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@Djangoyou can also get a huge pixel-to-pixel crop mode if you're shooting in 1080p, handy in a pinch sometimes if you need some insane zoom. Also, re: custom modes, the c3 mode let's you have an unlimited number of "virtual custom modes" so you just spin to C3 and then pick from a menu of your saved modes, I'm up to like C12 or something like that on my S1, it becomes very handy to have individual presets saved for different scenarios, I.e. Different ProRes raw or B-Raw output modes, anamorphic ibis and desqueeze settings, high frame rate modes, etc., so that you can switch very fast on a shoot and not be digging through menus. Easy to rename them too, so you're not having to memorize a number, it's nice and clean. Panny loves to make their cameras basically infinitely customizable. Long-holding any button on the camera will immediately bring up a full menu of all possible camera option/setting/toggles under the sun that can be used as a shortcut, very handy. Then you can save all of those unique shortcuts to different custom modes as you see fit.

I saw a videographer shooting a trade show with a C100 yesterday. I didn't get close enough to see if it was a Mark 1 or Mark 2 but I assume it was the latter. It's still a moneymaker.

did another short with this camera, feel like showing off some stills again. the short itself is not yet finished.

You can download a camera original here in HEVC I think. Adobe has had issues with HEVC and macro blocking in the past; OSX had different issues with gamma shifting. This is old firmware, too, so color might have changed: The S1's color does not match the Varicam or EVA1 very well. Then again, the A7S3 does not quite match the Venice either as skin tones are quite red. Imo the HEVC codec is actually pretty good. Panasonic has always had impressive internal processing. First to 4K I think with the GH series, first to 6K downscaled to 4K in a prosumer camera that actually looked good with the EVA1. And the S1 doing 6K is impressive to me too. It's an amazing camera. BUT it's also the only camera I've ever worked with where a white surface can look magenta on one side and cyan in the other? There is just this "thin" quality to the color and high contrast look to the mid tones at times. The color and tonality tend to feel a little thin, and it's hard to describe, and probably possible to fix in post.

You can assign a function button (and 14 of the buttons on the body are re-assignable) to "Image Area of Video". This brings up a small overlay with three options: FULL, APSC and Pixel-Pixel. It's quite fast to switch between them. I have this function assigned to the red record button as I use the shutter to start and stop video clips. There is a bit more noise in APSC mode, noticeable even at ISO 4000 (higher dual gain level). But the noise is mainly luma noise and is quite fine and I would say it looks filmic. For those who may be interested if you shoot in HD you can get a crop factor of 3x in pixel-pixel mode for some serious reach. You might even get away with it with a sharp lens at f8 and at base ISO 640 with good exposure. Some graded noise comparisons for reference at ISO 4000 4K FULL: 4K APSC: HD pixel-pixel (not normal HD)

Richard wong”s S5ii vs GH6 ibis video looks as though there were strengths and weaknesses to both. GH6 had better pitch, it did better on bumps. Whereas S5ii had better yaw then the GH6, so a bit smoother. S5ii ibis seems to be the one to beat for now when it comes to full frame. I think the next M43 from Pana/OM could be Go pro level though

I just had a quick look at this and it seems that when using EF lenses with the MC21 you need to turn on the IS switch on the lens in order for IBIS to work. This was a bit strange to me as I'm used to a Metabones Speedbooster where the lens IS switch has to be turned off for IBIS to work. If it's not an IS lens then you don't worry about the switch, lol, because there isn't one. Then there are two options. One is body only and this is the best: The other is a weird mixture of body and lens: This second option is jerky with EF lenses on an MC21 and is in no way comparable to body only. So I don't think there is a way to have both full IBIS in all directions plus whatever the lens can do. But, I think I remember seeing some YT reviews with Panasonic lenses where the reviewer just stuck with body only. So I would say that body only is also good enough for EF lenses.

Well, as you can imagine, I spent the afternoon running towards and away from the camera like a fool, trying to figure out if phase AF work for the EF lenses I own (it does). I would guess at this stage that every EF lens will work with the MC21 and, who knows, possibly with other adapters too. But the important variable is how noisy are they going to be. Up to now, I had been using an old Sigma EF 70-200 2.8 as my main interview lens for corporate/promotional vide. The phase AF works very well on the S5II but the noise of the motor is too loud and distracting to be usable for my work. My other workhorse lens, the Tamron EF 24-70 2.8 is not too noisy, and in APSC mode gives me roughly the field of view that I Iike for interviews. The Canon 24-105 is not too noisy, but I don't really like it (low light transmission and weird non-constant aperture behaviour when stopped down). My only other EF AF lens is a nifty 50 which we already knew works fine from Kai or somebody. This was my motivation to get the S5 II. I had noticed that occasionally I missed focus in interviews if the subject moved a little and I felt that wasn't good enough. Now I don't need to hover near the lens quite so much, sweating bricks if the subject leans forward or takes a half step back. The other thing I began to have a look at was if it would change how I shoot B roll. I was fairly happy with how I pull focus manually previously. Nevertheless, I now have the option use human tracking when shooting B roll of people, and normal tracking when shooting objects. I'm also looking forward to putting phase AF through its paces in trying to nab some shallow DOF shots of my kids running around the place.

The GH6 needs PDAF.

The best “walking” ibis tests using native lenses 1) OM systems (OM1 & em1 series) 2) LUMIX G M43 line (GH6) 3) LUMIX S5ii/X (NEW) 4) LUMIX S1 series 5) Canon, Nikon, Sony, Fuji are good also but with eis crops, catalyst browse, boost i.s etc

I will check some footage of mine next week, which might contain some blotchyness from the GH5 and S1 in their VLog flavours. At least with the GH5 I remember that artefact for people with caucasian skin in super harsh sunlight, filmed in UHD, VLog, 10bit 422, 150Mbit h264 Long Gop. So, we all stay calm and kewl and cheerful until then. The very least! 🙂

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.

Yeah - no, then you didn’t read it or didn’t understand it. He literally sells televisions for a living. You’re a moron talking out of your ass. Moderator - delete my account if you will, this place is a waste of time.

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?

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

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.

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

my camera is cheaper than yours and nothing i own can display hdr as far as i know.

if someone forced me to use a photo camera for video, i would probably choose to shoot with the 4:2:2 codec. is it shaming? Or is it trying to tell you that you couldve saved yourself a bunch of time? i was not talking about professional standards, i was saying that no one i know who works in video cares about hdr. I was curious why you did. if people had such unrealistic expectations as you with niche features their only options are the alexa lfs and the kinefinity cameras lol. Luckily most people are pretty normal.

No offence but that just sounds uninformed. You have an idea that one arbitrary format is better than another because of principles you haven’t explained and sounds to me like you’ve bought into the false idea of more K’s = better. What good is a perfect, no crop desqueezed anamorphic image when you can’t grade it without banding and cheap artefacts. I really don’t get where you’re coming from.

Hey Mr. Owl It would be helpful if you could send some framegrabs in addition to the photographs of you monitor/tv. I wouldn’t recommend grading for hdr from any 4:2:0 codec, since the larger colorspace and luminosity range will only show the limits of said codec even more pronounced. In general - any large uniform area with subtle gradients will show banding and macroblocking when you’re recording in a highly compressed codec. My advice would be to record in at least ProRes 422hq - maybe you need an external recorder?

Nobody is going to use these for netflix unless they need a crash cam. Not a single serious person is going to use anamorphic lenses on these.

1. Why would you ever need to grade for hdr? 2. You are shooting in an interframe codec with 4:2:0 chroma subsampling, youre supposed to expect macroblocking and banding

You don't get it. This is NOT about what I produce or your career it is about the value of HDR. Just watch any HDR offering from Apple TV+, or Netflix or Prime Video. Properly. It does not matter what you produce either, it is your claim that professionals don't produce for HDR that is ludicrous. And reveals more about you.

The discussion is a confused mess, with the usual tropes about 4K resolution, compression artifacts, etc. Almost nothing on the key advantage of HDR - extended dynamic range with 10bit color. That advantage can be seen at 480 bps or FullHD or 4K. It can be seen on most high-end phones, on m1 MacBook Pros and on most new TVs even at most-common internet bitrates. Arguing for limited dynamic range is really stupid.

Thanks for the incredibly helpful response, buddy! You probably get invited to a lot of parties!

At the risk of feeding the troll, the S1 and S1H share the same 200mb/s 6k 420 10-bit long-GOP V-Log mode. The only difference is the AA filter on the S1H. S1H is "Netflix approved" for anamorphic shooting using the aforementioned open gate mode. Netflix requires all "Netflix Originals" content to be delivered as a Dolby Vision IMF packages. So theoretically the S1H is being used in this interframe 420 mode to produce HDR content for Netflix, and the S1 has effectively the same imaging capability. This tells me they must have figured out a color correction workflow which yields decent looking results. I want to know what part I'm missing.

👍 Cool story, bro. When did this place get so full of unhelpful trolls? WTF?

My guy, I'm sure your mother is very proud of you. Sadly, she didn't teach you any manners. You have contributed nothing to this thread. Have you ever even shot with this camera? Based on your completely generic suggestions, I suspect not. Your condescenion is unwarranted. Please leave.

😂 Jesus fucking Christ! Correct me if I'm wrong, but you have never even shot with this camera! What the fuck is with this gear-shaming, chroma-shaming, gamut shaming? You come across as a giant asshole. I'm doing an experiment. I want to shoot open gate V-Log 6k on the S1 and I want to grade in ACES for PQ output. It has nothing to do with professional standards. You have no experience with the specifics of this premise, so your supposed advice offers nothing! If I want to shoot full frame 16:9, I can and will shoot the fp. Why not just jump into every thread and tell people to shoot an Alexa? Then they will be serious! Unfuckingreal.

Again with the gear shaming! Can you read the name of this website? No one is forcing you to shoot video with a photo camera. My god, only peasants do that! Why are even here, since you think you are too good for this place? Neither is anyone forcing you to butt into threads you have knowledge about. Thanks for nothing Mr. Very Serious Cinematographer person! 👍

I meant to write, "Neither is anyone forcing you to butt into threads you have no knowledge about." My apologies, I missed the memo that since you don't have a way to view HDR then none of us should talk about it. Must be nice to have the universe revolve around yourself.

HDR is great! Rec709 has very limited dynamic range. HDR gives you the dynamic range that these newer sensors with log gammas can capture. What is the point of having 14 stops of dynamic range if you can only see 5-6 stops? Most newer TVs are capable of displaying HDR video, most top-end cell phones do so as well (on OLED screens!). Anyone who does not have a device that can display HDR video is simply using old or cheap equipment. If you are serious about video, you need to step up (and it is not expensive). And many of not all of original serials or movies produced by Prime Video, Netflix or AppleTV+ are HDR. Anyone who claims they do not know anyone professionally shooting film or video who delivers in HDR is just telling us he or she is in the second, third, or fourth tier of professionals. Which is an odd place for snobs to inhabit. Producing HDR video is hard, but it is worth it.

😂 I don't suffer fools.

Do me a favor and read the whole thread back. I asked a technical question specific to one specific mode of one specific camera. Many people offer pertinent, useful information. I am very thankful to them, and they've helped me to mitigate the issue. You and one other guy, both of whom have never shot with the camera, come in and offer no pertinent, useful information whatsoever. You just say a bunch of condescending shit, call me uninformed and unserious, brag awkwardly, and say I shouldn't use the camera in the specific mode I am interested in. I never asked if I should or shouldn't use the camera or that mode. I don't care what what you or anyone else thinks on that question. I like lots of cameras for different reasons. They all have their own peculiarities and charms. I think 8-bit cameras can be great. I think the PXL2000 is gorgeous. I love Super-8. I adore the F35. The GFX100 looks like a blast to shoot with. The S1/S1H have a ~36x24mm mode. This is unusual and interesting. Charming. I want to be able to use it from time to time. Not for everything, but sometimes. You and the other guy made a big deal out of the colorsampling in that mode being 4:2:0 rather than 4:2:2. That only a fool would shoot something with 420 chroma. The 422 modes in this camera are 4k. That means a 6k 420 file has more color samples than any of the 422 modes. But that doesn't matter. You came in with zero pertinent information and zero respect, so I gave you none back. I asked a technical question and you and the other guy responded with patronizing opinions. AKA bullshit. Your opinions are worthless to me, so keep them to yourself. To everyone else reading this, thank you for your advice and input. For a long time I've felt this board was a special place. One where massive egos don't dominate the way they often do in motion picture contexts, but rather information, knowledge and curiosity does. I still feel this way.

Typical response of someone who has been struck by the truth and cannot handle it. Maybe a fine videographer, just not very smart.