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Some screenshots from Pandemic time in 2020. Just ProRes HQ files and sigma 18-35.

Well yeah like I said ProRes ensures minimum "pro" requirements, that's what makes it a popular pro standard VS h26x which has no rules. Editors/VFX don't like common h26x files because its hard to know/guarantee the encoding/bitrate settings. That is why Canon developed XF-AVC format ensuring high bitrate 10-bit 4:2:2 or Sony XAVC-I ensuring Intra 10-bit 4:2:2. ProRes 444 also goes beyond h26x max settings with 12-bit 4:4:4 making it the highest quality lossy file after RAW/ProRes RAW.

If you are working with V-Log this is worth a read: https://na.panasonic.com/ns/253602_V-Log_Excerpt.pdf

Olympus as OM Systems has come back from the grave with this so-called ‘wow camera’ and maybe…and I hope it will be, - I want them to succeed. But if it doesn’t (succeed), they are dead. My fear with the GH6 is…and I am no tinfoil hat wearer, is that unless it’s a success, it will be the last. If it is the last, how does that bode for Panasonic’s entire camera division? The full frame line is hardly selling compared with the likes of Fuji & Nikon, never mind Sony & Canon. I want Panny to succeed for 2 reasons: A: I’m invested in the kit. Not so invested I couldn’t get out if I had to, though I’d take a hit. B: Other than the AF issue, for so many, it could the best system available. Except their marketing is head in the sand terrible so if the worst happens, they only have themselves to blame. I like the underdog and will generally support them, if I can, over the bigger players, but in order to do so, they do need to make a product; I need/want, is of a minimum standard/spec and actually make some kind of effort to deserve my commitment. In terms of kit, Panny/L Mount has been (mostly) achieving that, but as a company beyond that, I don’t care for them as I did previously with Fuji. Ditto Sigma, I like them, their product and their company ethos. I like it that the head of the family makes launch videos he presents himself. I don’t care for Canon’s policies. Sony to me is just a faceless corporation taking over the World. Nikon…are a mystery. I prefer them over the 2 above but I don’t know why… Perhaps because they have became a bit of an underdog over the last couple of years, mainly in regard to mirrorless? Ultimately, the bottom line for me is quite simple; “does it do what I want it to do?” Will either of these new models do something/anything that my current system cannot? If so, what and is the cost to change worth it? Well I have few needs/wants beyond what I already have… My dream camera is: 1: The S1H shrunk by around 10% in size & weight. 2: Sensor size increased from 24-47mp. 3: Some form of internal ND. 4: Decent/reliable enough AF tracking. 5: Full frame 4K 50/60p not cropped S35. If an SH2 only had 4:, I’d buy it in a heartbeat. If it had some or any of the rest, bonus. I hope the reveal of both of these new boys is not a disappointment, even if neither are for me, simply for the sake of the camera industry at a wider level.

Shot and edited over this past weekend. Been wanting to test out the Canon 35mm f2 IS and see whether or not it would be good for shooting on the M, especially with regards to image stabilization while shooting hand held. Mixed it up with 3x crop to get an additional 100mm+ focal length for tight detail shots. Shot 1080p MLV RAW ISO 100 throughout Aperture kept between f2-4 Cranked up shutter speed to adjust for exposure as needed.

I think you know a lot. For most hybrid shooters, an a7 IV at $2,500 is going to be a lot more appealing than an m43 camera at around $2,500 unless the GH6 is absolutely freakin' bananas.

I also use all Godox. I use the Canon version and they worked just fine with the S5. I only use all manual settings though so I do not know if the TTL features work with the S5 and the Canon Godox flashes. I only use my S5 for video so I only briefly tested the flash functions, but they all worked with my current setup. I have almost every flash Godox makes including the V860's (on camera or off camera wireless flashes), the AD360 (off camera) the AD600 (my favorite and most used flashes for off camera fashion and studio work), and Godox QS 1200's for studio work. I trigger them all with the Godox Xpro-C (Canon version) wireless trigger. Keep in mind that if you are going all in on Panasonic that the S5 has a builtin wireless flash radio system that I think can control up to 4 flashes natively, so if that's important to you then you may want to look into lumix or Olympus flashes. I have too much invested in Godox to turn back now and I would rather use a hot shoe mounted trigger vs digging through menus when I need to change flash settings, but I know a lot of people probably don't know the S5 has this capability. I also recommend that for any flash you buy that you verify that it has a wireless receiver, I shoot about 95% off camera and wireless is critical for that. I do love my V860's though, I can throw them on a light stand and shoot everything from real estate to weddings, then put them on camera when I need to run around a venue at an event.

Actually, it's a bit of both... The reality is, it's their wedding day, not our shoot, but the more we can make it a collaboration, the better the chances at capture are. I try and educate my clients in this regard and with a discrete subtext that I have a reputation to uphold so would rather not try to make a silk purse out of a pigs ear if I can avoid it, as ultimately, it will always be a pigs ear, just a slightly better pigs ear...but this is secondary to their day. There is a middle ground but we need to be on the same wave length in advance otherwise it's mainly reaction over action. Some clients...most actually, get this. Or can be sufficiently educated to get it. Others though, the princesses (and princes) are the worst to produce anything for as they are usually acting like manic mental cases all day long...and if that's how you act, that's what it looks like in the video!

Well I should be able to have it! 😜 Most anyway... OK, the size/weight could stay as that doesn't really bother me. The sensor is already in the S1R. Does 4k, but in 8 bit only. Internal ND already exists in several cameras, for stills and video including the Fuji X100, since the F, if not previously? The decent/reliable AF has to be phase probably... The full frame/zero crop is processing power or something isn't it? Not very far off really, ie, it's all doable in 2022 I'd have thought? Then just make a shrunk down version for the 4/3rders and we'll all be happy 🥰

So I guess every time you go to the cinema or watch a show on Netflix you find the viewing experience "agressive & digital looking"? I'm saying so cuz you do realise that all your favorite shows/movies on Netflix or on BluRay are all encoded in h264/h265 ? And that your 2K/4K movie theatre uses DCP projection using JPG2000 compression with a maximum bitrate of 250Mbps regardless of capture resolution. Truth is: you will never access and view any Hollywood film/show material in ProRes or RAW. Those are acquisition formats that capture the most info to transfer to post and for mastering. As for still capture/extraction, choosing between RAW & h264/h265 is the same dilemma as choosing between RAW & Jpg.

Also, I'd imagine you'll probably really like FilmConvert. I've spent a lot of time learning colour grading and I value doing things manually to deliberately build my skills, but if all I was interested in was getting a good result I'd just buy one of those packages like FilmConvert or Dehancer etc and be done with it. I wouldn't recommend them to everyone, as film-emulations aren't the only look so they're kind-of a one-trick pony, but if you like the look then they're definitely the fastest way to get from SOOC to done.

If you're using a strong look like a film emulation then it's worth noting that the preferred approach for colourists is to apply the look and then grade the clips with the look applied.. "grading under the LUT". This will prevent you from having to make two primaries passes, and will save you from adjusting things that are visible without the look but aren't with it. If you're skeptical, grab a bunch of clips and time yourself doing both methods, you might be surprised.

I think the challenge in the MFT space is the limitations of the sensor. The GH5 and P4K basically took all the modes the sensor was capable of and enabled them, the GH5 compressed and the P4K in RAW. If the best MFT sensors are limited to (for example) full-readout 60p and FHD 240p, have dual native ISO, X stops of DR, and a rolling shutter then you can't make a camera that exceeds these specs, so the best you can do is give good codecs and features and make it reliable and in a good form-factor. To be really significant, the GH6 will have to do something groundbreaking, which would require an innovative sensor or crazy processing of some kind. Still, a camera that combined the best specs and features of the GH5 and P4K would be pretty good and probably get my money. Yeah, those codecs are particularly weak. Is Olympus known for improving the codecs in firmware upgrades after the fact, like Panasonic did with the GH5?

With a name like OM-1, which is recycled from their 35mm SLR days, you'd think they'd follow their own company's history and produce the smallest full frame camera. And with the 12bit raw rumor, I was hoping for an internal version, or internal ProRes. If these specs are accurate, this isn't how you make a splash. I mean, no 4K all-i?!

Assuming the leaked specs are accurate, for video the OM-1 is basically a bit ahead of the (4 year old and half the price!) G9, and that's only if the video quality is significantly better than on the EM-1 iii (like 1080p that's worthy of the name, and somewhat sharper 4k UHD). It's got DCI 4k and All-I 1080p support which the G9 doesn't have. Versus the cheaper GH5 ii it seems well behind on video specs...

In the overexposure test C70 & R5C seem to both clip around +4 stops. Seems like the highlight DR is about the same. It's in the underexposure test that we clearly see the DGO sensor doing its magic: at -4 stops both the R5C/FX3 are unusable with horizontal noise and color shifting whereas the C70 maintains a much more usable IQ with a more filmic noise, much less colorshift and no horizontal patterns that give that nasty digital video look. Furthermore having now played with R5C (RAW & compressed) & C70 footage, I can only attest the incredible amount of shadow information that you can pull on the C70. On the R5C it gets noisy and ugly really quick. This really limits the R5C to a crushed black, contrasty look when pushing in post, whereas the C70 has so much more latitude thanks to all that precious clean shadow information. (by the way on a side-note the R6 stands somewhere in between, with much more pleasant shadow noise than R5/R5C but nowhere as good as C70) Quite an eye-opener to verify this myself and I can now safely say my A cam choice would clearly lean towards C70.