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This. Do your own tests and trust your judgement, but here's my opinion. If all you care about is how it looks on YouTube, 50 is perfectly fine. No one can tell the difference between a 50 and 100 source file on a 7" phone screen, or a 65" 4k screen 12' away with window glare across the front. I care more about how my content looks in Resolve than on YouTube. And even then, I use 100 mbps H265 (IPB). When I had an XT3, I shot a few full projects at 200 mbps and didn't see any improvement. I've done tests with my Z Cam and can't see benefits to >100. I'd be happy with 50 in most scenarios. It might be confirmation bias but I think I have been in scenarios where 100 looked better than 50, in particular when handheld. Keep in my also, on most cameras, especially consumer cameras, the nominal rate is the upper limit (it would be a BIG problem the encoder went OVER its nominal rate because the SD card requirements would be a lie). So while I shoot at 100, the file size is usually closer to 70, so it might not even be as big a file size increase as you think. But for me, 100 mpbs is the sweet spot, when shooting H265 IPB.

Great finding. But the "Smooth Skin Effect" is a blur effect only, it was added to GFX cameras a long time ago, it does not affect colour. Default is off and it has to be switched on.

might have be the first to do it on the inst360. the technique is called slit scanning. i have seen it done on black and white 35mm film so.... the technique goes back a long time. i quite like the effect but like anything it can be overdone

Months ago I did extensive testing comparing my X-T3 color to my Canon T2i. I finally came to two conclusions, different from my last post. 1) I find the Cr channel completely useless for evaluating the chroma resolution or any other color quality of the X-T3. It is quite bizarre and completely misleading. Instead, study the usual RGB channels which appear completely normal and are as detailed as the actual full color photo. There is no red resolution being lost in the Red RGB like there appears to be in the Cr channel. I’m guessing the Cr channel is useless for image manipulation too, which may be why it was so hard to find an App which would display it. 2) The Canon had always showed more saturation in the darker reds compared to the X-T3. So I went and studied the shot comparisons between cameras at the Imaging Resource Comparometer: https://www.imaging-resource.com/IMCOMP/COMPS01.HTM Select the “Still Life 400” samples for X-T3 and any other camera to compare the same scene. In the X-T3 samples, The dark reds in the cloth on the left side appear lightened and/or slightly desaturated compared to all the other brands, not just Canon. This happens in solid color fields, not just red spots like foliage. Why does the X-T3 lighten/desaturate dark reds? I’m guessing the face is the most important image for Fuji’s color science. Perhaps the Fuji engineers discovered that this could downplay skin blemishes, which are often of a darker red color than the rest of the skin. In any case the good news is this: I checked Fuji’s online specifications for the X-H2S. And guess what, there is a provision for a setting Labeled “Smooth Skin Effect”, listed right after “Color chrome Blue : Strong, Weak, Off”. The actual settings are blank at the moment for the smooth skin effect. In future firmware there may be an “off” setting available. Maybe then those faint red leaves will appear in the foliage. https://fujifilm-x.com/global/products/cameras/x-h2s/specifications/

Are there really any FOSS solutions superior to BGM v2? I know there is RVM but I feel if you can get that clean plate, BGM V2 is better.

Well, in a much Brechtian more interesting setup approach than the conventional one, you'd be able to fix it pretty well... : D

Also remember that if you initiate video recording, with the mode dial in any photo mode it ignores the exposure settings and records in 'full auto' exposure. You can force shutter priority in this situation by using the 'flicker reduction' setting in the menus to force 1/50, 1/60, 1/100 or 1/120 shutter speed, but that's all. I assume (but don't know for sure) this situation carries over into any custom presets derived/generated from photo mode. To get full exposure control for video you have to use 'creative movie' mode on the dial. Only exception to the above is '4k photo' mode, which records 4k video but uses the current photo exposure settings (as it's regarded as a photo mode). As an aside, my Olympus E-M1 ii does basically the same thing, except that it doesn't have the same 'flicker reduction' workaround, so you have to switch to 'movie' mode to get shutter priority for video (which is annoying when switching between video and stills frequently).

Good point. Thanks!!!

I did a little research and as far as I can tell the Olympus 12-100mm will Not play nice with the Dual OIS on the GH5. So, I would think that lens is out. I was also considering it to be honest. Not anymore, I think.

Yes, you make very valid points. I always use a tripod with a hook on the bottom and I hang a 1 Gallon plastic jug of water on the hook to help stabilize the shot, and when you are done just empty the water for weight savings., camera bag works also, and lock down every knob there is on the tripod and ball head or fluid head. But that does not help haze or heat waves. A UV filter, or haze filter does help though. People that make a living shooting stuff like that have crazy expensive tripods, heads and so on. But yes, there are times weather wise you are better off staying home no doubt lol.

Might be but Canon sold one hell of a lot more C100's than Sony Sold F3's. I think the look out of them is pretty equal especially if you don't have the Recorder that cost half as much as the camera to get it out of both SDI's. Plus, the C100 was portable the F3 really wasn't. And who even had the computer horsepower or storage to grade 4.4.4.

Difference is, that you cannot throw these light conditions at the GH1 as you can throw at the F3. You still would have to get pretty lucky and work extra hard to get an image out of the GH1 like the images in this video. Possible, if not pixel peeping, but not an efficient thing to do imho. Possible but not granted. @webrunner5

@ohheylilly Welcome! We have a number of members who are interested in Virtual Production. Here's a topic for your review: As some people on this forum have professional cameras, lenses, focus and zoom controllers, lighting and green screens, if you would provide an example our how your system works for a non stationary camera (dolly or hand held) in relation to a non stationary subject (distance relative to the camera and focal distance is changing as well as the operator changing the the zoom setting) and a green screen background that gets replaced by a virtual background that changes its perspective and depth of field based on the relationship of the subject to the camera, the realtime reporting of the zoom and focus positions of manual zoom lens using the AFX system by our very own BTM_Pix, and in Unreal Engine 5. That would be greatly appreciated. What makes up a camera tracking system for virtual production from antilatency and how does it compare feature and cost wise to other professional camera tracking systems? Thanks for your interest in our forum and our virtual production needs!

Well 4 shots from today on the GH5. Boat House 14-140mm, last 3 300mm f2.8 L FD lens. The one of the Lodge had to be a nearly 1/4 mile away. The Geese one was maybe 200 feet away, people fishing probably 300 feet away. This looks to be a damn good copy. I can see I need a better tripod for this lens. Had a nice carbon fiber one but it weighed a freaking ton, should have kept it I guess. Camera, lens shot with my iPhone 6s plus. Pretty satisfied on my fist real outing with it. Well, it looks like the photos are switch for bottom to top but you get the idea. Have to figure the 300 is actually a 600 on the GH5.

Snort 🙊