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Those shots were Natural profile, unmodified, and with a curve to bring the highlights down and have a little highlight rolloff, and the saturation boosted to about 107%. Here's the curve: The challenge is that when you have a curve to clipping, your waveform looks like this: Which means that for that whole area where the red is clipping the colours shift to yellow, like this: BUT, somehow the red channel has extra info that is recoverable (IIRC this isn't the first time I've seen colour information above 100%) so if you pull it down a little then you get this: and this waveform: There are still some rather odd things happening to those red levels in the parts we recovered, but they do give an interesting hue to the areas just before clipping. Not sure if that helps? I've found it relatively easy to get great sunset shots with almost any camera, so either it's the colour rendition of the cameras I happen to have chosen (possible - Panasonic is no slouch) or it could be the lighting here. In other news, I have an old Yashica Auto Yashicor 28mm f2.8 m42 lens that I bought super cheaply as it had damaged front coatings and I've been searching for a vintage walk-around lens for the GX85. I had put it in the discard box due to it's terrible IQ wide-open but it turns out that stopping it down a stop (or half a stop) cleans up the image almost completely, so I took it for a test drive and I think I might be sold on it! GX85 + Yashica 28/2.8 + SB + Natural profile SOOC ungraded. Once again, filming in golden hour is probably making this lens look way better than it should look. I have plans to start exploring the colour profiles and colour performance of the GX85 soon, so will report back on what I find.

low/no budget referred to the production value of the review itself, not to the type of productions it would be used on. As in - this review has been shot with a very low budget. They obviously don't use a big crew or have a gaffer with them, or even a proper DP. It's a run and gun review. With that knowledge, I don't expect too much. I just want to see simple demonstrations to illustrate what they're talking about. Maybe your expectations are different, which is fine. Maybe if you post some examples of your work we can see what kind of level you're expecting? Not trying to provoke, only to understand where you're coming from.

I’ve just sold one of my S5’s… I had two, plus an S1H and an S1R, but don’t need 4 cameras. I still think it’s a great camera, but I’ve shifted into a B roll position now as the others are just too good not to use as my primary video and stills cameras respectively. I’m not ‘waiting’ but hope Panny do bring out a second generation of FF cameras…but ideally not until 2023!

From everything I have read, the DJI Ronin series is unmatched by any other gimbal vendor in its motor auto tuning capabilities with the runner up being Zhyun Crane so that may be the difference. The Ronin S can also fly a C200 (with a lot of fiddling) so with the S5 so far below its payload limit that probably helps as well. I did manage to upset it though when I tried to add a condenser mic to the top of the S5, even the Ronin S gave up on that one since the arm could not go low enough to center the load. But it does let me fly the S5 with the MC21, the Canon EF 24mm F2.8, and a Sennheiser receiver mounted to the hotshoe of the S5. I have not tried the Canon EF 16-35 F4 which I also have; so far since getting the S5 all of my video projects have involved people so the Sigma 50mm F1.4 or the Canon EF 24mm F2.8 have worked fine for that. With both of those lenses I can leave everything on and no corner warping will occur hand held or mounted to the gimbal.

love it. wondering if dv cam look or at least 480p from a ccd would have worked as well. Content is queen n king in your video. Of course with DV or any old school camcorder format the highlights would have been really ugly but some HD scanlines in Post would work.:) Anyway, nicely shot and edited. Sommer, Sonne, Kaktus! 🙂

Would love some more love for Canon 5d raw on this forum. Rather than topics about tech journalists. I used to enjoy Jordan and Chris. But my fascination for new cameras was the highest in the days of the gh2, gh3 and gh4, with some G6 magic inbetween. This cam tech youtube stuff is super videoish with dull images and astera lights of boredom most of the time. Kye discussed the phenomenon of microfilms and leisure time filming pleasures, personal vignettes with a personal and intimate approach. These tech channels do not inspire that. Jordan and Chris made many exiting videos for the camerastore but they were depending on the pioneering times of 5Ds, GH cameras and so on. Now its just a race for the lazy image with dynamic range overkill and pixel madness.

What gimbal are you using and is it perfectly balanced and calibrated? I used to leave IS on with my GH5 and a wide angle lens but the warping seemed to end up in the footage at the worst possible time. It took a lot of fiddling with my gimbal settings to get the proper calibration to remove everything when IS is off and with the Ronin S I have to hit calibrate every time I put the camera on the gimbal or the micro jitters will be there. But, once the gimbal is perfectly dialed in, there's no warping or micro jitters. The hardest part for me is remembering to turn it back on before shooting handheld or moving to a different type of stabilizer.

The image that you saw was with the S5 in APS-C mode. This is for photography only, for video when shooting in 4K and in APS-C mode the barrel disappears as it should. My original plan was to use the EF-S 10-22mm for both real estate photography and video on the S5, but the APS-C mode only works for video apparently. For photography, even if you pick APS-C mode it seems to use the full sensor even when shooting JPGs. That makes sense that there is an optical difference between the 10-22mm and the 10-18mm. Any crop sensor lens that can cover a FF sensor won't have these problems. To avoid corner warping with wide angle lenses I have always turned off stabilization and used a gimbal for real estate. I did quite a bit of testing with both and found that with both lens and IBIS off and the camera mounted to a gimbal I got no warping as long as my gimbal technique was correct and the gimbal was properly calibrated.

The Panasonic GX85 with the 12-60 f/2.8-4 is a wonderful combination, both for photography and video. I've had the combo since they both came out and have yet to be disappointed by the results.