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Sure, here is a link to 2 DNG Frames. Let me know what you think. Anybody can download until the link expires. https://we.tl/t-uRbyLstW0Y

True... but thats reality. Cost of CF Express Type B.... isn't exactly bargain basement - even with other brands. You know what man... just give it 10 years. Everyone wants now... now now now.... You know I recently bagged a Blackmagic 2.5K Cinema Camera... yeah... I know its old, but the images that come out of that is undeniable. Moreover, people used to complain about storage if you filmed 2.5K RAW... this is 10 years ago (actually, people were even complaining 5 years ago) anyway.... now... you can get a 1TB SSD from ebay for $100 and that will hold about 4 hours of 2.5K RAW. Grab 3 SSDs and you are good for an event. Even the EF mount now has a magic booster... give it time... shit happens....

I think you're on to something with this. I think "ON" is better. I think the "OFF" image is displaying a native wide gamut image in "Sigma gamut" and we don't know what the transform is. It doesn't seem like it's accounted for in the DNG metadata when in "OFF" mode. Having said that, the ACES "OFF" version looks to me like the mov "OFF" version that I've seen before (in the toy Ferrari images) with the desaturated color space. So in that sense it's consistent? But not what we wold want. Here are the two images exported as srgb with the default ACES look and output transform. The "ON" version is very close to your "ON" version. There is an issue where the look transform at the end is flattening the highlight detail on the piglet doll's face, but when the file is viewed in linear space, the detail is there. So that could be fixed. OFF ON

Okay, you probably stated this already that if it measures the value directly off the sensor then it's not factoring in the ISO push. I guess what is needed is for the false color to work in a CineEI mode where it reflects the preview. Like CineEI on Sony pro cams, it's just the base ISO but the preview can show an adjusted ISO value that is just written as metadata and reflects what you would do in post. It could be done predictably with a false color LUT, probably. Since that would be applied after the preview picture exposure change.

I just clamp a powerbank onto the tripod and it runs forever. Well a 256gb card will run out before the powerbank! 2 hours? Easy.

Someone shared this on dpreview m43's forum, I couldn't resist. I have m43 to Sony E and Nikon Z adapters, so plan on using these adapted to FF. Adorama back at it again with some Samyang/Rokinon price craziness, this time in the m43 mount I thought $230 was low for the 24mm 1.5 last year, now it's at $150! They have most focal lengths and some kits available. The 135mm 2.2 is $140, the 50mm is $130 The 24mm, 35mm, 85mm kit is $350! https://www.adorama.com/l/Video/Video-Lenses-and-Accessories/Samyang~Digital-Cinema-Lenses?sel=Lens-Mount_Micro-Four-Thirds

The problem with so called "pros" is that they have been tricked into thinking that way... you need that kind of $100K setup to be a big shot. The main problem are the producers... they come from old school methods of film making where you need those kind of huge cameras, rigs and setups. I remember someone telling me or reading it somewhere, that once the guy brought DSLR to a gig and the producer turned around and said something as cocky as, "I have a camera like that at home, so if I can just bring that to set... may be I wouldn't need you." I would've said, "Fine, then go to your local dollar store, buy yourself a hammer and build yourself a fucken house while you are at it... or better yet, go to your local pharmacy - they literally give away needles... use that to perform brain surgery on yourself."

That beauty also comes in a flavour of MFT mount for C-mount and Focal reducers in action. @mkabi So this is indeed a great image taker for people who are not in want for 50p. Dunno if Rawlite has a Oplf or IRcut filter for it. If so, even better.

Do you use an external monitor on the GH5? I feel the GH5 ISO range is much more sensible for run and gun shooting. Though I guess the native 2000 would be nice for lowlight situations. I've felt the GH5 performed nicely up to 3200 iso. I suppose on the GH6 you can always drop to the standard single gain mode and get a native 400 iso. I think the GH6 may be the best run and gun camera now. I feel like a Sigma FP with BM video assist is too cumbersome. The video assist is also a power hungry bastard. The FP with a little SSD on top and the tilt screen mod seems really run and gun friendly. Not sure what good options there are for OIS lenses and L mount. A 2TB card gets you 2 hours in 4k, not bad at all. You can compress to 7/1 raw and get really small files with Slimraw. But you can only monitor accurately at iso 100, unless you have a ninja V. Overall I feel the Sigma FP isn't terribly run and gun friendly. Too many little quirks. I am planning on using the FP as a travel cam as well as an Alexa B cam. For travel I generally shoot wider so I don't have to worry about stabilization. I think on full frame I can get away with shooting up to 50mm handheld without much of an issue.

You will definitely want to look into the USB-C power options for that. Many options out there.....power bricks, vmount batteries, etc. The S5 is great because it uses so little power that you do not need a PD rated USB power source.

Actually you cannot change the settings at all, in the Atomos they look like this. Native monitoring looks a lot like LOG, but false colors are not working. However a RAW record should always be the same, no matter what you choose to monitor the picture with.

Speaking of which... Apparently the "Delkin Black" CF Express Type B cards are capable of recording 8K for 30 min. without overheating??? https://www.canonrumors.com/new-delkin-cfexpress-card-to-launch-thursday-it-will-be-the-fastest-card-for-the-canon-eos-r5-yet/ I don't know how 4K/120p performs... but any volunteers on this forum that is willing to do so... let us know.

It looks like you could shoot a clip with a grid or checkerboard by walking around it a bit to get some parallax and then 3D track that in the Fusion tab with the 3D tracker node. As part of the track it will calculate a lens distortion model+values that can be plugged into the Lens Distortion node, or maybe it will auto generate a Lens Distortion node with the correct settings already. I haven't used Fusion, but it seems to mirror the process in Nuke.

Wish is granted. 🙂 Here we go: https://www.dropbox.com/sh/cgm80q9w682oc19/AADWHieOS-Wka9JuD-GnXerca?dl=0 Same clip I have used for my YouTube video posted above. Recorded at ISO 800 => so ISO 100 in reality. Just so, that the sky highlights would not clip. For obvious reasons I could not prevent the sun from blowing, but thought it would be a good idea to have it in the frame as the ultimate highlight. Maybe I will do another clip with ISO 3200 in complete darkness soon, will also publish it here.

Would rather put a new camera in series of practical tests shooting scenes that typically shoot, rather then set expose based on some assumptions. Those assumptions may not be true. We have no idea how exactly a particular manufacture is interpreting the RAW data from a given sensor. If we have to believe this test: Sigma FP shooting raw video handles underexposure much better than overexposure. Some people interpret the Sigma RAW video as BM Log and then do CST (Color space transform) and claim this is the way to extract more dynamic range to the full potential of the sensor (12.7 stops). CDNG files from Sigma RAW video according to them give lower dynamic range. Have similar experience with Canon ML RAW video on hacked Canon 5D Mark III and Canon EOS M. There is ETTR function in the hack and multiple people advice to do ETTR in order to reduce noise when shooting at HIGH ISOs. In practice at lower ISOs (and high as well) risk of burn in highlights is quite high. Canon RAW CDNG files are handling underexpose better than overexposure. I was able to recover at one occasion 4 or 5 stops of underexposure due to forgotten VND for daylight when shooting at night. As result when shooting Canon ML RAW tend to underexpose half a stop, and almost never go for ETTR. And like the results and footage better.

One valid reason not to ETTR on every shot is that it creates extra work in balancing exposure in post, versus exposing for middle grey where the same correction should work for each clip regardless of highlight level.

Barbie cameras are available. Barbie cameras that shoot 8κ not many Sony A1 (that someone could compare with) is 50% higher in price and shoots obviously in lower bitrate and with inferior capabilities in video image.

My primary reason for wanting a battery grip is that sometimes I need to record longer than 2 hours and there's not always an outlet near the optimal spot for the hard camera. I've thought about it. The thing that makes me lean towards another S5 is that I often times am seeing if bundled with the 20-60mm kit lens. The $200 upgrade also is kinda a sore spot, though I notice a lot of them already have it. That was honestly why I was hesitant to buy into a full frame Panasonic camera. To be clear, it's not really a huge priority for me, but I think the long term health of the system is dependent on AF because it's what the market demands. But I couldn't pass up the deal I got.

Keen to hear your thoughts on the camera, image, and this rather strange exposure behaviour... You mean a test like this?

Knowing what I know now, ie, user experience of the S5 and S1H, I would definitely pick up an S1 over an S5. But then also having this info, I’d also happily trade my S5 and S1R for a pair of S1H’s so I had 3 of the things! Yes it’s a bit of a lump but it’s the best lump I ever shot with for video or hybrid. The S1R beats it as a pure stills machine, but otherwise… The final components for my S1H video beast arrived today and I have to say that after a minor modification, it is indeed a beast. Having a VND between the lens and the camera is a MUCH better solution than screw on options as it gets out of the way and allows the use of a lens hood…and the Meike cine lens comes with a very integrated looking screw in hood that looks like part of the lens rather than a ‘lens hood’. And then there is the lens itself… Only had time to shoot a little bit of footage but the result SOOC is already nicer looking than my f2 Sigmas…which were pretty great, but not ideal for video work in that they breathe like dragons and the focus is by wire, so finicky to say the least. The only thing that bugged me…for about 5 minutes…was the de-clicked aperture. I get why it is, but FFS, put an aperture lock on the things because it gets constantly nudged out of place. Like ALL THE TIME when handholding. A cunning less than 1” square sticky back Velcro option sorted this and now it ‘locks’ at T2.1, T2.8 or T4, depending on my needs. The S5 will get a little more use than the last few jobs because other than static full ceremony and full speeches, it’s staying on the sticks and doing any and all things AF, so it’s designated as my ‘tracking unit’. Full run out of the updated kit next week… On another note, tried Vlog again. It was just as awful an experience as it’s ever been… Viva Natural. I’m 100% done even trying with log now. And zero need.

The S1 series cameras are definitely fantastic. The best 10 bit image on the market under 10k IMO other than the RED Komodo. I think the Sigma FP tops it but the lack of an easy 10 bit codec puts it out of the running in that category. Low light performance is also stellar up to 12,800 iso. I do wish it had 4k 60p in full frame, but its really not a deal breaker in anyway. I just got a Sigma FP and am about to sell my lumix S1 kit. I am sacrificing all ergonomics and convenience for CDNG IQ and sigma color. The S1 is hard to beat if you want something fast with a stellar and easy image workflow.

Just purchased this camera, coming tomorrow. I am really interested to see how it can match to the ARRI alexa.

It has gotten easier to use ML in the last year. The duration of time has increased by miles lately. They are a magic camera no doubt.

It's amazing to see what people are doing with this little camera! The EOS M always has a place in my heart. For some unknown reason, it just comes with great colors. It only requires some minimal effort to get it to look good in my taste. Not to mention you can install Magic Lantern and add in many useful features. Anyway, a camera which can shoot RAW costing around $100 is unbelievable. It's unfortunate I had to sell it last year. Maybe one day I would buy it back and play with the RAW feature more😅.

Great post - thanks! As a GH5 user I can see lots of interesting little improvements here that are against things that irk me about the GH5 so will be real-life improvements. A few thoughts: V-Log clipping at 88 isn't a big deal - for 10-bit footage the difference between 88 and 100 is inconsequential and it's designed to provide compatibility with V-Log cameras with larger DR on the GH5 the HLG mode contains the whole DR of the camera (unlike any of the other picture profiles) so if HLG is in the camera then that's a full-DR alternative to V-Log 13 modes rather than 5 is huge, and especially that there's 4 on the physical dial - I will definitely be using more than 5 of these modes Sleep function forgetting things was definitely a PITA so refinements to that is huge, and the extra custom modes help with that too I'll be particularly interested to see how the 1080p (or 2K?) Prores mode is integrated into the camera. In addition to image quality, it'll be interesting to see if it requires the newer batteries or not, etc. Can you give a bit more information about how well the current (h26x) 1080p ALL-I mode works? Particularly, I'm interested in how the footage looks from these modes: 1080p24 mode 1080p24 mode with 2X digital zoom 1080p60 mode 1080p60 mode with 2X digital zoom On the GH5 all those modes are downsampled and the footage looks flawless. Is the GH6 the same?

It's definitely tilted towards the needs of the professional user over the casual enthusiast I would say. Features like DR Boost, ProRes internal, and compulsory 4-channel audio (you can't take a stereo track into post as far as I can see), potentially make life better for the dedicated pro, but probably more fiddly for the enthusiastic amateur. Full V-log curve seems to be a bit of a gimmick as you're not able to stretch the DR past what V Log L would have allowed from what I can calculate (admittedly not my area of expertise). V Log highlight clipping occurs around 88 IRE (compared to 82 for V Log L, and 109 for full V Log range). That said, as previously mentioned, DR Boost is definitely worthwhile, and gives the crucial little bit of DR I've been crying out for with this series. It doesn't turn the camera into a dreamy DR monster, but it does take the edge off of that burnt-out DSLR look, and seems to help both highlights and shadows. I don't want to oversell it, because it really just adds a touch of latitude rather than a major transformation, but its a very useful addition in my book. What is also fantastic is full V-Log gamut, which seems to be providing much richer, more natural and accurate colours. I'm really enjoying shooting with it. I think that if you're not going to be using V Log you've got some problems though. DR looks much reduced, and from looking at online tests it looks like it may be even worse than the GH5! That's not good news really. Is there any point in using Linear DR+ mode when V Log (with DR+ Off) offers greater dynamic range? I'm really pleased with my camera so far. It's familiar enough that I'm getting some muscle-memory imbedded straight away, but progressive enough that its challenging me in some interesting new ways. As well as the obvious headline features, one thing that really strikes me is that Panasonic have really sat down and thought about how to make this camera better from top to bottom. Some innovations I really like are: Improved Custom Modes. You can now save 13 Custom Modes (and crucially give them names that come up on the screen when you turn the dial). That's up from 5 (un-nameable) on the GH5 if memory serves correctly. Same topic, but you can now choose how the custom modes respond to shutdown/sleep, etc., even to the point of excluding certain values. This is massive because the previous CM system was practically unusable due to the way it kept resetting exposure values 😖. There's a lock switch, and again, you can dial in exactly what you want it to lock and not to lock. I'm using it just to protect my shutter angle dial. Hallelujah! You can use 4-channel recording in conjunction with the (separate accessory) XLR input and the minijack socket. You can now (I think) use this setup to patch a safety channel from the XLR, which you annoyingly couldn't do before (despite the availability of the stereo channels). The exposure tools are improved. There's a nice luminance spot-meter which works well (though they want you to switch your thinking from IRE values to stop values when shooting log, which I'm finding a bit of an adjustment). The waveform is now bigger and actually useable (though it has no value scale). The camera is palpably heavier, which is helping me to get steadier footage when going handheld (along with the excellent IBIS of course), but I appreciate this will be a negative factor for some. You can get a surprising amount of functionality with the old GH5/GH4 batteries. I can't remember the exact limitations, but basically you just can't record in the super-duper modes (5.7K, 800Mbps and above, ProRes, etc.), but everything else works fine. I expected the limitation to be much more than that. I can see certain people just sticking with their existing batteries to be honest. The restrictions are similar (possibly identical) to those between V60 and V90 card recommendations from what I recall. The battery lock tab (inside the battery enclosure) is now white instead of black so you can easily locate it in the dark. Admittedly this is not a significant feature in any way, shape or form, but I'm really happy to see it because it tells me that somebody has been going over every inch of this camera series and trying to find incremental ways to improve it. Some things I'm not so keen on - The whole 2000 ISO or bust thing. It seems to me that if you are going to buy this camera, the top end DR improvement is one of the biggest draws. You will have to develop a new ND strategy to use it freely. To be honest it hasn't been the nightmare I was anticipating. I love the DR Boost mode image output, so I might just adjust my thinking and continue to operate at ISO 2000. It's nice for low-light in any case. Battery life, which used to be the strength of this series (GH4 💪) is now distinctly meh. But I guess that's just the price you pay for IBIS, Dual Gain sensor, fan, etc. I've only just started to get to know this camera. I haven't tested any of the high speed modes (look fantastic online!) or photo features (ditto). Overall , I'm really pleased with it. Coming from the GH5S, the improved image quality (I was already happy with the GH5S to be honest) and addition of IBIS is an absolute killer already. It doesn't lag too far behind the GH5S for low-light either, seeming totally useable up to 4000 ISO (VL DR+), which is more than enough for me.

So I'm late to the party, but I've had the S5 for a few days and I must say I'm genuinely impressed. It's a real joy to use. It kind of blows my mind that it's an entry level camera, because it's capabilities are impressive. First, I was wrong to write it off because of the recording limit in 10-bit and 60p. It'd have been nice to not have those limits, but the 8-bit is quite nice with good colors SOOC. I think it will be more than sufficient for my event work, though I'll know for sure after this weekend. Low light is very good, at least as someone coming from a GH5. Speaking of the GH5, I've been able to match the two pretty easily. I was worried that wouldn't be the case, but I think using the GH5 and my G85 will work out okay as b and c cams. I LOVE that I not only can use the XLR module but that I can lower the pre-amps more than the GH5. That was always something that has bugged me. There aren't a ton of 3rd party accessories. It came with 3 OEM batteries, but I bought some third party batteries from Newmowa. They work pretty good, though after using the OEM batteries and seeing how long they last I probably didn't need to get them. They work with the GH5 though, so they're not a waste. I wish there was a third party battery grip, and more options for cages. Mine came with a Small Rig cage, which is okay, but it doesn't feel as robust and protective as the GH5 cage I have. Overall I'm very pleased. I had no intention of getting it until I was offered a great deal on one. Now I'm contemplating picking up a second one and going with two S5s and one GH5 for my set up. That probably won't happen for a while, but in the span of a week I went from being pretty resistant to going with Panasonic for full frame to debating buying a second FF Panny camera. 🤦🏻‍♂️

Anyway, black and white lovers. Here is a musicvideo I did. Again in cinema verité style. It can be exhausting to create all spontaneously, with the flow of conciousness. But it can be big fun as well. Talent in front of the camera is the awesome artist and songwriter herself. Her shadow following is a kind and kewl artist as well. Shot in 90min. Edit was done the next day. BUT, I completed some itsy bitsy 20seconds and final grade only now, two years later. Crazy how long some things take which started off super high energy and fast as lightning up to 90% of the final result! The last 10% can be a sucker. So here is the final result, turn up the volume and enjoy! 🙂