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Had the opportunity to interview Masanori Koyama, product planner for the GH6 and S1H: https://www.eoshd.com/news/interview-with-panasonics-masanori-koyama-product-planner-for-the-gh6/ Hope you enjoy.

Backstory here for the lovely 10 year old Tokyo footage. https://www.eoshd.com/news/tokyo-test-footage-attempting-a-ridley-scott-with-the-hacked-gh2-and-olympus-12mm-f2/

I thought they added HLG video in version 1.6 ? Has to be in Manual exposure, 10bit MOV format and the lowest ISO is capped to 320 according to the manual. Maybe they hide it as an option if you are not in Manual and 10bit MOV ? It wouldn't be the first time Panasonic have hidden a picture profile.....

On some level, you're probably right. Slowing down and finding the shot based on what you want to communicate will yield better results. Even in this video, Andrew's use of Dutch Angles superimposes a different feel of the city. It's like every puddle has a story to tell. With that, I still feel like there is something missing from these newer cameras. With all of their advancements in color depth and resolution, the images look more brittle and similar. Obviously, there are exceptions... and maybe I'm just being nostalgic.

Don't think its necessarily the cameras myself. Its mainly the move away from slowing down, seeing the composition rather than just the opportunity and using the lost art of putting it on a tripod. Too much running, too much gunning and not enough cunning these days.

Thanks for posting this. @Andrew Reid I really enjoy your older work. Before you sell off the site, it could be fun to see you revisit some of these classic cameras. For a site based on gear and tech and how they merge to create a craftsman's tool, one intangible variable, often overlooked is mojo and it oozes from some of these older cameras. I don't know what has changed over the past 10 years, but these newer cameras seem to lack it. On a side note, I came to your site for your reviews and stayed due to these videos that accompanied them. Thanks and good luck with your future endeavors.

Just got a GX880 (almost new) + Panasonic 20mm f/1.7 II (like new) + 7artisans 25 f/1.8 (also like new) for 200 Euros. I missed some of my Panasonic gear. I'm back now.

The big difference I see from 4k to 8k is it studders a lot on my internet connection. 😄

I always said, EOSHD library is a treasure chest. Forum family just didnt seem to hunt for it enough. Member posts are also gems to be treasured dearly. Andrews interview with Lumix GH pieces is my favorite journalistic camera piece of 2022 so far! Had to watch the GH1 piece and GH2 anamorphic in Spreepark Berlin. Thank you very much, Andrew. Great form, taste and article! @Andrew Reid Giving back some memories with the Spreepark piece! @mercer Well said, Awesome! Great mojo of older and interesting tech is exactely the mojo and asset of this site!

I think perhaps a lot of the similarity aspect might be to do with there being so much more received/perceived wisdom about the best way to expose and colour footage etc now than there was a decade ago so a lot of people ploughing a very similar furrow. Back then people were finding their own way and working within what they had in camera a lot more, particularly as the then £250K DaVinci colour correction suite had yet to be released as a free of charge piece of software, so there was a lot less fannying around in post. At some stage, helpful advice and shared experience morphed into dogma and many people end up singing the same song. An example of which would be a sizeable amount of Tokyo Rain Cinematic videos you'd find on YouTube now would have a substantial amount of slow motion in them as that is the common expected aesthetic. Also, life was a lot less shit ten years ago so there's that as well.

VRVRVRVR. I can't tell you what a difference there is, even between 4K and 6K. And 8K is still significantly below what the eye can resolve, especially when you are panning across the image frame with the screen pressed against your eyeball.

Well I’ll be as the old folks say… I bought the camera used and immediately updated to the latest firmware which is I think V1.9 I shoot 4K 50p so forced to shoot 8 bit and .mp4 which is fine because I only use the S1R as my C cam and only during wedding ceremonies where it’s sole purpose is to cover a third ‘bonus’ angle for the occasional random clip while the A and B cam are on sticks. Never even occurred to me it would only be available with .mov and 10 bit 4K 25p! But I checked and that is indeed the case. One factor for certain whenever I change camera bodies again and that is all 3 bodies will be identical. Constantly juggling between the S1R, S1H and S5, playing to their strengths and weaknesses. If I had to pick today, 3x S1H, no question, stills and video. Proved wrong. Thanks @BTM_Pix 😘

mr reid just make an app that takes a photo of the stars, do some fancy connect the dots stuff, add some ai texting and bobs your uncle or maybe you aunt these days. btm_pix could probably whip something up in an hour. although if it takes off i'll want a percentage of the profits.

I agree with Mercer, I think that was one of the best videos Andrew did and the GH2 with the hacks back then I think looked better than the GH3, GH4 ever did. Main reason I just bought the 1DC. We seem to be getting worse Color Science every year.

Blimey blog posts were a lot shorter back then! Not as short as a social media post, but not a book either. Fond memories.

Hence my disclaimer ;- )

As per the shitty links that he edited into his post (and every other one he's made on this forum) after it was posted, this is the most applicable video to what was happening.

Yeah, 8K 50p / 60p looks like a new standard to come for acquisition: source Do we really need IBIS? ; )

Why do they still use such a small sensor in this day and age? Jesus, they act like it is 1988.

There are cameras just becoming available that have sufficient DR to expose the sunset properly as well as get the shadow-side of a face well enough exposed to be able to see who it is and what they're doing, which is ultimately the goal. The GH5 doesn't have enough DR for that, however, and I don't think the P4K does either. That's really more the territory of things like the A7S3 or S1H. I definitely understand the priority of getting the shot over the image quality of it. I shot videos with the OG BMPCC and BMMCC and they were just too slow to work with, and didn't offer enough stabilisation to get the shot. The shots they got were lovely, but the GH5 can get a significant amount more shots just because it's faster to use and so you're rolling with less delay, or the shots are steady enough from the GH5 but not from the others, etc. I've lost count of the various things I've tried, but I wasn't able to isolate any perceptible differences. The conclusions are that: either it comes from a variable I haven't tested yet, or it comes from many variables that when isolated don't provide an appreciable enough bump to be discerned if I can't understand what the variable(s) are, then I can't optimise them, and so if I want it then I have to just buy it Sadly, the cameras that have it are normally impractical (ie, they don't get enough shots in the situations I shoot in) and potentially they're also far too expensive. One challenge that any discussion on camera tech faces is that there are so many variables being discussed. Just off the top of my head, these are (some of) the things that are at play when comparing two cameras: IR/UV filter on sensor OLPF Bayer filter (or X-trans, etc) sensor itself (and the modes it is configured to use) analog processing circuitry ADCs digital processing algorithms (and, if it's not an uncompressed Linear RAW codec) image scaling / down-up sampling NR sharpening colour space / gamma transforms compression (both the bitrate/bitdepth as well as the quality of the algorithm and processor) Needless to say, just because two sensors share the sensor and the "colour science" doesn't mean that those are the only variables at play. Far from it. When you compare two cameras, you're comparing all the factors above and more. Not sure which part you think was out of my ass. I'm speaking from personal experience here. One of the primary things I have done over the years, in videography as well as in other pursuits, is to validate the things that "everyone knows" personally, to ensure that they are true. As I'm sure you're aware, at least a third of the stuff that "everyone knows" is actually total BS, and can be proven so quite easily, should someone have the capability to perform even basic tests and, more importantly, to have a desire for the truth. I could match them sufficiently to intercut them, but I was talking in the context of the mojo of the image from the BM cameras. The match was just fine, but the magic wasn't there. I shoot in very different situations and with very different goals to probably every other person here. I shoot super-super fast. I walk, carrying my camera in one hand by my side, wearing a wrist strap, and with my finger on the power switch. When I see something about to happen (I've done lots of street photography so am anticipating things all the time) I start to raise the camera up to my face, and while on the way up I turn the camera on, and about the time I get the viewfinder to my eye I hit record. The camera is set to auto-expose using SS, so while it is adjusting that I am then finding the composition and manually focusing the lens (I shoot with fast aperture primes for low light and a modest amount of background separation). This takes perhaps 2s. The result of this is that I often miss the moment, because I was too slow. If I don't miss it entirely I am often using a clip starting with the first viable frame in the edit, and sometimes the shot only lasts a second or so. I have in the past gotten only two usable frames and ended up doing a very slow slow-motion transition between them for a time-stands-still kind of moment. To this end, the idea of me modifying literally anything about the shot is beyond ridiculous. This isn't every shot I take, but it's quite a lot of them. I shoot what happens, I don't direct, I don't control, I get what I get and I use what I can. I end up with footage that suffers poor DR, exposure problems, mixed lighting temperatures, stabilisation issues, etc. When I'm shooting, every second counts, so when I say I would like a nicer codec and someone suggests a camera that would cause me to miss entirely many more shots, it's a silly suggestion. The reality is that the GH5, while not the best in any single area, is actually the camera with the most overlap between a range of critical factors that allow usable images to be collected in difficult situations. Any increase in image quality normally comes at the expensive of some practicality that is simply not a factor for most shooters. I know I'm by far in the minority in this sense, but in a way I'm the perfect GH5 user. Anyone that can take a huge sacrifice in something that the GH5 was really good at wasn't really at the centre of the aim for this camera. To that end, the GH6 is really the only replacement for the GH5. The P4K is deficient in so many areas that it makes about as good a replacement to the GH5 as a Mack truck makes as a replacement to a rally car. Yes, but not me. The lust for shallow DoF is really what has ruined camcorders in the marketplace I think. Critics of the GH line who suddenly now NEED great AF (as it it has always existed, which is hilarious) will tell you that you can't possibly film an interview with fixed focus because if the talent flexes a muscle wrong then they'll be out of focus. I mean, if your DoF is only a few CM deep, and you're filming a sit-down interview for heavens-sake, you don't need that DoF at all, just move the talent closer, film them in front of a screen-screen, or *shudder* stop down the lens a little!

hmm, got cut off not sure what happened there. Anyway it may not be immediately obvious, however i have chosen to go with an orange, teal look. I know its a bold look. Not sure its something everyone will be rushing out to try. However i'm liking it so far. i'm using a 50 / 50 mix of linseed oil and turps with a bit of orange oil paint mixed in for a bit of colour. Its had two coats now. its a flat look there's not much sheen or gloss to it. I would have liked a bit of a shine. No idea if theres any options to get a shine on it, maybe bees wax perhaps, i'll have to google it. if i cant get a shine i'll just live with how it is. Have to clamp it down after it dries a bit as theres a lot of rain about and the top is warping. Hopefully i can keep it flat enough till the table base is welded up. I have plans of adding a 3/4 frame to the back and sides. That will be stage two, that's where the teal colour should make an appearance. There's some slots and usb flush mount bits to be added and i have seen some other utubes with some desireable features i'd like to copy / incorporate.

Interesting video. Seems lots more people are getting their hands on these in the wild now and really exploring what they have to offer. This guy prefers it to the S5 in real-world use.

The Batman was aesthetically bold and brave for a blockbuster. It looked like the most expensive art house film ever made. I loved the blurry murkiness of it all and the interesting characterful feel of the image. It added to the overall story greatly. It almost always looked out of focus and I didn’t care. Great to see that modified Soviet lenses were used here and there (Iron Glass Adapters). It’s a refreshing change from all the other clinical perfect Marvel movies firing out of Disney’s ovaries. Also thought the slow pace, and Robert’s very awkward and similarly slow, clunky movement made the character feel grippingly tortured, and often, weird. I liked they left out a lot of sweeping aerial establishing shots and setup most locations as if you’re looking through a rain soaked window. The score was also haunting and moved things along eerily in synchronisation with Robert’s weighted posture. Overall, very impressed. Unforgettable cinematography. Great all round. Relatable to this, I’ve been dropping all my clinical boring Sony lenses and making life hard with Lensbaby’s and heavily modified Russian glass. 😂

It was sponsored by a massive Crypto dot com ad as well.... Which is ironic considering crypto's deep involvement in money laundering, illegal activity, mafia states and governments, they are basically Putin's best friend.

I love how these threads develop. We’re now onto 4K TV sales outside of the US/EU and meanwhile, I don’t think the OP ever came back to see the answer to his question which would now be: Buy an OG BMP4K plus a 4K TV. I think… 😬

Yeah Resolve has gotten pretty good now with the BM cameras on the Color Transformation thing. Amazing feature.

The PK4 to me is just too awkward of a camera body. And with a cage even more goofy. I get that 4k is never going to look like 1080p. It has it's uses. Even Arri doesn't really like a 4k camera. I doubt 4% of the world has a 4k TV let alone 8k. I don't, heck one of my 42" is 720p. Yeah, my 50" 1080p looks a Lot better. My 4k Monitor looks even better but...

Update: I pried the fucking thing off with a screwdriver. Everything still works properly, but I added a few scuff and scratched to the aperture ring. But now I have to get to work, so I'll have to wait till tomorrow to shoot some actual test footage.

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

The F5 is the obvious natural "upgrade" from the F3. However, kinda bizarrely I think the FS7 is worth mildly more out in the free market when it comes to getting work as "a man with a camera". (just because the FS7 has been the "de facto standard" But this here is the biggest reason of all as to why you shouldn't buy a F5 (or FS7).

Yeah, best to wait until (after) the summer. Prices will drop as soon as people can spend there money on other things...

As the owner of a Canon 700D, I'd suggest that it would barely be 720p! But it certainly is a nice example of what can be done with enough skill....

You can find that adjustment in the picture profiles. Select a picture profile ( you can find profiles on Ablecine website and how to load them) you can then go into the matrix on that page and select the white balance temp. Broatch

Stumbled across this YT comment which is a nice little summary of the Sony PMW-F3 history, thus I thought I'd include it here into this F3 megathread: