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I've been considering getting a GH1 as an experiment, to see what I can do with it now with more experience/better lighting. I'm surprised by the color/fidelity of the GH1. In certain situations, newer cameras are better. I recently shot BTS on a friend's short in very low lighting conditions, with the GH5. As so-so as the GH5 is at 3200iso, the GH1 would be so much worse (color shift/noise above 640iso) and no stabilization. But in a narrative film situation with more control, there might be less of a difference. After writing the above, I decided to make a reel of some old GH1 footage remastered and regraded: And here's a couple other test videos I would have included had I not deleted the raw footage:

Well, I just bought a Panasonic GH2 from Adorama in good condition with battery and charger for $109.00. Hot Damn.

I'm a big user of insta360 cameras, I have 2 of them, mostly to film myself and sometimes I use for projects too.... looking and some side by side the 1inch is definitely a step forward. I do agree that 8k would be the bar minimum.... I think the industry stays away from 8k as stitching 8k video would probably only be possible on top-of-the-line phones and PCs.... and the market that they target it is mostly consumers. Same for requiring higher speed microSD 8k, 400 Mbits, 10 bit LOG would be the quantum leap that is needed to have 360 cameras used more professionally All screen shoots from videos:

@webrunner5 Wow! Is bonkers how dirt cheap the equipment from yesteryear has become.

That's true, although the wider you make the shot, the higher the quality but also the more specialised it becomes. For example, if you cropped at 90degrees it would be a standard wide angle view which has almost unlimited applications but is almost unusable, but if you don't crop at all then you're getting 6K 120Mbps in all its glory but the shot is literally unusable for anything at all. The problem is that for any real use you'll need the quality to be above a certain threshold and the crop associated with that is only usable in a tiny tiny percentage of applications. To give you a comparison, an action camera might have a 100Mbps 4K image and a 15mm FF equivalent lens. For a 360 camera to replicate that it would need to be a 1,500Mbps 12,000K image. When I film with my GH5 in 200Mbps 10-bit 422 1080p and my Sony X3000 in 4K 100Mbps I think the action camera looks poor in comparison and I have to really treat it nicely in post to try and elevate it from the cheap/nasty/brittle image that it has. A 6K 120Mbps 360 camera cannot possibly hope to compete against that. I mean, I'm filming with my GF3 and its 1080p 17Mbps, which is still more bitrate and resolution than the 360 camera has at a 15mm FF equivalent crop. This brand new 360 action camera when cropped to anything remotely sensible can't compete with a budget MFT camera from 2011. Oh, I never said this was a "meh" update. It's taking something that is woefully inadequate and taking it to merely being quite inadequate - a huge improvement no doubt. But just because a kid improves their math test scores doesn't mean that they deserve to pass.

1. This is not a Jack of all trades. 2. Indeed. So they're very useful if well used. They're speciality cameras. 3. Who is he? ; ) LOL The only experts I am aware to be considered like that are a couple of 360 nerds, I guess and yes, we cannot dream too much yet but at least make it still usable under certain variables: And here's another one to prove why despite the current tech limitations, this is more than a meh upgrade obviously for those who have 3 cameras of them as myself now going one step further:

https://www.youtube.com/watch?v=agTLsPoIYis The low light performance looks really nice 😎

Agreed. I’ve loved focusing on things like lighting and color grading. Composition. Things that actually make a difference to your image. So much on YT is gear reviews of expensive cameras, as I’ve said before we are at an image quality threshold, so all we can do is get better ourselves. I find there is a great mixture on this forum; we can all have fun geeking out about the next new camera or RAW codec, but then we will all turn around, reminisce about an old Gh1 or F3, and talk about lighting/color grading practice, with a dose of anamorphic lenses thrown in. Great forum, I wish it had as much traction as it used to get. I also miss Andrew’s constant articles of the past.

Certainly if Mel Brooks had had access to the Alexa 35 he might have lit scene this in a moodier way.

Yeah, I saw some footage comparing the ALEXA Mini with the 35 filming an open fire and the Mini clipped on the flames but the 35 managed to capture them without clipping. Needless to say, the cinematographer was pretty excited about it, as it meant that they no longer had to choose between exposing for the skintones or the highlights, and people sitting around a camp fire is a relatively common scene I think.

I love learning things that are true, and are useful.

https://petapixel.com/2022/06/29/the-xiaomi-12s-ultra-smartphone-will-use-a-full-sony-1-inch-sensor/

If you don’t mind some fungus lol, 14 bit raw for $75 https://www.adorama.com/us1489020.html

Thanks. It was my Optivision XW5000 anamorphic lens. Not sure which taking lens it was, either the Sakar 28mm f/2.8 or Bushnell 35mm f/2.8. I can't remember which taking lens I used for the tighter shot. I sometimes used a 75-150mm f/3.8 zoom (can't remember the brand). I think some of the exterior shots were the Canon FD 50mm f/1.4 (chrome ring).

That's a spec that would get me to buy one. Serendipitously, they're right on track to release one when I want to upgrade my current action camera - in about 3-5 years!

@Matt Kieley The shot of the woman on the couch at 1:07 in the first video is really nice. And it looks like there may have been a couple of other shots from the same film as well. Do you recall what lens you were using? The GH1 is plenty for storytelling. Dynamic range is a challenge but I find that I prefer the look to most modern cameras. Here's a test (not by me) that did a good job of showing the why the GH2 (with the same sensor as the GH1) creates a much more emotionally resonant image than the GH5. At least to me:

There are some limitations with the GH1 dynamic range, but the clips in the reel are mostly available natural light. One or two shots are lit with a shop light and diffusion gel. Imagine if I actually used lights and modifiers as I would now, it would look much better. And I was just using the 14-42mm Panasonic kit lens, a Canon FD 50mm 1.4, a Sakar 28m f/2.8 and Sankor 16c/Optivision XW5000 Anamorphic lenses. The second video (Lighting test) is when I got more serious and bought lights, a modifier and "cine" lenses: 300w and 150w Arri fresnel knockoffs, a 5-In-1 reflector, and a Rokinon 16mm f/2 and 24mm f1.4 The bottom video is a test a friend (the one in the video) wanted to shoot for a film he wanted to direct (with me as DP) when I lived in North Hollywood in 2014. He wanted to test spherical and anamorphic. This video kind makes me want to get a Helios 44M again.

There's no rule that a LUT has to necessarily show sensor clipping at 100 IRE, especially at a low ISO. If you look at the linear clipping value at low ISO especially on the Ninja V which does not use highlight reconstruction, it's a very low value and gives the impression that the fp is bad with highlight detail. So if you transform that low value to Vlog then apply a Vlog to Rec709 curve, I can't imagine it would get anywhere near 100 IRE, but it would also not be indicative of what is the native ISO. Depending on how aggressive the highlight rolloff is on a log to 709 LUT, it can be hard for anything to get to 100 IRE so viewing in log might be a better way to measure max IRE from the sensor.

Part of it was the not quite silver colour. It was/is one of those rare cameras that isn’t boring.

Filmed with one hand on right handgrip and second hand on top handle. I've not use Power IS, just Dynamic etc...

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

fast update 0.2: Today I get to shoot a replica Ferrari 250, and here are some sceen shot with simple color grade shot on PMW-F3 and sigma 35mm f/1.4 lens: and a lovely BTS:

Same with me. The S1 gives me not as much pleasure as I had hoped when I bought it. @Tim Sewell Here is a musicvideo I did with my Gx85.

The chart is actually a little bit misleading - there weren't three films shot on A7 cameras. Of the 49 feature films that premiered at Cannes, three of them used an A7 camera within their camera lineup. Of course, the A7 might only have contributed a single shot to the film to be included. The list is:

I pre-ordered my camera back in January has no information on when this will be shipped. But Amazon pushed the estimated delivery from February to November! But I'm glad that it's available to order here: https://camix.co.uk/product/sony-fx6-cinema-camera/