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I recently started a web series about Quarantine Life and shoot it mostly on the Panasonic S1H (some shot on the EOS R). Thought you'd like to see some real world footage of the S1H and maybe have a laugh as well. Like most of you, I had almost all of my work for 3-months canceled, so this is based on a very true story.

Best thing about that lens is how natural the falloff is and the lack of breathing. This is an older Test I did with it, jump to 4:12 to see samples and how "smooth" it is.

@JordanWright Hallo, a few words from you about the Tokina would be cool. I know, a lot has been written about it. But I can never get enough of some beautiful lens reports. I even own one myself but never got around to buy a better adapter for it and get beyond 8 metres of distance.

Looks incredible. I think this is now the camera to challenge RED. Very future proof. Has absolutely everything besides IS. Most importantly, they’ve listened to users. Well done Kinefinity!

I just realized something else genius about their design: You can slide in 2x NP-F550 batteries underneath the camera (integrated in with the rails!), which means you can easily hot swap V-Lock batteries without needing to wait around for reboots! Killing wasted downtime.

This is very cool! First time I've ever seen this design. You've got fully integrated BOTH BP-U Batteries and V-Lock Batteries! V-Locks for your usual shooting, with the option to super slim down your setup to use a BP-U30 for the likes of gimbal shots. All in all this is a very attractive looking camera, you've got that nice big integrated display for camera controls (although, on the operator side! Not the AC's side), and just in general more integrated into this body than before (no need for the KineBack-W now!). This is also the first Kinefinity camera to do ProResRAW

More Tokina 28-70 2.6-2.8

https://ymcinema.com/2020/04/27/kinefinity-mavo-edge-8k-cinema-camera-announced-large-format-and-prores-raw-inside-a-carbon-fiber-body/ Niiiiice, is this the first cinema camera outside Sony with an e-ND?

It seems this LUT is not up to Fuji's standards, it has a few weird transitions:

In most of those examples above it is just the orange & teal grading in action. Although doing nuanced warm and cool shades in one frame is indeed the hallmark of a nice image, in my opinion. Nuanced tones like cyan and good white balance are one of the traits of the 1D C and what separated it form just merely a "very good" 4K camera at the time like the Samsung NX1. So it isn't about 10bit. It's the white balance, colour science, and sensor. It's not quite that simple. You can't add what the camera doesn't capture. You can change hues and biases but if the baseline capture is flawed it gives you a TON of time consuming work to do AND never looks as good as a better file.

I'm pretty sure the paid RGB upgrade allows you the usage of 3G-SDI output

I love the movecam battery plate with two npf batteries.

It appears you can, just not over a single SDI cable.

And Canon battery usage as well. I notice that Canon released C300 III with an EF mount not a RF . They would obviously see the Komodo's chance in market before they abandon the popular EF mount.

In the top photo, it is shot in open shade, looks like just as the sun has dropped down over the horizon (on the viewers right). The clouds are just starting to get lit from underneath. and are starting to skew warm. Probably the whole image has been graded warmer because this looks to be a little later in the day than the "golden hour" and just at the start of twilight. Watching through the first video, there are a lot of scenes where it was shot in open shade, and then some scenes that were shot in harder light conditions. This is what happens when you start drinking bleach and blasting your body with UV light...

Is there a way we can do something like that? By injection inside?

For me, you buy what you need when you need it. For instance, I might buy something like this if I had a particular client on deck that would be put at ease seeing me run around with a "real" camera. (That's still a thing in the circles I'm in) Obviously, you need to know if you're served by playing this sort of game. I've rented camera gear just to impress clients, not for any particular production need. If I was in that situation again, heck, might as well buy a package like this for the same cost. Also, wouldn't be the last time I'd buy gear only to sell it again quickly. Which is kind of like renting, just with more flexibility. Once, a few years back for a client, I borrowed a bunch of unnecessary cinema rigging from a friend/colleague and buried my LUMIX camera under it. Looked cool, but was incredibly gratuitious. All that nonsense just to do a talking head interview. Whatever, the client enjoyed the spectacle. Afterwards I bought my buddy a nice 18 year single malt scotch for that one, which we shared. Win-win-win.

I really like this ad: I'm so in love with the location, the music, the model... Old school technique: no gimbal, no drone, no digital cinema camera. Just a steady, an helicopter, an Arri and Emily Didonato.

Mamiya Sekor N 35mm 3,5

Taking a deep breath. Nikon 16-35 F4G on the Sony F3

I'm with Spenser on that. Having gone through majority of the systems, I can admit that it's Fuji that really made me enjoy the process of creating. It's simply a big pleasure to use.

I have not been able to tell, but what I can say is there is a distinctly worse quality coming from the S1H H.265 encoder vs the H.264 encoder. I was editing a music video I shot a few months ago, and I could really see how bad the HEVC stuff was when it was right next to the other codec.

A little vignette I fiilmed last week with the beautiful Canon FD 20mm and the awesome Vivitar 90mm macro lens plus 50mm 1.4 SSC for the slomo at the end. First shot is in BW and colored in Davinci, filmed with GX85. Arrow shots at sunset between 12800 and 25600 ISO, which worked impressively well in 4K, not so well in slomo of course. I am very, very impressed by this camera. Battery life is good. With two original batteries one should be happy for the day. Sorry for the sound quality and lack of sounddesign. All shot in L monochrom and portrait with manual color temperature, 8bit 4k and 125fps HD at the end. High shutter speed for the fans of motion cadence. cheers

Has anybody tried taking the IR cut filter out of their GX85 yet I did for the EOSHD low budget camera challenge I broke mine but second attempt went well on a body I found for under £200. Should really share that footage some day

BMMCC (ProRes LT), Sankor 16c, VidAtlantic Clamp, Cosmicar 25mm f/1.9 c-mount lens, Tiffen +1, +2, +4 diopters, Tiffen +1/2 Split Diopter, Firecrest IRND I really love this camera/lens combination, and I'm happy to be shooting anamorphic again after selling my previous lenses 6 years ago. The BMMCC's Super 16 sensor goes well with anamorphic because you can still get a shallow enough DOF, but deep enough wide open to be usable/practical. You get sharp, low light anamorphic that's actually in focus (this whole video was shot wide open at f/1.9. I can get similarly sharp/usable results at f/1.4 with my Canon TV-16 25mm, which is why I need to fix it).

Little short I shot on the XT3. Was bored and also suffering heart break so I came up with this. Was just filming myself and edited it that same day. Nice to get some creativity out in this odd time.

To be honest, I think we've had our fun with that type of stuff and Panasonic have tightened it up but on the off chance I'd start with examining what modes that the S1H has that the S1 doesn't and take it from there. FYI, though, I had a brief look at the S1H that @Andrew Reid had with him in Barcelona and the authorisation routine has changed so that will need working around as well.