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I don't have the GH6 unfortunately, but I checked a ProRes HQ V-Log L sample and the chroma channels are very good. The Fuji chroma smoothing is there in all internal and external recordings, the only exception is ProRes RAW. As I mentioned earlier it's weird though. ProRes RAW can not hold X-Trans data, it's designed for Bayer. Atomos already confirmed to me that they don't modify the raw feed. I'm still waiting for Fuji's answer, but the only thing I can imagine is they demosaic X-Trans in the body, then remosaic it into Bayer and send that to the recorder. While it works it is kind of a trick, and when we compare ProRes RAW features to BRAW, one of the main things that sets them apart is that ProRes RAW is not debayered and thus more raw-like, while BRAW is partially debayered. So I'm not sure if we can talk about being not debayered as an advantage here, as the raw feed that the Ninja V records is actually already processed by the camera. And if you go into details, demosaicing is basically filling the "holes" in the R,G,B planes by interpolation methods, using the pixels that are known. See the "holes" here (it's for Bayer, but you'll get the point): Now if you remosaic the R,G,B planes to Bayer, you have to throw away about half the originally known values, as the pattern is different. You exchange them to interpolated values and send them to the Ninja as if they were the known values from the sensor. I have my doubts about the quality of this method, but I will test it when my Ninja V Plus arrives.

Let us all not waste any time with getting into unfriendly arguments. Why feed a negative vibe with another person, feeding it to eachother! There is plenty opportunity to not to get involved in using unkind words. There are plenty of kind and interesting people communicating on this forum. Please, everyone, let´s all keep our act together. Citing Steve Yedlin, is a good start imho. Hey, don´t make me test myself to film a blank wall with my S1. 🙂 So I am very grateful for findings and fantastic insights along the way.

@John Matthews GH5II in GX80 size please, with it´s absence of digital oversharpening, 10bit 4k60, S16 mode and all the other goodies. Thank you! 🙂

Yeah, at this point in camera development I think resolution is less an issue you'll have and really just shooting at an appropriate shutter speed and hitting focus is what you'll need to worry about. Especially for social media use. The examples above aren't amazing by any stretch, especially given the lighting, but the performers will often geek out over the shots and use them on their social media accounts too. No one seems to notice, or really care, that they are stills taken from a video file. Most people at our level in pro-wrestling are using pictures taken on phones, and I'd argue our stills from videos look better than most pictures taken on a phone because they still have the characteristics of a larger sensor image.

I that case I have no interest in a conversation with you, I really don’t care about those kind of ridiculous technical obsessions. I know how to light and frame and do - you know - cinematography work. To anyone interested in why HDR is a waste of time - go read this very informative Twitter thread.

While there is hundreds of sample video from YouTube and Vimeo people using S1, S1H and S5 with HDR exports. It appears all of them are either 10bit 422 or 12/14bit 444 RAW video, and I watched a handful to see if the OP's colour issues were present in them despite the compression rate I could not see any such artefacting which I assume happens in lower light areas. I would suggest the OP actually tests the 10bit 422 mode to see if he experiences the same issues, I am not sure he is all that justified in complaining when he only tests the HDR grade he is trying to accomplish in a 10bit 420 mode, I saw the images and he is clearly colour banding, essentially just hitting a limitation of his codec not having the colour information. No amount of magic can solve this. Also the OP did not mention which HDR specifications he is trying to grade towards, it would be helpful which HDR spec he is gunning, if its Dolby or some of the other dozens of HDR specs out there, it also be interesting to know what nits those colour banding happens at in those particular areas, to me it seems apparent issue in the shadow areas so a higher ISO could be destroying colour information.

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar. Your shadows are only slightly more defined from one to the next. If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then? Debatable. In fact, it might be a liability on set, depending on the production you're doing. Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted. I'd be much more worried about the storytelling, the acting. Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

I haven't given up hope on M43, and I still believe in the promise of it, but Panasonic needs to push the boundaries of size/specs. To me a camera the size of the GX85 with the abilities and performance of an upgraded GH5 II would be very tempting. The performance gap has narrowed between M43 and full frame, with IBIS being the main advantage at this point. But the added weight of lenses that I've had to deal with, I can't say that I enjoy that one bit. It's why I kept a GH5 and some lenses for my 3 camera kit. I didn't truly appreciate how tiny the 12-35 and 35-100 were until handling L-mount lenses, let alone the tiny lightweight primes! The ball really is in Panasonic's (and OMD, I suppose) court. If they offer a compelling option I think it can be successful, but I think it requires a compete re-evaluation of what they think M43 can be.

It is a pitty that because of these brand fanatics, such as Fuji fan boys, Canons fan boys, Sony, Black MAgic, cinematic extremists and such, inovative camera manufactors such as Samsung, for a period, dont achive success. Despite all the money they invest, and their products being so superior. Now Samsung NX owners are stucked 😞 , because they cannot adapt their gear to any new camera body to come, from other brands. Dont forget this video: If i owned a Pro BMC 6K I would be ashamed 😞 1080p crushing 6k?!?!?! Crazy world

Would you call yourself a first tier professional? Because i’m being honest and i wouldn’t call myself that (and neither do i think of myself as a snob). The place i work for mainly does online ads, with occasionally some stuff that gets on tv. Completely disposable stuff, that either gets crushed by social media compression or broadcasted in 1080i to people who dont turn their motion smoothing off lol. outside of that i try to do narrative short films, but those just get seen by film profs or get a hidden link on vimeo. Again, conditions in which hdr would not help very much at all, and where a well calibrated 709 environment would be perfect. as far as i know, my macbook pro only does fake hdr too, so whats the point there as well? since you claim that producing hdr video is worth it, and i would like to at least be convinced, could we see some of your professional hdr video work please?

Actually that would be interesting to test out, the Panny S5 is also rated by Netflix as approved camera because it meets their HDR requirements, but I have not seen much documentation regarding how you are suppose to dial in that HDR specs with the S5. Sadly I live in eternal darkness right now until February so I cannot go out try to shoot some HDR content but it would be interesting to test out, not sure a bright spot light and dark enough shadow would do it justice. Also it be interesting if anyone are editing these clips on broadcast monitors specced for HDR content as Vincent points out, monitors do produce artefacting displaying HDR content way above its own game. I know for a fact my OLED display that can do 1000 nits actually struggles severely with darker areas displaying green blobs in places for some reasons when watching HDR content.

First part I wholeheartedly agree. We should all contribute much more to a respectful interaction! Really! Second part I don´t agree with. The artefact is one which was immanent in the GH5 as well, shooting VLog-L in 4K 10bit 422, 150Mbit LongGop. It occured on skin f.i., larger homogenous areas of pink blotches. So it might not be a problem specific to 10bit 420 h265 with 200Mbit for open gate on the S1 but of the UHD 422 flavours as well. Would be interesting to know, if the artefacts appear in 10bit 422 UHD as well on the S1 if shooting for either SDR or HDR.

This one still holds up too 😂 And off topic but his latest poke at Canon and the other cam companies is prob the best one he's done yet, lol...

Wow, never seen such toxicity on this forum before, I think the OP is having some massive delusions trying to cram magic into a limited codec format that just wont happen and claiming everyone pointing it out are wrong LOL HDR only looks good when your monitor/TV can achieve HDR-800+ otherwise its pointless, OLED really struggle to hit those 1000 nits requirements for perfect HDR. I also suggest watching some video from this guy who is a professional TV and monitor calibrator who actually has a clue what he is on about when it comes to HDR viewer experience. https://youtu.be/XPzM3NDGuSc https://youtu.be/D83SXcguwBU

Revised my findings, the previous comment can be deleted. (Both bodies are equally bad in 1080p.)

I bought the NX1 twice over and enjoyed each experience immensely. It was an amazing hybrid, a true hybrid, that quietly but strongly set the standard for what a hybrid body can be. I'm still amazed by how well stills and video from it hold up today, that sensor was special not even counting ergonomics. Both stills and video had a special "3D 'pop'" rendering to it, hard to describe. But let's not pretend that the video limitations haven't been surpassed by recent releases. Even in Gamma DR, the dynamic range was limited and color just couldn't hold up in any bit of post stretch. Strange pink skintones and milky blacks when you push the limits even with the bitrate hack installed. A shame considering the sensor readout was compared to RED imaging. I think it's still a great contender for a SOOC apsc hybrid that takes amazing stills, but nothing more when you consider the xh2(s) models have a more malleable file in post, in prores, with better PDAF+eye autofocus..

?!!? It is 2023. It is my way of saying, happy new christmas. MAybe they should delete all posts from previous years. Maybe we should all delete the past from our existence, right?!??! I think I made my self clear. Someone should compare the NX1 4K video, against the all powerfull Fujifilm H2's 8K video. After almost 10 years, The Nx1 is still the best hybrid APS camera around... Eat this, Fuji fanboys!

According to a recent interview, they mentioned a smaller M43 camera is on the horizon. This year, not sure but I’m ready. Their last lens release was the Leica branded version of the 12-35 f/2.8? Or are you referring to the 9mm (which I now have)? I’d also like this camera, but I’m fine without the evf altogether… I want the small size above all.

I think the FX30 does pretty well in low light. But I think you'd be fine with the A7IV. I'm biased towards the S5 though. 🙂

*DIS (EIS whatever) While walking, no miracles, gimbal instead.

Yes, EIS & OIS...

Sony a7 iv 4K 60p is inferior to that from the fx30: it is crop mode with oversampling from 4.2K The fx30 does 4K 60p from the full AOS-C sensor, thus 6K oversampling. 4K 120p on the a7 iv is 8 bit, that from the fx3 is 10bit. The fx30 has a power zoom rocker level on the body, a fan, and the more integrated digital audio adapter.

What kind of video are you doing? Will you be filming long takes? Do you live in a warmer climate? The A7IV does have some overheating issues. However, if you aren't shooting long takes (say longer than 30-45 minutes at a time) or aren't in a hot climate, you'll probably be fine. The FX30 eliminates overheating issues like that, which is why you'd want to go that direction if you're primarily a video shooter. It's a video ("cinema" 😏) camera, so it's meant to be a reliable video camera.

I'm waiting to see what they have in store for M43 before I'd ever jump on a camera like the S5ii or S5iix. I still have hopes for a small M43 camera with PDAF, great colors, solid codec, and decent rolling shutter.

Yes, if you keep it at the constant f5.6 at both ends you can zoom in at the long end and it will be in focus at the short end. Not sure if it is genuinely parfocal (though with native Lumix cameras it will likely be corrected to be so) but more an accidental by-product of the narrow aperture giving it enough depth of field to get away with it.

I would say, if you're not a pixel peeper, then absolutely. Motion though might be a problem, depending on your shutter speed. Here are some stills I took from a pro-wrestling event I filmed on the 3rd that I used for promotional purposes on social media. These are from 8-bit 4K 30p video files using a 180 degree shutter angle shot on the S5 with zero editing outside of the watermark. We don't have a professional photographer taking photos (a lot of pro-wrestling events of this size don't since it's not in the budget) so we use stills like this instead. Obviously they aren't perfect, but for social media they are more than adequate, and depending on the shot a 4x6 print would be fine. Static subjects will of course work even better! It should also be noted that 4K & 6K photo modes on Panasonic cameras are essentially just video files that allow you to pick a frame.

My last advice to you, I promise: sell your camera and write a book on how to alienate people. You sad little man.

That is an unambiguous and obvious clue to what we all been waiting for the past 5 years! Hurray comrades!

Have you maybe considered that maybe people aren’t trolling you and are trying to give you helpful advice? I can maybe understand that you dont like my nor AF’s tone, but consider the points raised in this thread: - i asked you why you needed to grade in hdr, and this was a genuine question. I dont know anyone in my professional environment who does this, and i am curious. What would a broader gamut help you achieve that you cant with 709? - you’ve explained that you want to shoot open gate out of preference, but you dont actually have a justifiable reason, other than using some cheap theoretical anamorphic lens that would give another theoretical result. you can still shoot 4:3 by cropping the sensor and you will get the extra color information you need. 4:2:2 will give you the bare minimum for working with video imo. - can you actually explain why you think using a smaller format is inherently worse? Because in your case it would genuinely only give you better results. Have you realised your sensor cropped to 16:9 is already too big for most anamorphic lenses made throughout history already? i attached some screenshots to more clearly illustrate my point. - by responding this way to criticism, falling for cheap marketing gimmicks (hdr, full frame, cheap anamorphics, open gate, netflix approval, etc.), not understanding that any 4:2:0 codec is worth nobody’s effort, and then not having a particularly good looking test image to show your point, it kind of makes it easy to assume that you’re not very sure of what you’re doing. i agree with Alexis Fontana here, I think you should start refocusing on the things that actually matter in the field of making moving images. genuinely man, good luck.

Yeah, we really thought about doing that old fashioned "Continental" accent, but the director wanted more of a modern delivery once she saw what we were getting during rehearsal. Thanks for the positive feedabck on the dolly moves. Not a lot of folks mention that. Kinda wish I'd gone even more aggressive with it in hindsight, but that's all part of the fun.

Recently purchased the X-H2s, and you know me, the first thing I look at is chroma resolution. Just dropping this in, on the left side you see the Cr channel of an EOS R 4K C-Log 8bit 4:2:0 recording (about 420 Mbps), on the right side it's X-H2s 4K F-Log 10bit 4:2:2 (about 615Mbps): Don't get me wrong it's better than the X-T3, but this smoothing can still lead to loss of color. I really wish we could turn it off and deal with color noise in post. ProRes RAW helps but it's a mystery to me. RAW on the X-H2s has the X-Trans pattern, obviously. However, it gets magically converted into Bayer in the ProRes RAW file. I had discussions with people who are involved in ProRes RAW->DNG conversion, also did my own test with Raw convertor (resulting DNG has Bayer pattern) and it seems that the data that arrives to a Ninja V recorder is already Bayer, even though the sensor is X-Trans. I'm still trying to confirm all this but if the body demosaics the X-Trans pattern and remosaics it into Bayer, then it's kind of a hack which in some cases can lead to artifacts.

Nah. Not at all. But that’s not always what cinematography is about, right? It’s also about knowing how to shoot when the light is right. Or adjusting to use the available light in a smart way. —or just Being there to take advantage in creative ways with what the situation allows. Pointing the camera in the right direction. knowing what to avoid as much as knowing what to get. I just think all those things go farther than worrying about which Canon camera you’re using or which Panasonic camera you’re using; concentrating on an extra 1 stop of DR with gear without knowing how to get the most out of the 10 you already have… etc, etc. the same old debate we’ve all had hundreds of times. All that said, having an awesome camera that can cover your ass and recover a bad ill-advised shot is fun too…

This video was interesting I watched today. Red Scarlet versus the Pocket 6K. I didn't realize you could buy a Red that cheap. Damn good looking footage out of it. Kills the 6K.

I think this is the fate of many cameras. The camera market seems to be oriented around camera size being a prerequisite for image quality, despite the fact it doesn't have to be (as evidenced by BMMCC and OG BMPCC which were affordable a decade ago). This means that there is little support in-post for the lighter cameras and less reputation. This creates a feedback loop where people who want to shoot light don't make good-looking videos because the expectation isn't there, and people who have the expectation of great images shoot with larger cameras, reinforcing the concept that small and budget friendly isn't the way to go. In response to this completely made up size=quality concept, BM decided to make the BMPCC 4K literally 3x the total size of the OG BMPCC and abandoned the delightful S16 sensor for one that looks like any other camera, and almost all evidence that small could be great was swept under the rug. Those who shoot small typically shoot in uncontrolled conditions where the lighting is mixed colour temperature and lighting ratios are difficult to deal with, leaving those who shoot in the most difficult conditions and have the least ability in post production to shoot with the cameras least able to handle those conditions, and unaware that it could have been any different.

@mercer I didn't offend anyone and I didn't tell you to "shut up", like you do. sorry for the language mistake, I am sure your Greeks are worst than my English. It is kind of childish that I have to prove that I have a bigger show reel than yours (which I do, by the way). Take a chill pill first, and if you have any facts to add to the conversation please do, I replied with 5 facts, and you with a personal attack and bullying. Also, no one needs to know you dislike certain people, you can PM for that. It is a cameras shoot out with the NX1 which I am using for a lot of years now, I have the right to express my experiences.