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I love how you tell us what you're going to eat when you read articles. It's as if a certain food goes well with a certain camera... with fava beans and a nice chianti.

Lomo anamorphic on a Red Dragon. Well, that´s a Tarkovksian Hollywood image. Cannot wait. Comparison with the GH6 woud be a great article to enjoy on a Sunday morning with coffee, and scrambled eggs with grilled tomatoes. 🙂

I don't know if you all have been following him on Twitter but... ANDREW REID HAS GONE TO THE DARK SIDE AND GOTTEN A RED! 2022 just won't cease with the surprises!

The answer, from looking at the manual, is no. There is an EX Tel Conv. mode but it doesn't work for video on the GH6. So there's no sweet 2x mode for HD shooters. It looks to me that the only thing that comes close for 1080p is to set a custom mode to shoot 4K pixel/pixel and then scale it 50% in post to give a clean 1.5x zoom on a HD timeline. Or you could scale it to 75% which should give you a clean 2x digital zoom. But of course, then you end up dealing with 4K files anyway which defeats the purpose of shooting HD. And also there's a bit of post work involved. And if you're aiming for the 2x then framing will be wider than what you want. The beauty of the GH5's 2x Digital Zoom for HD was you just pressed a function button and the reach of your lens doubled.

Bit of background.... I've been doing stuff on and off for a while with the FZ2000 in pursuit of it being the modern equivalent of my Dad's old cine camera. Something to take on holiday as an integrated system without any other accessories. Also something that I could shoot in with a single profile and then create a single "development" step for it so it would be the equivalent of my Dad sending his exposed Kodachrome cartridge off and getting the finished product back from Kodak, with the goal of that single consistent look without noodling about in post. The FZ2000 has an awful lot going for in that respect as it has internal ND, decent codecs, v-Log and of course the stabilised 24-480mm lens, hence it being in here. Had an opportunity to give it a go in the tourist cine camera role this weekend at the F1 Classic Grand Prix in Monaco and here are some frame exports from the footage, shot in v-Log using the 200mbps all-i HD codec. These days, of course, I'm on the punter side of the fence rather than the press side of it so its a lot more restrictive in terms of shooting but that is where the massive range of the lens on the FZ2000 comes into play in enabling you to get a lot of shot sizes quickly and maximising the coverage you can get. When shooting in HD, the very clean digital zoom extension gets you out to around 1000mm equivalent and the image stabilisation makes hand holding at that range realistic. Shot in 180 degree shutter as its more about the event itself (and is purely for motion rather than for stills extraction) than the cars so the motion blur on the cars is not a defect 😉 The lens itself is very sharp so I've got a 1 strength Glimmerglass filter on it permanently to take some of the edge off.

I exposed the following frames starting at ISO 100 using false color. I just kept the wall behind the light without clipping and the mask with some clipping, the gray card at ISO 100 is underexposed. Not sure how helpful this will be. . . https://we.tl/t-82kFKys7LH

I saw that tweet back when Andrew posted it, bravo on entering into a whole new world! Not sure if it is a path I'd personally take though (but then again, I don't know how much of a steal he got it for?? And a certain point you just can't say no!). As I keep an eye on RED prices now and then. RED ONEs have for a while now been ultra affordable, but they're such extremely heavy beasts! (and suck up power & media) That's why all those years ago I went with a Sony PMW-F3 instead, as my personal experiences with RED ONE meant I didn't want one myself. RED Scarlet MX have finally got to the point they're ultra cheap too, but they're a bit too crippled vs an Epic. Plus the MX sensor is so old. (who wants to go back to always shooting at 800 ISO? And never going higher. Not me. And arguably you should even still shoot 320 ISO, if you want a cleaner image, say if you doing green screen) Thus I feel you have to look at the bare minimum of an DSMC1 Epic Dragon (or newer) But you could buy a brand new Sony FX6 / Canon C70 for that price! Or an URSA Mini 12K. Or if looking at secondhand, a Sony F55 or original ALEXA. Or a Panasonic Varicam LT / Canon C300 mk3 is also in the same ballpark. And if you start looking at the more recent REDs than that (DSMC2 bodies), you're then reaching into ballpark price territory for an AMIRA, or Sony FX9, or Canon C500mk2. Is a personal preference thing, but I'd happily take any of those other alternatives instead.

Probably drinking too much of that strong Berlin beer.

Yep, that GH6 grain is very film-like. R5C 10bit looks like there is heavy temporal NR going on which causes that unnatural shimmering, especially when you compare it to the RAW output which is noisy but doesn't shimmer.

Yeah, the Komodo is an amazing little camera. But like you said, there are some crazy deals out there. I often look to see how much the original Scarlet or Raven is going for.

https://www.videohelp.com/software/The-Levelator This is a great free bit of software that I always run my final audio mix through - don't know exactly what it does but it comes out sounding better every time