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Lifted directly from a Noam Kroll blog post that is so old it has cobwebs on it. So you can fuck right off as well.

V-LOG is unaffected. However the smoothing is there even with H265 4:2:2 with every other profiles, exactly like on the GH6. By the way,this is not a news about the GH6.

The OP of that post claims V-Log and HLG are unaffected. Also, her tests of the normal profiles were in 8 bit, AFAIK.

I remember that Cine D article - they tested the DR of the S1 before it had Vlog so comments about NR and lack of mojo were with it in 'standard' profile and so a bit premature in my book. They admitted as much when they tested it again after the Vlog update saying it totally transformed the camera. Have just found their follow up article which says... "To my taste, Panasonic used to enhance the red channel on their cameras, resulting in “red-ish” skin tones, but from what I can see when working with the LUMIX S1 and the new V-Log, this is a thing of the past. The images grade wonderfully (and easily). ...we get a Dynamic Range result of 12.2 stops for V-LOG ISO640 (SNR = 2). This is the same as for HLG, but there is a considerable difference, as the camera produces a very organic looking noise floor (see fig. 1 below), with the potential to dig further into the shadows via post processing. The Panasonic LUMIX S1 has just become a better camera for filmmakers. I truly like how easy it is to grade and how the picture looks like in general." It was the S1H they tested later that had 13 stops DR similar to the C70. I think the C70 and the C200 too when shooting in RAW both have a lovely full image, the Canon mirrorless cameras like R6 and R5 unfortunately suffer from a lack of DR, they don't seem to have the full range of latitude like the C70 does especially in the shadows. There is something strange going on in the shadows with the R5 & R6 - seeing as we've gone there this is how our friends at Cine D describe the R6... "What can be observed is the fact that almost no noise floor is visible – it looks like lower stops are simply cut off. Hence, it will not be possible to dig into the shadows much without losing color and creating banding – confirmed by our latitude (underexposure) test " This is one of the frustrating things about the Canon mirrorless cameras and it is nice to get that big chunk of DR back with the S5ii. I think this tonal range helps in overall image quality. With Canon you have to buy one of their cinema cameras to get the full range of DR, at least in video.

The S1H lost that aggressive NR in later firmware, the GH5 had similar issue at first. The S1 never had the aggressive NR though, probably one of the better cameras in terms of an organic NR free image, it was rated at 12.2 stops. The C70 in RAW is 12.3 stops, which is very close to what the S1 is doing. Of course the S1 may have less dynamic range in RAW due to the likely less processing going on. But from using both cameras on projects the S1 seems to hold highlights better while the while the C70 is better in shadows. But I know people have noticed the C70 in 10 bit is doing a lot of processing, which is why I assume the dynamic range in RAW is less.

Ok received the S5ii with 20-60mm and 50mm lens kit this morning, charged the battery had a very quick play and then took it with me on a shoot this afternoon - nothing too taxing or crazy, just filming speakers at a conference and took some photos in between. Was able to use it instead of the Canon R6 until it ran out of battery (only had the one, lasted about as long as R6 battery does - couple of hours in 4k). Here are my thoughts so far... Some real positives over the R6 for this type of work - No 30 minute limit (one of the talks was 40 minutes) so was nice to capture it all Able to use my 7" monitor whilst having full access to the cameras touchscreen - this was lovely and so much more relaxing for my ageing eyes. Great to be able to put lut on monitor and also use full HDMI - even without a cage felt more reassuring than horrible micro No overheating whatsoever in 4k 10 bit 422 for 2 hours - priceless for peace of mind. Once the battery ran out had to use the R6 and overheating warning came on in the last hour so changed recording down to HD for the last speaker Comparing to the R6 they are very similar in size and weight - S5ii feels very solid, R6 a bit plasticy in comparison although slightly nicer grip in the hand (was marginal though and maybe dependent on hand size). S5ii AF with the 20-60mm and 50mm 1.8 seemed to stick well once it locked onto a face. Nothing very taxing but did a good job I think - will need to check through all the footage but am pretty confident it worked as well as the R6 under these conditions Audio - used Sound Devices mix pre-d at line level 96khz 24 bit into the S5ii - seems to capture a clean sound, need to do some testing but think it is a step up from the R6 The 20-60mm lens is probably the best kit lenses I've used - well made, nicely dampened focus ring and zoom. Love that it's 20mm on the wide as opposed to standard 24mm, don't think I'll need any wider. Bit short on the long end but used it in apsc mode - quality seems a little sharper than the r6's crop mode but am only eyeballing off the screen The 50mm 1.8 is really nice, completely silent AF, nice size and lovely feel to the large focus ring, also quite pleasing bokeh from first impression, felt like a quality lens - obviously in a different price bracket to the Canon 50mm STM lens but yes a lot nicer to use That's all for now, feel like it could be a good purchase though of course early days so time will tell, used vlog and am just trying some luts in Resolve now - looks pretty good for conference type lighting

You mean 8K 120p isn't industry standard? Don't tell the forum this, there could be a mutiny.

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