pass on the FP.

I think they already have a really great target to hit...The S1H. Just delivery a MFT little brother to the S1H. Mainly: 1. 5.9K 16:9 video with their lovely internal codecs 2. Full Vlog 3. 13.5 -14 stops of dynamic range 4. Dual gain sensor ISO 640 / 3000 5. The EVF and tilty and flippy screen. 6. No crop 4K60/96/120p unlike the S1H. 7. Of course the excellent MFT IBIS. Lastly, If they can deliver some kind of ND solution they’ll have hit it out of the park and into the parking lot smashing Sonys windshield Internal RAW is great, but it seems the 10-bit 4:2:2 codec Panasonic has been iterating on is quite impressive. Good enough for Netflix. Hold up to normal grading with stellar results. I’ve come around on 6K. I think it’s the perfect middle ground between the massive overhead of 8K and offering flexibility in post and a truly crispy excellent 4K deliverable (4K is just now catching on for online video). I think delivering a no compromises S1H in MFT form factor is very doable.

That's not enough to efficiently compete with the rest of the market. They need some other breakthrough features like build-in nd (#1 priority), improved IBIS, 4K120P, faster wifi for better image transmission, etc.

Just give us the GH5S sensor with IBIS and PDAF and we are happy 😋

I get 1000+ shots out of a single battery stills only shooting raw + Jpeg every wedding. Easily. 1000-1500. And before anyone cries "balls", week in, week out. It mostly depends how you have the thing set up and how you use it... But the XT3 absolutely chews through batteries for 4k video no question and even with a battery grip, ie, 3 batteries in total, I need to swap out at least the 2 in the grip to get through a typical 9-12 hour day. However, I prefer the Anker power bank / USB option and have that attached to my monopod and with that system in place, can easily shoot (video) on a single internal battery (ie no grip) 9-12 hour day. Neither solution is ideal which is why I welcome the XT4 with IBIS and supposedly better battery. The only two things I am really interested in.

Some nice footage from DPReview

Comparing with the GoPro Max...

Maybe she is using one of those fiendish pocket size remote controls for it that give her full control of all the camera's functions? I understand that they begin shipping next Friday.

Call me crazy but I just bought a second hand X Pro3. I am curious for colour-related reasons. The movie mode has a few new parameters to play with when it comes to colour and the new film style. The X Pro2, the ergonomics of which I preferred over the X-T3 in every way, ignores all the film style parameters including sharpness, and just uses default. It also doesn't shoot F-LOG, Eterna, ignores DR setting, and doesn't have slow-mo 120fps so I thought it worth the upgrade, the X-Pro 2 being one of my favourite stills cameras that also happened to do pretty nifty 4k with the firmware update. Sure, the X-Pro3 lacks some of the X-T3 specs... no 10bit, screen may take some getting used to, EVF is smaller, and X-T4 might be round the corner with IBIS but there is something I like about the X-Pro body design and handling. If you look at the tests so far, X-Pro3 is using 6K full sensor readout as well like X-T3 so the image should be very good. Very high bitrate ALL-I H.264 as well, so easier to edit than the 10bit on X-T3. Phase-detect AF. I think it's going to be a dark horse of a camera to be honest, especially when used prices come down, and a bit different.

Reason why iPhone and OnePlus on Android side are still my choice for pictures acquisition going mobile...

I always considered the NX 16-50mm S a better lens. 2f in most of the 18-35mm range (so, just 0.2f difference), wider at 16mm and a lot more tele at 50mm and incredible OIS.

Happy New Years! After some minor setbacks and delays, the first season of #millcore is available on Amazon Prime. We appreciate any feedback you might have! https://www.amazon.com/gp/video/detail/B0837HYJML/ref=share_ios_season

Inspire 2 with Zenmuse X7, possibly the best drone video ive ever seen.