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Skintones are looking good to me using a LUT I made for the GH6: Over the weekend if I have time I'll try to shoot some charts with the GH6 and S5II to check how close or not the colour is.

This post is available on my blog a little more nicely formatted: Link Trailer for the film The making of RE:ACTING Two weeks ago I wrote a post talking about how we shot our micro-budget short film. I talked about how we planned and shot one scene in the film. I got some questions about where exactly the $3000 budget went, so I'm going to start this post by breaking down our costs. Food & snacks for about 10-15 people per day (cooked in the evenings after the shoot) - $500 Camera equipment was mostly lent to us for free, but in order to move quickly we also had to rent two zoom lenses for seven days - $450 Props & costumes - $400 Location costs (parking, location rent etc..) - $400 Post-production - $1250 Keeping the budget this low was only possible because we were able to borrow a lot of gear, being smart about planning and making deals with other companies. For example, we planned the shoot in June because that’s the month most Swedes are on vacation and we managed to get sponsored by a production company that did not have anything scheduled during the shoot, they would let us borrow most of the camera and lighting equipment for the whole production. Additionally, we managed to save costs on props by negotiating a deal with a company that rents out police gear for film, including cars. Usually this would cost a lot as police gear is highly regulated, but we were able to get what we needed for one day of shooting in exchange for doing a short production for the company. Another place where we had to get creative with costs was locations. As we wanted to shoot a total of 26 scenes in 13 different locations, we had to choose and plan our locations and scenes carefully. Not only did they have to come for free or at least very cheaply, we also had to get to three locations per day with a small crew. In the last post I talked about scene 3 in the film and how we shot it in about two hours from arriving at the location. After Scene 3 we drove about 20 minutes to the next location to shoot Scene 22 where we transformed an inconspicuous location into something that would work for the production in more ways than one. Schedule for day 4 of the shoot Scene #22 Scene 22 is a police interrogation with the main character Karl, where he finally gets the courage to act well and completes his character arc. The good thing about interrogation rooms is that when you really look at them and how they appear in films, they're just rooms with neutral-coloured walls and often a one-way mirror. We realised that all we needed for this location was a white wall and enough space to fit a table and chairs. I figured the common room in the basement of my apartment building would fit our needs, and we could rent it for just $30 a day. The corner where the bed is standing is where we shot this whole scene. Doesn’t look like much when you look at it like this, but just dress it up right and light it with intent and you can make anything work. Dressed up and lit. When I scouted this room there were several things that made me feel like this was going to make a good location: Few, small windows, making it easy to block out sunlight Big space, fitting the whole crew without problem Access to a bathroom and a kitchen so we could break for lunch here. (which we did) Bottom floor, so we could get our equipment in and out of the room quickly. We shot during the daytime, so we had to block out the light from the windows and ended up using just an Astera tube with grid for lighting as well as a floppy for some negative fill. Floor plan & lighting schematic I made ahead of the shoot For this scene we chose to shoot from a 90-degree angle to emphasise the movement when Karl leans forward and takes control of the situation. In contrast to the rest of the film which is shot around 28-35mm, we chose to use a tighter lens to make Karl appear more cramped up and put on the spot. Acting tough Being out-witted These are the two shots that run for most of this scene, and the third shot is of Karl's friend and dim-witted drug dealer Josef who is (poorly) trying to talk his way out of the situation. Josef, the drug dealer This shot we chose to do from head-on with the police in silhouette instead. This is both because Josef is acting as comedic relief in the middle of a tense scene and comedy genereally plays better in a wider shot, and also because we wanted to sell the feeling of it being an actual interrogation room more. Rounding up This interrogation room scene is a simple scene but I still think that many good principles were applied in its planning. We kept the lighting simple, we got a location that was close to the other two locations of the day, we didn’t have to do a lot of rigging, and in the end we shot it in a way that made it a lot more interesting than you’d expect when you saw the room for the first time. So, the next time you’re faced with a scene that you don’t have the budget for. Take a step back and consider what the essential parts of the scene are. Then try to be creative with lighting and blocking to enhance your location. If you do this you can often get away with shooting a scene that you thought was out of your budget. In the third part of this series I’ll give another example of how we got away with shooting a scene that on the surface seems impossible at this budget - an interior scene in a moving car during night time. Josef, shocked that we pulled it off. Again, feel free to reach out to me if you have any specific questions.

OK so I've had a chance to look at the S5II's colour (when converted to from V-gamut to V709) and compare it to the GH6 and to reality. In short, it's a bit different to the GH6, but not as huge a difference than the GH6 was to the GH5, for example. You might get away with using both in a multicam shoot and not matching them, but there are some differences in skin. And both the GH6 and S5II fall quite a bit short of colour as it is in reality, but in different ways. GH6: S5II: Reality: You'll need to open them in separate tabs to see the differences. In relation to @Django 's concern with red in skintones, if you switch between S5II and Reality images you'll notice that the S5II has a range of oranges that are too red and too dark. This doesn't do any favours to people with less than perfect skin like our friend Mister Camera Conspiracies.

This might sound uninteresting to some, but I'd be semi interested in the FZ and LX series of cameras with PDAF. Has anyone heard anything? People are so quick to say everything is dead, but these lines still have a place, especially since phones suck at ergonomics and telephoto.

Not all STM lenses are quiet or fast with focus though in my experience - the EF 50mm STM I have is slow although not too noisy, even the RF 35mm STM I tried was quite slow and noisy with AF, the older EF USM lenses I have were better. I do have a Canon EF 70-300mm nano usm lens that is fast and quiet with AF. This is where I think the Panasonic 1.8 primes will be great - they are all silent AF with focus breathing control and manual focus speed control. As you say most of Canon's lenses with nano usm are the slower zooms I think the Sigma adaptor has really given Panasonic a huge boost and the S5ii could interest both Sony and Canon users - to me it is now a perfectly valid hybrid or b-cam for a Canon c70 or C200 owner that has EF lenses. Likewise for Sony users who are still adapting EF lenses - by all accounts the L mount Sigma adaptor works better for AF than the equivalent EF to e-mount adaptors.

@Django and anyone else who's interested I've uploaded a bunch of very short clips here at different resolutions and crop factors to check out: https://drive.google.com/drive/folders/13zSYccjrhj1WXKDNMFioxTAoQbZyuP80?usp=share_link

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

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.

I have seen amazing deals on used M1 Macs. You can often save 75% sometimes even 50%. Tech devalues so fast it is crazy.