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For me it’s only partly the megapixies… Going from APSC Fuji XT3 26mp to FF S5 24mp, I noticed a marginal difference but nothing I would call a quantifiable advantage. In fact, I’d give the nod regarding colour to the Fuji files, but that could just have been familiarity with a system I’d been working with for a long time. But the S5 had/has I reckon a good 1 stop low light advantage. The S5 purchase for me was really against an XT4 where for me in more areas, the S5/L Mount system, edges the Fuji. The files from the S1R are whole other level though. Quantifiably above 24mp FF. I have tested and used the ‘quad’ thing but the reality is it’s for certain types of landscape and studio work, not weddings. The question though re. 47mp over 24mp is would the client notice? Nope, but I do and there’s an element of professional pride and craftsmanship. I could go back to 24mp FF easily enough and maybe even 26mp (or more) APSC and APSC/S35 is the sweet spot for me for video, but I’d really struggle with going 4/3rds for stills. But if anything was going to convince me, it would be GH6 or OM-1.

Couple shots of my BMPCC with my 14x Fujinon.

I boarded up my windows a couple of years back.

I guess the problem is not the ideas to share but when people rather than discussing ideas and listen them, impose their egos without any respect for the ideas aka the standpoint of the other side. An eye for an eye and a tooth for a tooth can only lead to self-destruction instead. We cannot survive without the other part external to us.

Trouble is the BMPCC and the BMMCC are not the sharpest output going and when you put a OPLF in them they get even less sharp. I know part of the greatness of the early BM cameras were that they weren't sharp as a knife, filmic looking but I am not a big fan of that mod. But that is a popular mod so maybe I am in the minority. It doesn't ruin the look though. You are going to like it Marty, they are crazy good and fun to use. Raw is such a pleasure to have as an option. It really raises your skill in a lot of ways. Very rewarding when it comes out right. Something you created not some baked in look. You feel like a creator not an operator.

The GH5 did not have an OLPF and had zero Moire. I think you might be surprised by the S1. The tilting screen on it is awesome and the weight increase is marginal IMO. I think for the GH6 its partly a question if the dual gain sensor applies to stills. One of the downsides of an M43 camera in general is the lack of dynamic range and color depth. That might solve it. I noticed a difference in detail when it comes to Fuji vs Panasonic but I think its the weird X-trans filter thing more than sensor size. I have found there is so much detail in the 24mp S1 Raw files that I can't imagine ever needing more than that for any application. I have cropped in on an eye from a portrait shot and found there to be enough detail for the image to be usable. The most I'd ever crop in for something is like 50% and its got that covered easily.

Yeah I never had an issue with Fuji files but I did find when cropping in at insane amounts the Panasonic seemed to hold more detail. I really never crop in on photos much so its not really a problem.

The 3:1 compressed raw is a good compromise between ProRes HQ and uncompressed CDNG raw; you get nearly all the latitude of uncompressed raw without the ginormous file sizes. I've been shooting 3:1 raw on the BMMCC for a few years now and liking it, although Prores HQ is no slouch and can take a lot of grading and adjustment of white balance etc. as kye noted above. My favourite monitor with this camera is the SmallHD Focus, which is discontinued but presumably very much available on the used market. I also have the Atomos Shinobi, which works but I much prefer SmallHD (better UI, more and better-implemented features). I have the 5" video assist as well but only use it if I need a recorder. In addition to using it for video, I've been having fun using it for stills: the actual CDNG files are only 2 megapixels in resolution so it's far from ideal, but if I'm shooting portraits I'll bring my BMMCC along and just let it run, going through the footage afterward and stopping on a good frame, grading it in Resolve, grabbing a still, exporting a TIFF, and the upscaling it in any photo processing app like Affinity Photo or ON1. When your camera is capturing 24 or more frames per second, there's a good chance it'll catch the moments you just missed with a stills camera. If you set the shutter angle to 45 degrees you'll get terrible video (herky jerky like the beginning moments of Saving Private Ryan) but better stills since they'll have less motion blur. Unless you want motion blur, which I sometimes do.

I use one of these. Best thing I ever bought for the BMPCC. Not sure but I think they only work with a 1080p output? Zacuto EVF Flip-Up Electronic View Finder Z-EVF-1F https://www.ebay.com/itm/144366685371?

I found the Sigma video not appealng in regards to the "vintage character" of the lenses. To me it was going over the lines. I would suggest buying some affordable M42 lenses, just like Andrew and the EOSHD cats have been suggesting as a valid choice since the existence of this beautiful site and forum.

Yes, Mr. Webrunner is a true personality, sometimes making me think and laugh at the same time. A great pleasure! @Emanuel

Maybe stupid question, but what if you use a cheap (uncoated) UV filter on the lens instead? Will this not give flares without ruining your lens?

I agree, PannySVHS. Thanks a lot for the nice words! 😀 Please let me know when you release a macro film. Looking forward to it!

webrunner you forgot to add social influencers, i reckon they might be the next plague on society. Plus i'm not sure the rules need changing i think it might be the people that need to change first.

It’s been and still is quite a polarizing situation. I suspect, as has been the case with DFD AF, there has been a lot of negative hype regarding Xtrans from people who gave it little or no time. Personally I had zero issues with it. Either because it suited me more than some others, or perhaps because I took the time. Probably both. It’s taken me a lot of time and effort to get my Lumix colour to a level I like as much as Fuji, but the length of that time has mainly been down to Covid reducing my workflow by 90%. But otherwise I think you can extract more from a FF S1/S5 file than you can any Fuji Xtrans. I can definitely report moiré from the S5 sensor, for stills anyway. The only wedding I didn’t also shoot video last year, I shot a pair of S5’s and by the law of sod, it was shiny suit day! I’m not sure if this is 100% true or not and I have no evidence either way, but I believe using a 1/8th mist reduces or eliminates moiré as it takes away some of that digital sharpness.

Well like a friend of mine says that owns a used car lot "There is an ass for every seat" and this Canon FD craze is no doubt one of those. Canon sure has fooled one hell of a lot of people with their photo products. Hardly the second coming of Jesus Christ. Other than a few lens examples, ergo super fast lenses that no one could afford even new, I can think of lots of equal or better lens brands out there over the years for a heck of a lot less money. Although any really good lens is not cheap. I think Olympus put Canon to shame lens wise back in the day, Leica like quality and size.

Hmm that is an interesting statement. There has to be a combination of several factors for you to think that. Above resolution, maybe clarity, colors, weak filter array on the sensor, etc. etc..

It's a pleasure to see you two to join such conversation, that's part of your legacy pal @Andrew Reid ;- )

Yup, moiré can often be a wedding suit issue and when you have a whole row of fellas in them. All day… The S1 for me is the least desirable of the FF bunch followed by the S1R, but the S1R has a place in my kit because it’s stills capability is right up there with anything. It’s superb in that regard and because I paid just 1500 euros for it…!! The S1 though is not as capable as the S1H for video, equal for stills and not as small or light as the S5. If I had to pick one for everything for all 3 bodies, then the S1H. Easily. But for pure video requirements, maybe the GH6 equals or in certain areas, beats the S1H. I don’t think any 4/3rds can for stills however and it’s 50% of what I do. No kit and a reasonable pot of cash, I might go GH6 for video…but then then it doesn’t have a OLPF so actually maybe I wouldn’t. Conclusion for me is that the GH6 edges the S1H in pure filmmaking terms but the S1H probably wins for wedding videographers.

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body. Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

The original filter on the original BMPCC and the BMMCC is still letting of IR light get through the sensor. So I bought mine with the filter from Rawlite, which is Oplf and IR Cut in one. I am not sure though if I didnt get tricked though. Anyway, this camera already gave me a lot of joy and I am looking forward to testing it much more. Heck, you guys remember how much use we gave to our Canon Ti and GH cameras back then. We all were so on fire that filming walls was even fun to us. I started HD with a Lumix G6 btw. My favorite colour science for grading. If it only had a 100mbit codec. But that is an old lamento I´ve been having. It´s just a very organic image.

Well that might be a reason even a simple commercial on TV has a crew of 50 people involved. No one on here is going to become some master of every trade involved to make top notch videos. Sure we all need to get better, but there is a limit to talent, ergo intelligence, mine is getting worse by the day, and time involved. We hardly ever talk about audio on here, heck it is just as important as the video at times if not more important.

Indeed and one of the absolute bargain cameras of recent times. I never went from mine to the XT4 as I thought I would, a mixture of timing due to Covid and the launch of the S5. OK, I would rather have the battery of the XT4 and it's IBIS, but otherwise would rather have an XT3 for it's rear screen. I absolutely hate hate hate (and hate is a strong word) these flippy out rear screens. Tilt up, tilt down, in-line with the lens. Job done. It's one of my 2 big grievances with the S5: A: The non-damped shutter which the S1H and S1R have. BIG for me as a photographer. B: The flip out rear screen which I absolutely hate. BIG for me as a videographer. It keeps coming back to the same thing for me and that is no camera company currently makes my 'perfect' camera. Panny for me has be the combo of the S1R/S1H/S5 with tweaked AF as a whole, but no single body is quite right. The closest out there however. They need to have a threesome and make a child. Fuji frustrate me with my preference for the rear screen of the XT3, but the battery and IBIS of the XT4. Maybe the XH2 will solve this... OM System OM-1 ticks all my size, weight and video specs, but has a question mark over it's stills capability for my needs. Ditto the GH6 as in the video spec is even better, but for stills... I'd need to test it but don't believe it would match an S5/S1 never mind an S1R. Canon too expensive and too problematic with the overheating issues. Not really a Sony fan, but the A7iv paired with an FX3 comes closest, but the cost man, - at least double the price of my current set up to achieve what, better AF, but that's about it. Nikon. I like Nikon. They were my tools of choice for the first 10 years of my career. Film and then digital and if they can get the spec of the Z9 into the next gen Z6 and Z7, it could be an option. Leica. Great quality of video (SL2-S) and stills (both SL2 and the S), but lacking any form of tilt screen which would frustrate me as a run & gun hybrid wedding shooter. Plus the cost is waaaaaay above my pay grade. At least to go full system. Sigma? The FP-L ticks several boxes but has more boxes un-ticked than any other manufacturer. IBIS, tilt screen, 4k 50/60p, twin back up card slots, not good enough e:shutter only... How much can you give up to use something before it won't do what you need it to do no matter how much you want to like it? Ultimately it's always about compromise somewhere. I think we're so close to eliminating it, at least for my needs but not quite yet.

I think this is the fate of many cameras. The camera market seems to be oriented around camera size being a prerequisite for image quality, despite the fact it doesn't have to be (as evidenced by BMMCC and OG BMPCC which were affordable a decade ago). This means that there is little support in-post for the lighter cameras and less reputation. This creates a feedback loop where people who want to shoot light don't make good-looking videos because the expectation isn't there, and people who have the expectation of great images shoot with larger cameras, reinforcing the concept that small and budget friendly isn't the way to go. In response to this completely made up size=quality concept, BM decided to make the BMPCC 4K literally 3x the total size of the OG BMPCC and abandoned the delightful S16 sensor for one that looks like any other camera, and almost all evidence that small could be great was swept under the rug. Those who shoot small typically shoot in uncontrolled conditions where the lighting is mixed colour temperature and lighting ratios are difficult to deal with, leaving those who shoot in the most difficult conditions and have the least ability in post production to shoot with the cameras least able to handle those conditions, and unaware that it could have been any different.

Yeah, the nerdom and its enthusiams coming from camera lovers is what counts a lot. Cinematography is just as much about the joy of using tools to the best effect just as it is to wonder the marvels of tech and to operate them. Now I get carried away. Anyway, looking forward to more awesomness of yours! I´ve had a desire to make a macro micro short for a while. Your footage and thread might have made me get closer to do that! Perfect! 🙂

I went to an S1 from my GH5s, actually I still use both. The S1 has been amazing image and low light wise, although the slow motion is a bit aggravating. The GH5 could do really good down sampled HD, meaning the 1080p60 was really good. The S1 doesn't do HD very well, so you are kind of stuck with the cropped 4k60, which isn't as bad as I thought it would be, just have to be selective with what lenses I use. Other than that I don't have any complaints, the image is a huge step up from the GH5 for sure!

XT4 Punches above its weight with noise control in low light (x-trans noise is always nicer) Not full frame but focal reducers are there (and excellent Fringer non-reducer adapters) Only thing is that the IBIS behaves slightly differently on different fuji lenses. Some it's slightly jerky, some it's great. Manual lenses you can kind of tune it yourself by inputting a different focal lenght setting Much more useable AF (okay, depends...) Having full bit depth h.265 and good bitrates in all resolutions and framerates and all capture modes felt amazing after GH5 which had a lot of gotchas in certain modes like VFR only being 8 bit Size and looks beat the gh5 too though I can't say 'ergos' are superior necessarily for practical use

I thought this video was interesting...