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While I am learning to import worlds into unreal, learning to use the sequencer etc etc, I am also doing some tests, which I would define extreme, to understand how far I can go ... I would define this test as a failure, but I have already seen that with fairly homogeneous backgrounds, with the subject close enough and in focus (here I used a manual focus lens), if I do not have to frame the feet (in these cases I will use the tripod) it is possible to catapult the subject in the virtual world quite easily and in a realistic way .. The secret is to shoot many small scenes with the values to be fed to the script optimized for that particular scene .. The next fly I'll try to post something made better ..

I was really happy when I realised that the GH5 2x in 1080p was downsampled - it is even downsampled in the 1080p60 too, so if you shoot 1080p ALL-I codec then you get full-readout and 2x digital zoom downsampled in every framerate, and you also get the 1:1 ETC which is a ~2.5x zoom. How odd that the larger cameras don't have as good video modes in this way. The GH5 was the flagship though so maybe the S1H has those modes? Fascinating about the 16-bit output. I guess it might depend on the sensor mode. IIRC other sensors sometimes have a higher bit-depth readout mode with limited fps, and then a reduced bit-depth mode where they get higher fps readouts, so maybe the 16-bit can only happen at 10fps or something. It would be great to see if that's possible at the 60fps speeds that the DR boost feature can do for video. That makes sense. Potentially then it's quite a different equation for your ND setup, but I keep thinking that all you need to do is work out what the maximum and minimum amount of ND you will need in daylight and just buy a fixed ND that compliments your vND to give you that range. Then after sunset you remove the fixed ND and your vND should cover the range of shooting under artificial lights. ISO 2000 should be a good base ISO for most low-light situations, so you should be using your vND even after dark anyway. The GH6 is 5760 x 4320 and the GH5 is 5184 x 3456 so if you multiply those out then you get a 38% increase in total number of pixels, or a 11% increase in width, so not entirely sure where they're getting that number either. Still, it's more pixels, and not stupidly more pixels, which is probably the right balance. Yeah, odd, but I agree that the GH6 is a winner. I see so many tiny little improvements they've made - I was contemplating writing a summary of what improvements I see that would be relevant to me in the real world and how I shoot. The ISO performance on the GH6 is pretty darn good!

Yeah the site is annoying now, but the videos still look better than YouTube. FYI, you can refresh the screen instead of logging in and it will allow you to watch them. What annoys me the most is when you look at a users videos, they don't list them from newest to oldest and they don't tell you the upload date unless you click on it.

We all know, that the Exposure Triangle is mostly not applicable for video. Because one cannot have super high shutter speeds for 24p video, or randonly keep varying the f-stop across frames or scenes. While ISO limits have probably becoming wider in terms of usability, camera which have minimum ISO for log profiles have lesser options, since the base ISO starts pretty high. While this may be acceptable for well controlled environments, it may not be possible for most run and gun shoots, or shoots without absolutely natural ideal lighting conditions (natural and cameras specs being coincidentally complimentary) or shoots without elaborate controlled lighting. So, would be be fair, that for video shooting, ILCs/DSLRs, not having internal NDs (whether manual or electronic), is actually a bad unfinished job. Because without internal NDs, the cameras are not truly factory ready for shooting video. They could be for photos, but not for video. So, why even make the video shooting devices without such NDs? What do you think?

The S5 is still a relatively new camera, I don't think a replacement comes in the near future. My prediction is: a replacement for the S1H will come first, maybe next year? And after that we could see an S5 replacement, maybe in 2024 or so. I don't think there will be a replacement for the S1 though...

I think this is what most people are going to do. It troubles me though because you are shooting through 3 bits of tinted glass (2 polarised planes in the variable ND). My experience of variable ND (Tiffen 2 - 8 stops) is mixed. Around 85% of the time it is fantastic with little to no noticeable cast. Many shots I forget that there was even any ND used. But the times when problems are introduced can be very hard to predict. Weird casts seem to appear based on such criteria as window coatings in buildings (especially office blocks and new-build public buildings), light bouncing off buildings, the sun at certain angles to the filter, etc. The cast can also range from muddy brown to grey-blue (at high ND's). It can also play funny with other filtration, such as diffusion. All of which makes me a little nervous about stacking variable ND with more stuff.

That’s crazy indeed! I guess the S1 being the first of the FF line has some functions missing that they added later to the other models. I’m really pleased with the S5, I like the fact that’s it’s light and small but the image quality is there. I’m really not sure why the FHD modes on the S-series are so soft though. @kye I shoot 4K mainly but the occasional FHD pixel pixel mode for extra reach or the ultra slow motion in FHD is sometimes useful. At least, the ultra slow motion from the S5 although still has moire, it’s not that pronounced as in the GH5. The GH5’s 120fps for example is a bit sharper but with much more moire artifacts than the S5’s. Anyway, I’m always upscaling that FHD footage to 4K with an AI upscaler and I know that is not what a purist would do but the upscaled footage looks so nice and usable so I’m happy with the result.

Holy crap. Vimeo starts to become unpleasant to use. I dislike to have to log in to watch certain so called unrated videos. Staff picks don´t fit my bill neither with their hipster oriented nowness videos. Social struggles don´t come in pretty corporate colours.

This is a decent point actually, but the GH5 native ISO for V-log is *optimal* rather than compulsory. You can expose below it and take a slight DR hit. Whereas the GH6 ISO 2000 requirement is a *minimum* for DR Boost, and if you want to expose at a lower gain setting you take a huge hit by switching to non-boost.

Skin looks good! What do you think about the level of contrast? Thanks for that @webrunner5 If you still have your GH5 or some old VLog files lying around maybe you could give it a whirl on your own footage and check it out in more detail. Also, I meant to ask @kye if you have access to any downloadable VLog would you mind having a look? Your opinion on the contrast level would be really valuable. Or I could send you some frames to mess around with.

@projectwoofer If the S5 only had full HDMI, it would be the perfect camera for me. Crazy, that a thing like live cropping is not on the S1. I mean, it´s on my GX85. What the heck! Nah, you cannot turn off noise reduction in the A7iv. So they should be about the same regarding "honest" DR.

I agree, it is a new camera, and probably will see an S1H replacement soon(ish). On the other hand, I can always dream, right? Just saying that if they somehow put PDAF and allowed recording out to an SSD via USB, well, I think you might see a lot of youtubers with videos titles like, "I'm leaving CaNikSony for Panasonic."

According to the CineD tests, here's the GH5 and BMPCC: and the GH6 has 12.8 / 11.5, so it's almost 2 stops, and slightly over the BMPCC sensor, which has a size disadvantage, but it's a reasonable question - technology marches on and 2012 was a looooooong time ago in silicon technology. It'll be interesting to see how it feels when I get one - the differences between the DR on the two cameras is very obvious when you take them out in the real world on a sunny day, that's for sure!

It depends on what you're trying to do really. Before the DSLR revolution shooting a video was likely an auto-SS kind of situation and shooting a film was more of a completely controlled full-manual situation. Really, the concept of shooting something that looks like a film but is shot like a video (ie, with no control over the situation) is something quite new and quite indulgent, in a sense. To want it all, so to speak. I will be the first to admit that it's what I do, I absolutely want to walk around in the world waving a camera around with one hand and somehow miraculously getting silver-screen quality images. Vloggers and low-budget film-makers and corporate and wedding and event videographers are often in this camp as well. But the industry hasn't really caught up. It will, and I'd imagine that in 5 years or so many video-first cameras will have auto-eND filters in them that can do it for you. I look forward to that day, but in the meantime I just use auto-SS for my videos (as they are actually videos) because for what I shoot, speed matters in getting the shot, where I currently sometimes catch the moment only by a couple of seconds and if I added having to adjust exposure to my camera operating responsibilities then I'd often miss shots entirely.

I suspect that they might be pushing the limits of the current technology so who knows what would be possible and what wouldn't be possible. I do know that CPU manufacturers have been hitting limitations on the technology and then having breakthroughs to surpass those limits every few years for decades and decades, and they're normally related to how small you can make things, so having a 6K sensor with all the processing and all the ADCs etc might well be nearing a limit, especially once you factor in the dual-gain functionality. Both the C70 DGO sensor and the Alexa ALEV sensors are lower resolution and physically larger, so they might be really pushing it - who knows. Panasonic were pretty good about squeezing lots of stuff out of the GH5 in firmware updates, so I'd imagine they'll do the same with the GH6, so watch this space 🙂 The slow-motion is one thing the GH6 has really upped, with the 4K120 and 1080p240 10-bit at 800Mbps, which is a huge upgrade from the 1080p 8-bit VFR bitrates on the GH5. I wear polarising sunglasses basically the whole time I'm outside (Australia has much more glare than most other places) and I frequently see strange things like patterns in different types of safety glass and strange reflections / textures from objects etc that are to do with the polarisation of the light. Even the blue of the sky doesn't look even because the polarisation of the very left of the sky is different from the middle and from the very right side, so lots of strange polarisation happens in real life. I don't shoot with NDs so I normally don't see these issues, but yeah, it's an interesting one. Might be worthwhile getting a set of fixed NDs to give you flexibility in case you hit something that just reacts strangely with the vNDs you have, and then you can just dial things in and fine-tune with aperture if required.

Yes it's not a good thing to put several ND

I have reinstalled the korg drivers twice and the korg software as well. Didn't have any control over the buttons on the nanokontrol2 No idea what i did right, however i can now mute sound levels from the korg controller, so i'm counting that as a win. A separate issue is that i cant write or update the korg controller with the usb cable, says its not connected, which is odd as i can nearly do everything i want from the controller. Looks like i may have to get a shorter usb cable with a ferrite core as the website suggests. That will have to wait till next week. Got some paving done today between rain periods, more importantly spent some time in the shed before it got too dark. With all the moisture about, mozzies are abit of a problem after dark and the bugs as well. Still i did make 3 corflute light stands for my lighting setup. Pretty simple arrangement with lots of hotmelt to bind it all together. even used a bit to hold the light switches in position. Tomorrow i'll make some little corflute reflectors to help bounce some light around and maybe some paper modifiers if all goes well. This was the cheapest way i could think of to try things out. I did have some other led lights arrive, they are quite abit brighter. Don't know if i need them yet, still if all else fails i can use them whenever the power goes out. Which has been more often this year than i would like.

Please do share the details here, too. (I find that the GH6 seems to have been improved in so many amazing ways. The 100MP handheld alone is pretty insane.).

Yeah, send me a few frames - happy to have a play.

None of us mention that because none of us have that luxury 😀. The main benefit for these small cameras is handheld work and gimbals, so plenty of movement going on. Wide angle lenses definitely help, my gimbal lens is a 24mm and with enough light at F7.1 you are practically at infinity focus.

At 27:45, he mentions 16-bit RAW. Which me6snd that the signal strength (can be further widened and?) can help with exposure latitude making it as good (if better than) RAW codecs on larger cameras. Though he mentions that it's for photo (for now?). Maybe, if it does external 16-bit RAW, that would be superb. Also, I hope Panasonic releases a much thinner version of that awful looking Yagn, for real-time compressions into an external RAW recorder (SSD) at 1:3 to 1:18, thereby circumventing that RED patent and also having a recorded for quicker turnaround.

WoW is all I can say. I guess I will take back my original criticisms since I have seen more evidence. Well done.

I would just buy one of the small, hang on the front, square ND filter kits, better imagine quality than the normal round ones you rotate. But here is a link to some 10 stop ones. https://www.bing.com/images/search?q=10+Stop+ND+Filter&mmreqh=j0CfJ0Fwp83qpW81Hgxz6IAPfyzeqWC9OW%2bKcHvJyW4%3d&form=INLIRS

Here are some 100% scale details from this frame.

There’s a way to get downsampled FHD on the S series by using the live cropping mode but set the cropping to the full sensor. It’s only FF 30fps or APS-C 60fps though. Still, much better FHD quality than the regular FHD modes.

Hi, Just wanted to share my latest work which I produced and directed; a music video for Kygo ft. DNCE (Joe Jonas). It’s shot on Arri Mini + Arri Mini LF with Kowa anamorphic glass. I’ve been on this forum since I bought my (now retired) GH4 8 years ago. Thought some of you might find it interesting ☺️

Thanks! Those streaks are from the star-filter that we used (for both pool, concert and club scene) We took the Ferrari for a little spin!

The 2x digital zoom is something I am really missing on my Lumix S1. There is only Full Sensor readout and then two crops for APS-C and a pixel to pixel readout. Last one is for HD only of course. 2x digital HD with potential for downsampling from 3k would have been pretty sweet, also for 4 to 3 formats. 2x crop works for my humble GX85 both in 16 to 9, 1 to 1 and 4 to 3 aspect ratios, latter two in 4K photomode. But none of that is in the S1. Menues are overkill too, despite missing this dear feature. Hope the GH6 has a menu structure rather like the GH5 but I doubt that Perfect HD, that´s also something the GH5 stands for and kye has been promoting a great deal. Something I really loved about the GH5 when using it.

From official specs it looks like 100 is base ISO for regular profiles: [Normal] Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800 [V-Log] Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800 [Hybrid Log Gamma] Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

I guess that depends... If the GH6 didn't have ProRes, I would yawn at this release. But I acknowledge that some of the updates could be useful to some people. But without a doubt, the ProRes propels the GH6 into next level territory... especially with the updated IBIS. I'm hoping the future ProRes updates will offer the 48p/60p in 1080p/4K but since I don't really shoot too much slow motion, it's not that big of a deal. The bump in dynamic range is minimal... what... about a stop and it's still under 12 stops. I'll take any extra they want to give, but that's not so great to go crazy over. Actually, I know there are limitations to what m4/3 can do, but how did BM get 13 stops on the OG Pocket, 9 years ago, but Panasonic can't seem to break 11.5 stops, even with the Go-Go-Gadget-Boost mode and full vLog?

Well you sort of implied that if you didn't buy a GH6 you don't need ProRes. Some people Have to use it like it or not. And I think this GH6 is going to make a GH5 pretty obsolete in a damn short time. I Never liked mine but this new one seems damn tempting. They seem to have fixed everything I hated in the GH5. Poor AF never really bothered me. If you are making a living doing video AF is about the bottom of the pile. Sure it would be nice but maybes are pretty weak way to make a living.

Yeah, and if you lift them 5 stops you get green lines for free! Sorry, couldn’t resist! 😆

Wonder if Felipe used a Sony? Fucking reprehensible.