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I don't like it either! Especially when doing long interviews 😞 I definitely thought I noticed a difference between the GH5 and S series cameras. But, forgetting about noise, high ISO performance and recovering from bad exposure and concentrating only on the "organic" versus "artificial" continuum I don't see a difference between the GH5 and GH6 set at the same exposure when examining single frame. Here are some examples. Both cameras are ISO 400 V-Log and have been colour and exposure matched. GH5 is first, then GH6 in each pair: That's what I mean about the image being essentially identical for my purposes. Maybe the detail is slightly finer and less coarse in the GH6?? Of course, this comparison ignores temporal characteristics (maybe the noise pattern is nicer on the GH6?) as well as the extra dynamic range in DR boost which will differentiate it from the GH5, as well as the VLog colour being a nicer starting point on the GH6 if you're just going to use Panasonic's luts. That is a very good point!

I was going to say exactly this. It's subtle, but the GH6 looks softer. Great grade btw. Similar to the GHAlex workflow with the nice highlight rolloff. FWIW his sample footage of the GH6 vs Alexa were indistinguishable to me. Like you, he's still doing some tests but so far he told me this is his favorite camera ever by far.

I hear you guys, but then truth is that video is a team based job. Even having to carry everything from the car, having a camera on a totally different and remote place, running 2/3/4 cameras simultaneously or whatever.. ..whatever you are writing against it, I can write back a few dozen pages. Just say you have a different workflow, and I respect that, but assistance is always helpful. I only do the smaller of the jobs alone these days. Of course my background is film and tv series, so I am more used to work with people, working alone is a photographer's stance, while moving images is more of a team orientated work, especially we that started with a NO leds and a NO mirrorless cameras work environment. Only to move the medium lights (have you ever seen a 6K?!) you needed 2-3 persons back then.. Anyways, let's stick to the R7, I would be willing to wait for the R7C one, as I have plenty of cameras at the moment, but how close is this camera is still largely unknown, and at what price that would be available? 3.000-3.500? I am quite puzzled at the moment. damn rumors!

Y'all left out the part where I said what the patent's definition of "visually lossless" is. It's not an Imatest or anything of the sort. The fact of the matter is, Red RAW is NOT lossless. Again, if it were, you wouldn't have different compression options. Lossless is lossless, there would only be one compression ratio. It is lossy RAW but "lossless" because the average person can't see a difference.

I need more time to get a feel for it. We've just moved back from NZ to Ireland and have been preoccupied with finding a place to live. I mainly shoot video for corporate work that I do, very little for family stuff or for pleasure/creativity. Since we've returned I've done one major job but I used the GH5 as I didn't want any curve balls that the GH6 might throw my way. So I've really only pressed record on it a handful of times, doing a few tests. From the little I've shot with it, it seems like the battery life is really shit compared to the GH5 and a USB power source will be necessary. I don't use rigs, so I was thinking even just having one in the bag to charge up the last battery when it's been used. That might be enough to get me through a half day shoot. DR boost gives you an extra stop in the highlights. That's it. So if you think of your average GH5 scene and where it clips, then DR boost will give you one stop more info, at the cost of using heavy NDs in most situations. I've got as far as a 5 stop Tiffen solid ND to stick under my SLR Magic Vari ND II, but am considering the Nisi True Colour to replace the SLR Magic as it probably has less colour cast (which is not so important to me) and possibly slightly less polarisation (which is the real ass kicker with vari NDs, I think). I've satisfactorily matched the colour from the GH6 and GH5 in V-Log, and the image is thus practically identical for my purposes when not using DR boost. If you set the GH5 to minimum sharpness and noise reduction it's the same as the GH6 in terms of detail/sharpness/artificiality/organicness (except there may be differences in noise which I haven't examined in great detail), so the choice to use one or the other for me now comes down to functionality and ease of use. I do miss the easy 2x digital zoom for HD like on the GH5 as discussed previously in this thread. Having said all that, there are a few things that I really like a lot about the GH6: - Red frame when recording. This is a lifesaver. I've often lost shots from having gotten into the wrong record/stop button pressing cycle - Punch in while recording to check focus - Luminance spot meter. This is not for everyone but it's amazingly useful for me as another exposure tool - Usable AF using Panasonic lenses (anything I've checked on the Speedbooster is hopeless). Maybe once a year I need to do a static shoot of people walking down a corridor towards camera, chatting. The AF will do a better job than I can and give the 2 or 3 seconds of usable footage that I need. - Confidence that I can shoot in low light if needed. Previously I've never needed more than 3200 ISO (most shots are on a Tamron 24-70 2.8, which is f1.8 on a Metabones XL) but that was a bit noisy on the GH5 and on the GH6 with DR boost it's much cleaner. Ha ha! Here are some more negatives though: - The build quality doesn't feel as good as the GH5. - Some YouTuber was complaining about the silly mechanism on the memory card door and I agree with him. There was nothing wrong with the door on the GH5, but the GH6 is now finicky to open. - The stupid light streaking thing which I have seen, when I deliberately tried to recreate it. - The whole DR boost thing is voodoo. I've got noisy results in daylight using it, which worries me. I need more tests to suss this one out. And finally, here are some mildly shocking things I've learned when comparing to the GH5: - GH6 is slightly wider angle of view - GH6 gives slightly darker image - There is quite probably an overall colour cast imbalance. Almost certainly when using the same WB preset or when dialling in degrees Kelvin, and possibly also even when doing a custom WB on the same target. Need to test this more. It might just be the difference between my two units. Honestly, if you have a GH5 there is no huge reason to upgrade unless you definitely need the higher resolution, codec or frame rate specs. The output is going to look pretty much the same. It's not like the jump from the GH4 to the GH5, which added 10 bit and made V-Log usable. More like the GH5 to the GH5 II - a better camera to use but your client/audience won't see anything diferent.

your stuff scares me, heck even your avatar scares me... personally i thought the start was a bit dark, and to be honest i found myself wondering if that dude had any pants on. Which is a bit bizarre for a grown man to be thinking about. I liked the added effects, thats pretty cool. Not entirely sure how you did it, but i'd like to see them swirl about him a bit more and mimic his actions abit closer. They could then grow in intensity till their released and that may not be so easy to do. But im nitpicking.

S1 is dope. Plus the open gate 6k and full sized HDMI. AF was only reason I didn’t pick one up. I’m happy with the Nikon Z6 AF, plus using the Ninja V I still get the 10 bit log goodness.

Thanks! It's a lut I made that emulates Portra 400 film as scanned on a minilab scanner (which I've posted about here before). Since negative film has quite a lot of stops above middle grey and only a few under, the highlights are relatively low contrast compared to the shadows.

Thank you!

I don't have any experience with the SC, just the S, which I bought soon after they came out and have used with an X-T3 and X-T4.

If you could find a Ronin S in your budget, it should do the trick. I've had no problems with that combo.

I'm very disappointed in the update from an anamorphic options viewpoint. One, they refuse to give us the 3.3K 4:3 option in ALL-I (or lower resolution), and none of the anamorphic options are available in ProRes or ProRes HQ. I like my anamorphic footage to have some grit to it. The 3.3K handled that well as it was closer to film resolution. Now it has that pristine anamorphic look I really don't like. The fact that they put anamorphic options in Long GOP still baffles me when they had it perfect on the GH5.

Lol! In all fairness and after looking closely at the above, the GH6 does seem to have slightly finer detail and a slightly softer and more natural look when viewing at 100% in 4K. But it's subtle! I guess with GH5 V-Log a lot of people might have left the NR and sharpness settings at their default settings instead of turning them down to the minimum and this may have contributed to the idea that the GH5 is overprocessed. @deezid might chime in with his experiences as I think he now has a GH6

I have the pancake zoom 12-32, for the money pretty hard to beat, and to top it off it has OIS in it. But it has no focus ring. It can be collapsed if you want it to.

Heck, great image, this guy got out of his GX85! Great montage and camerawork as well. He shot with the native 25mm 1.7 and the pancake zoom 12-32. I heard good things about both lenses.

Hmm, love the image and the colours coming out of this thing. Good battery life, no overheating, full hdmi and with 15ms or sub 15ms rolling shutter, this could be an appealing camera to me. This footage below is my favorite so far from all the new bunch, including Z9, GH6, XH2s, R5, which I´ve seen on youtube. Looks like a BMMCC or BMPCC on roids. 🙂

RED, to my understanding of reading the patent, do not have a patent on lossless raw or uncompressed raw like the cDNG coming from the Sigma FP for example. They’ve defined it as ‘compressed’ and that seems to be where it hangs up other companies and codecs like cinemaDNG 3:1, 4:1. And likely compressed raw 4K and over as I’ve read Jim Jannard’s comments when Red sued Sony. For patent infringement or a patent claim, RED suing Sony or Nikon is more about the way the marketing is presented to the ordinary observer or average person who’s using the cameras. Another company claiming a cinema camera at least 24fps at 4K with compression options like those in Nikon with ProRes Raw. On its face those claims directly compete with RED, specifically the RED ONE going back to 2007, and their subsequent cameras. They’ve had 4K compressed raw at 24fps for a long time! The achievement / combination of features that’s being protected is all contained in the RED One. They have a physical working example of their patent made in 2007. When it comes to validating the patent in litigation (RED has to reprove validity if they begin litigation as they did with Sony), or invalidating it as Apple tried to do, or initially awarding the patent, the patent system uses testimony from “a person with ordinary skill in the art.” In this case camera / video engineers who would be responsible for building or designing the camera will attack or defend the patent. Apple just tried to move RED’s priority date forward in a legal trick to make the RED One appear obvious in 2008. Though I suspect it might still not have been by then. The pictures that RED published from March 2007 in their case against Apple were of the engineering team for RED One comparing images side by side of lossless and ‘visually lossless compressed’ raw. Then the RED One was sent on to be field tested with Peter Jackson and pictures of it on set with him. So if it was good enough for Peter Jackson. . So what you have to do is come up with your reasoning on why it would have been ‘obvious’ to ‘a person of ordinary skill in the art’ in March 2007 or before to be able to invalidate the patent. It’s not just that it could exist hypothetically, but achieving a novel method for compression. There was compressed raw stills in the Nikon D2X in 2004 for example. They had uncompressed and compressed NEF. Though if RED considered it prior art to their patent and invented on top of that in a novel way achieving 4K 24fps and ‘visually lossless compressed’ and it was validated by the patent system then what can you do? Nikon wasn’t attempting to compete in the cinema market in 2007. One of RED’s key arguments I believe in the patent is that prior art was not good enough for cinema by not being visually lossless when compressed. I’m admittedly interested to find out how Nikon resolves this.

Hey @leslie. Interesting. Just don’t call my name out three times. I might just appear behind you. Moooohahahahahaaa This made me laugh out loud! That’s how I like to shoot. No pants style 😆 Just a very basic screen overlay. My VFX skills are not the greatest to say the least. Appreciate your suggestion 👍

V-log yes. You choose that one in the info panel, but the gamut needs to be converted from RAW. They are not providing a LUT which does everything in one step. Instead they wrote this manual: https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/lut/s1h_raw_lut/index.html This is what I have applied and it works a charm. Even if you add one further LUT and replace the step v-log to Rec709 with v-log to Arri LogC and afterwards the Arri LUT 709. Capable little camera and now a consistent workflow without manual knob turning. 🙂

Wow this thing can put out some pretty killer footage in the right hands. Might be the camera of the year.

The patent is about as dumb as one that says you are not allowed to sing in the key of C. Just crazy stuff.

So it is a C300 mk3 with a RF Mount? Sounds good! Better than the C200 mk1 was. But what will the cripple about the C200 mk2 so they can price it lower? Refuse to give us a middle codec again?

I actually like big heavy kit, it keeps everything more stable and I've been shooting on it so long it doesn't seem big or heavy to me, but yes, now that you mention it, the 24-105mm on a body smaller than the R5 especially with the adapter will be greatly imbalanced. I used the 24-105 on the S5 with an adapter all the time though and it felt fine to me, but that was with a cage and handles, something I am not sure if I would add to the R7. @Kisaha @kye nailed it. Everything seems like it has an easy answer until you have tried it. Bringing in a second shooter exponentially increases the complexity of everything; risk to the equipment, risk to the project if the second shooter doesn't show, or doesn't match your style, or has a setting wrong, increases the cost of the project which already has razor thin margins, greatly increases the tax paperwork at the end of the year, etc. etc. That's all assuming the person is even reliable and actually shows up. I have had to bring in second shooters in the past and most of the time it ended up being a lot more work for me. Once I hired a second shooter for an extremely simple drone job because I was not available that day. They just had to film a construction site, I barely made more than a referral fee and was going to edit the raw files. The person parked his car and the client's car right in the middle of the construction site and took all 100 images that were needed. To me it was very unprofessional to have him and the client in the footage....so I had to spend 2hrs on what should have been 20min of work Photoshopping out his car, the client's car, and him and the client from every photo. Once I had a client mandate two shooters, a dedicated videographer and a dedicated photographer. I hired a photographer, but due to my paranoia I took my own photos as well. Second shooter showed up with dual 1DXIII's and full kit. I thought this was going to be a good shoot. I got his footage home and every image had the horizon horribly tilted....once again took me hours to fix his footage and I had to throw away a lot of it because there was nothing left after cropping in enough to straighten the horizon. Fortunately I had taken my own images as well. Also, my particular area is very competitive; I work the biggest fashion shows and events in the area and next week I am shooting the biggest swimwear fashion show in the world (Miami Swim Week). Anyone I brought on I would have to risk them handing out their cards, trying to get my client lists, wearing my shirts and possibly giving my company a bad name, etc.....its happened to many people I know. There's always someone in line behind you waiting for you to trip or fall. So yes, I analyze my business all the time as well as my kit and look for every second of efficiencies that I can; like @kye said, its easy to imagine ways to improve and on paper they might seem great until you are in that person's shoes. Also, like Kye mentioned, backups are very important and not discussed very often. I still pack a fully rigged S5 with me as a just in case backup for the C70. That's where equivalent focal lengths are also important. The R7 could serve as a backup to both my C70 and R5 if it had a speedbooster attached. @MrSMW also hit the nail on the head and was the exact thing I was going to say; the most successful two person teams that I have seen are nearly always a couple. With a couple many of the challenges I mentioned earlier go away, even the tax problems, liability, reliability, etc. etc. It introduces other problems 🙂 but that's a different story for a different day. Yes that is my conundrum...but I am used to odd kit decisions; my S5 with no CAF due to the EF adapter was an odd setup as well but it worked perfectly for my needs at the time. For me economics is a big part of my decision making process; I have technically never left Canon since I still had the 5DIV and the EF lenses and the C200. I am still not a fan of Sony, but I do think if I was starting over with no lenses and no bodies Sony would be the better fit. I am trying to twist and turn Canon's solutions to force them to fit my workflow and needs; is it optimal...no, but is it the most economical approach...so far I think so. With dual crop bodies and dual speedboosters along with my existing EF glass I would have everything I need; full immediate toolless interchangeability between all bodies and all lenses, battery sharing between the R5 and R7, SD card sharing between all 3 bodies, lens sharing between all 3 bodies, IBIS in the R7 for video, RAW in the C70, a backup to both the R5 and the C70 (the R7) for both video and photography, a lighter gimbal camera with the R7, excellent AF in all 3 bodies, XLR audio in the C70 and R7...etc, etc. Just the other day I left one of my SD cards in the card reader at home and when I got onsite for the shoot I just pulled the SD card out of the C70 and threw it in the R5....it was fantastic. I am in no hurry to get the R7 though, so I am curious about the R7C rumors, the body is so small even if it needs a fan it might still be good on battery life, so I may keep my spare S5 until I get more details on the R7C. If it turns out to be a clunky battery hog like the R5C then I'll probably just get the R7 instead.

Pansonic should bring out a GX Ten with 10bit. A true 10bit pocket cam in a GX85 body with decent battery life and IBIS. Please give it an optional 1.4 crop for Super 16 lenses.

Coming from another professional who has used, Dedicated cams, Canon, Sony, Mini Lf, and BM cam systems. I’ll tell you the FP was definitely aimed at the BMPCC market. Very similar in features and I will agree the auto focus is better. That said, not sure anyone in the cinema field is gonna be using auto focus much anyway. I pull focus for just about everything I use. The fact that the production team of the Halo series ditched the BMPCC for the FP shows what cinematographers are looking for in an on-set POV Cam. It was throwin punches with Arri cams. That is serious. The reason is because it is the only pocket cam that shoots true RAW Cine DNG. I have the FP-L and can attest to the quality. I will say though the RS is there. Not much worse though than other cams out there with no Mech. shutter. It’s expected. One word Gimbal… hehe. I’m happy with my buy. I don’t use it for extreme action though, and don’t get me wrong I love Black Magic, but a camera that can give me CINE DNG, small form factor that you can rig minimalistic for travel and is Full frame… it’s a win for me.

My favorite from the bunch: Panasonic EVA1. Followed by the Canons... :- )

Really nice footage. Expensive little bugger.

The Raven is a good deal these days. Seeing kits with everything for under $4k. You still gotta stock up on redmags though, probably another $1k.

Like I have said someone can give you a Red body, and it still cost a ton to equip them, but they are are pretty killer camera system. For a small company they keep coming up with cool stuff.

I don't think they did. What would be nice on mirrorless cameras is something like this for £300 instead of 2 grand. https://cvp.com/product/kippertie-str-nd-strata-pl-nd-mount?gclid=CjwKCAjwy_aUBhACEiwA2IHHQDU-KnAcNoXGjiCHNjT1x0A7rRa6a2GwXIA80LVdDw0Gt-z4I1ciYBoCa7YQAvD_BwE It even has a clear setting.

I think the answer is simple, and comes in two parts: They aren't film-makers. The professional equivalent of what YouTubers do would be ultra-low-budget reality TV. Hardly the basis for understanding a cinema camera. They don't understand the needs of others, or that others even have different needs. If someone criticises a cinema camera for "weaknesses" that ARRI and RED also share (eg, lack of IBIS) then it shows how much they really don't know. I recently bought a P2K, but was considering the FP and waited for the FP-L to come out before making my decision. The Sigmas aren't for me for a number of reasons, but I don't think they're bad cameras, just that they're not a good fit for me.

Seems the For Sale forum has gone, so posting this here (admin delete if against rules). I've got my S1, a 250GB Angelbird CFExpress and a Sigma MC21 up for sale on the bay - UK buyers only. S1: https://www.ebay.co.uk/itm/144636366271 Card: https://www.ebay.co.uk/itm/144636368184 MC-21: https://www.ebay.co.uk/itm/144636375087