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Do you know the word humility? Yedlin's not just any old dude on the internet... the guy's an industry insider with butt-loads of films to back it up. I think he might know something on the topic of resolution.

Yeah I'm really conflicted about log profiles on consumer cameras. I honestly don't like the way most footage is graded these days, and the popular style of 'cinematic grading' which to me usually looks flat and weird when done by amateurs. The worst casualty has been skin tones, with rich vibrant alive tones replaced by green grey yellow orange stylised skin in 90% of videos on Youtube. Whether that's to do with Sony sensors or just Log profiles is a difficult question. I do know however that I have rarely seen skin tones out of any Sony camera below the FX9 that I've liked. One of the things I'm struck by when I watch old movies shot on film - from the 70s through to the 90s - is how natural and beautiful everything looks, before every shadow had to be dark blue and every skin tone had to be sunburnt orange or desaturated grey.

The GH5S sensor could already do that speed. In fact the Z Cam E2-M4 ("same" sensor) does 4K 160fps 10bit internal!

I did a quick test yesterday and the S5 is still a little bit brighter and less magenta (both cams on latest firmwares, same settings and same lens with the clips being taken less than 60 seconds apart). However I feel the S1 was maybe a little bit less magenta than last time I did this so maybe they bridged the gap a little. In resolve if you take the offset up one step from 25 to 26 and add 2 points of green with the tint control (on the S1) then it was almost a perfect match so not much work needed to match at least. Another way to take care of it in camera would be to add some green in the kelvin settings and that pretty much takes care of the magenta bias as well.

Yes sir.

+1 I don't trust everything DXOMark publishes, their measurements indicate better color depth over time... Whereas to my eye the color from my Digital Rebel XT is better than the color from my S1. Anyway it doesn't matter if they're right if I can't see it or make it work. But there are thinner bayer filter dyes apparently and I think it is leading to a "change" in color. Oddly though I felt C300 Mk II was a step down for color from C300 Mk 1, F5 was a step down from F3, etc. but C300 Mk III looks like an improvement and Venice color is excellent, FX6 looks promising too but yet to work with it. So we might be heading back in the right direction.

Awesome videos, thanks for sharing @John Matthews and @kye. Would just love it to not becoming bloated and stay nice and tight the way it is right now.

Yeah, I don't have more than the slightest clue what's going on, but I think V Log 640 ISO is a lower ISO with a big digital push. Anyway the S1 dynamic range (not sure if you own one or not) is excellent. +1 Also worth noting that the default Alexa LUTs Arri and Adobe distribute throw out about as much extra highlight detail as the Alexa has over other cameras. On a standard display you're going to struggle to have a 14 stop image that looks good. I miss t2i neutral more and more. But it is weird, one knock against the S1 is the GHX series has better skin tones for some reason imo...

Yeah, those Rec709 grades with like 7 or 8 stops of dynamic range look so rich and vibrant. Film print style. Even 35mm film shot right now has a lot less punch than it used to. I always though the baked in profiles on the C300 Mkii or maybe the 1DC or 1DX look really really nice. Yes, you have to be more intentional with your exposing but the results are really nice. Not all log footage is the same though. Flat film scans are incredibly easy to grade. You don't need any LUTs, just a standard correction will look really good and natural.

seaweed and a tiny, stable minitripod would be ultimate naughtyness and viewing pleasure. 🙂 Seriously, do the tripod thing. Some of the shots would have been elevated for great to magnificient! Even moreso with the montage, which is very tight. Would love to see some c- or d-mount magic with your BMMCC. One side note, I have a couple Zeiss Tevidon laying around, many single ones and one complete as brand new set, except the 100mm and the 18-90 zoom. But have not brought myselt to order that darn Tevidon to C-mount adapter. So, always grateful to see what lens projects you guys got going on.:) cheers

His test applies to the situations where there is image scaling and compression involved, which is basically every piece of content anyone consumes. If you're going to throw away an entire analysis based on a single point, then have a think about this: 1<0 and the sky is blue. uh oh, now I've said that 1<0, which clearly it isn't, then the sky can't be blue because everything I said must now logically be wrong and cannot be true!

1.5 crop unfortunately. The sensor cannot do full frame at 4k 60p, though it may be possible line skipped ?

Big fan of insta360.... I have two one R (360, 1”). The quality of 360 reframed is not there yet but is so much fun.... and finally I can have some selfie too: I have a mini 2 also, big improvement over mini 1 in wind resistance and even more important video signal / range but is missing 10bit log or at list a more flat profile.

I've only used the S1 and S1H (and EVA1), but I remember someone posted a comparison of the S1 and S5 and V Log was more green on the S5. Which is good, the EVA1 has better color than the S1 in part because it's lacking such a strong magenta tint: Of course, compared with Alexa footage, everything looks magenta!

Just Shot a music video On The S1! Fantastic Camera!

Yeah, no problem matching the two. Same sensor. It's more about the potential difference in color rendering if you are using third party lenses on one camera and native Fuji on the other. It's still not a huge problem to match them as long as you shoot a color chart to help you. I got a T4 to go with my T3. I'm glad I did. The IBIS isn't perfect, but if you learn how to use it properly, it does help. That's really the biggest difference besides battery life and the small size difference, on paper, since they upgraded the T3's autofocus via firmware. I've not done a side-by-side comparison to see if there are any differences. The extended battery life can be clutch, too.

No problems matching these two...

Nah, it's pretty bad. Do a search for even Canon C70 footage. Nothing you can find will look this good. There's tons of flat looking footage, but almost nothing with a standard balanced REC709 grade. The C300 Mkii looked good to me as well. One of the easiest cameras to get beautiful skin tone out of.

Yeah, that's a great looking video!

Thanks! Those shots are the more formal shots from the real video is much more casual thing, including things like my wife throwing seaweed at me, and other amusements that I'm not allowed to post publicly.. In that context those shots are quite stable! Compared to the action camera, a tripod would literally make the rig hundreds of times larger, and really defeat the "action" part of it 🙂

Thanks for the compliments everyone! Means a lot from people on this forum as I know we are all pretty picky when it comes to this stuff. 😂😄 For the Z-cam I used a set of Rokinons 24, 34, 50, and 85 Everything on the Panasonic was shot on a Rokinon 35mm 1.8 We also used a Sigma 14-24 2.8 for a few interior wide shots where we need that ultra wide FOV. I have a set of Canon FD lenses which I would have used had I owned them last year. The Rokinons do the job though. I really love Minolta lenses though they can't be adapted to EF so only some cameras can use them. I'll do a little breakdown for you if I can remember perfectly. 0:05 Rokinon 35mm 1.4 0:12 Rokinon 85mm 1.4 0:15 Rokinon 50mm 1.4 0:18 Rokinon 50mm 1.4 (1.8 crop in post) 0:19 Rokinon 50mm 1.4 0:22 Rokinon 35mm 1.4 0:31-0:47 Minolta 35mm 1.8 (shot mostly wide open) 0:50 Mavic 2 pro 0:53-1:03 Minolta 35mm 1.8 0:52 Rokinon 24mm 1.4 1:06-1:20 Rokinon 35mm 1.4 well you get the idea at this point

I actually did not realize the S5 had a smaller battery.. my bad! 😅 The S5 wont last 3 hours, my S1 lasts 3 hours, but I imagine 2 hours on the s5 is still pretty good coming from sony.

First colour video from the SJ4000 / zoom lens combo.... I pushed the colour, both towards warm/magenta and also in saturation, partly to experiment with a punchier look, but also to see how far I could push the image. This is the final look I applied: and this was the untouched SOOC footage: Not a bad look, but not the one I was going for. Sunsets aren't green, after all! The only mod that I still want to make is to extend the lever on the focus ring to give finer control and more leverage (as some parts of the focal range get a bit stiff). It's quite difficult to focus, even with the 4X digital zoom that can be used to 'punch-in' before shooting, and I missed quite a few shots while filming this. Overall though, it's quite a capable package.