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some stills from a new short i dp’d. Still ungraded, some still need to be cropped a bit.

Is that a real product? Edit: it is, I'll be damned!

Never without it when shooting under tropical sun

Thank you! You can go ahead and assume that there was neg on everything except the super wide shots. I’m a bit lazy when it comes to scrimming, so no. The scene in the park was actually shot before golden hour, which is why the light on them is so hard in the wider shots, but i like the edges that you get from that. For the closeups, the sun was already behind the trees, which is why it looks so soft in comparison. We had a tube light which was intended to emulate the hard edge, but obv it wasnt powerful enough at all, but i still liked the slight extra level it gave on that side of her face.

Sony missed a huge opportunity here - could've added some front facing cooling fans for that sexy "hair in the wind" look for vloggers and solved the overheating issue.

I've gone through a journey over the last few months, and have come to a new clarity in my work. As most know, I shoot video of my family but want to make it look as much like high-end TV and films as possible. This involves shooting in completely uncontrolled situations with no re-takes. My new found clarity is this. Priority 1: Get the shot You can't use the shots you didn't get. Priority 2: Get shots in the best way Shots that aren't in focus, are shaky, don't have good composition etc aren't optimal. Also, having shots where subjects are aware and nervous of the camera, people in the background are staring at the camera, etc are also not optimal. Priority 4: Get the nicest image quality Insert all the normal camera stuff here... DR, colour science, etc. No, I didn't mis-number this, it's priority 4 because it's so far away from priority 1 & 2 that there is no Priority 3. Priority 1 is about feeling comfortable pulling out the camera and shooting, and having it be easy and fast to use. No fuss. Priority 2 is about stabilisation and focus, but is also about camera size. Smaller is better. This means that iPhone > GX85 > GH5, but unfortunately for priority 4 it's the opposite. Overriding principle: Use the biggest camera that won't draw too much attention in the situation. My first challenge was to see if using the iPhone was going to even be feasible. I mean, the image quality that I saw from it was horrendous. @mercer laughed when I called it "MAXIMUM AWESOME BRO BANGER FOR THE 'GRAM" but it was potentially the most savage insult I could think of - and the way to make images look as cheap and amateurish as possible. I own the iPhone 12 mini, which has the normal and wide cameras, but not the tele. One thing that escaped even my attention was that this has HDR and 10-bit support natively, so it's got at least some potential. Long story short, I filmed a test scene with all three cameras, as well as a colour chart I made in Resolve and a colour checker and attempted to match them. Matching to the GH5 was obviously not feasible, but I like the GX85 so I matched to that. Matching the GH5 to the GX85 was as simple as making a few basic adjustments. Then came the iPhone.... I tried matching the scenes first, with limited success. Hues and saturation and Luma behaviour were clearly different and not in easy or nice ways. That's when I turned to the colour chart and tried to look at what was going on. At first, the iPhone vector-scope was horrifically tangled, but in a stroke of luck I noticed that the luma curve was pushed up to brighten the mids, and when I brought it back to being linear, the vector-scope immediately fixed itself and was stunningly plain and straight-forwards. Win! This is the before/after of the greyscale from the colour chart: While this isn't a perfect linearisation, check out this before/after of what it does to the vector-scope from my Hue vs Sat test pattern in Resolve.... (I'd removed a few rows in the mildly-saturated region so I could more easily compare between cameras. This is the GH5 in HLG without a conversion to 709 for comparison) If I apply a CST to the GH5 (from rec2100 to rec709) and include saturation compression, we get this horrific thing: I've used that CST technique in the past and it's been fine on real footage, so it's not as bad as it looks. But the moral of the story is that the iPhone now has easily manageable colours. I was absolutely stunned when I realised that grading the iPhone footage could be as easy as working with the GH5 footage. Plus, it's 709 footage in 10-bit, so it should be prone to less banding and artefacts than the GH5 footage, which is 10-bit log. Next step is to use the colour checker to match the hues and saturation levels of the GX85. Here are the vector-scopes before matching.. GX85: GH5: iPhone with curve: Obviously the iPhone is nothing like the others, which is what you'd expect - Apple gave it a very distinct look and it's very different to the Panasonics. I also took shots of the colour checker in -3 stops and +3 stops. This showed that on the underexposed image (-3 stops) the iPhone is less saturated than the GX85/GH5 and on the overexposed image (+3 stops) the iPhone is more saturated. Resolve has a curve for this. I couldn't match it completely as it required a brutal adjustment but I pushed it in the right general direction. After applying some hue and saturation adjustments, we get quite a good match. iPhone: The plots at -3 match well, but the plots at +3 are all over the place, with the GH5 clearly having some rather strange issues. I'll ignore these for now - the goal is to make the iPhone into a camera that can be used for filming more than just memes, it doesn't have to match perfectly. I also applied a gaussian blur to the footage to un-do the horrendous sharpening that is applied. Here are some sample images from a recent trip with the above adjustments applied, without even adjusting each image individually - this is just the starting point. As I shoot auto-WB I'd be adjusting each image individually, main focusing on skin-tones. It should also be noted that these adjustments apply equally well to the normal, wide, and selfie cameras, and also apply to the 1080p120 and 1080p240 modes from both the wide and normal cameras. These shots include a mix of these. It looks like a real camera to me! Not the best in the world, but it doesn't make me regret shooting with it, so firmly in the usable category.

Let’s share our work guys! I’ll start. Here is an interview I shot and lit the other day, featuring a congresswoman from Indians! One camera was a Nikon z6 recording into an Atomos ninja v. With a Tamron 45mm 1.8. The other was actually the ancient, cheap Canon 7D fitted with a Canon 85mm 1.2 shot at f/2.5!

Welcome back dude, and stay around! Image is like my 3rd job in the industry, so I spend a lot of money for sound mainly, but recently I worked with A) GH5 3 cameras setup B) A7Siii and A7iii setup C) last night we worked with 2 C300mkIII and 2 C70s, I love the latter.. Personally, I still using my fleet of NX cameras, mainly because the lens collection is amazing. I bought this past summer the R7 and a couple of years ago the BMP4K. I am relatively set for the moment, but I am eyeing the R8 now, mainly because I have so many EF and RF lenses that makes perfect sense to just have the option.. As I said, it isn't my main job, but I want to stay relevant somehow (that is why I have the Pocket for braw, and the R7 for the run and gun..

Yeah JCC has always had decent gear. I'll probably purchase this with the summer coming, if only to shade my pale ass a little (there's a bigger version available!) From the sun!

Actually, JJC has a lot value for money products. I have some pistol grips and many accessories for bought from them. Also, recently got all my RF sun hoods from them. I didn't know about the umbrella though!

Not that daft an idea… In 30+ Celsius direct Summer sun when a camera is going to be on a tripod for say 30+ minutes, I often drape a white cloth over it simply to avoid some of that direct sun heat. Otherwise, working typically May-Sep in mostly SW France in mostly 30+ Celsius, absolutely no way I will ever work with a camera without a fan ever again as every single one to date, HAS overheated mid job. If I was a Sony shooter, I’d have no problem using this new kid on a gimbal for limited use…but then why when Sony offer much cheaper alternatives that would do that job as equally well

I have it yes and not 100% sure of the answer… It’s packed up right now as I am heading off to my second job of the year in a short while but I think so… I’m only shooting it 4k 50p and just edited 1 job with it that had a lot of vertical architecture in the background and it just looked ‘normal’? My tech skills go as far as: A: Does it look right? B: Did it do what I needed it to do? The only changes I am making between this next job and the first is whacking the sharpening down to -5. Because I forgot to do that when setting it up for the first time. Otherwise the only thing I have noticed is the colour difference between it and the S1H. The S1H is just better. Define better? See A: & B: above 👆

All he mentions is XAVC-HS which is the low bitrate LongGop codec. But he doesn't specify 4:2:0 or 4:2:2 or ambient temp etc. At the highest bitrate this guy got 15 minutes in 4K60p indoors 20 degrees Celsius. Also the recovery times seem terrible:

D-Cam duties is all it deserves.

For sure, I was just making fun from his findings anyway but it's some testing at least... Gordon Laing has succeeded to reach 52 minutes going with 4K50p on his turn... This is anything but a travel camera after all, it is what it is :- )

Better than it being in black!

Here is a video showing ways to install and use AgX in Resolve: It's free and open source. The way it attenuates saturation in the highlights is similar to what Arri does in-camera (and similar to film emulsion). I think that AgX additionally reduces saturation in the shadows. If you have suffered "rat piss yellow" and "nuclear cyan" in the brighter/highlight areas, it might be good to try AgX. After using the related Filmic RGB module in Darktable, I want to go back and regrade all my images with AgX/Filmic.

IBIS beyond 100mm is not very effective (still works). And, of course, you lose information and resolution (crop) with Catalyst. No OSS is a real issue. Not saying it is a dealbreaker.

@newfoundmass My argument was that we all didn't start with the equipment we now use..I am not sure that this makes this camera less capable for what it was made for..there are half a dozen Sony cameras one can choose (for around that money) and I choose noone, by the way! For me it is not a big deal, for some people this camera is a dream, and I get it..

Sony fx3 with Sony E 18-135 lens in 4K 60p. Shot in Slog3 All-I.

Interesting post. I really like the GX85 shots. It's a shame that Panasonic hasn't upgraded the GX85 and G85 with 10bit. But I think the biggest takeaway is that Canon sucks.

I'm still using my 5D Mark iii with ML Raw as my main camera for hobby narrative filmmaking. I recently bought a Sigma FP which I like okay enough. I also have a BMMCC all rigged out but I never use it. I think I'll sell it soon so I can hold onto the FP for a bit longer. I'm still unsure about the FP. I like it, but it doesn't feel like an extension of my arm like my 5D does. Here's a frame from the FP with the Nikkor 35mm 1.4 ai-s lens that I took recently while working on a short film... Otherwise, I have a few film cameras I enjoy walking around with when I'm out and about.

And it is so dirt cheap to buy a P4K that there would be plenty of spare cash left over to buy a secondhand Panasonic G9 for the photography as well! And you can share the lenses easily between both cameras.

By far and by far the one I use the most is a Sound Devices 833. Oh wait, that isn't a camera.... I guess my phone then??

Personally, I would never, ever in a million years add sharpening to a video clip.

im unemployed, check out my reel! https://vimeo.com/797642822

I dunno sorry but that's a really goofy way of looking at things, especially if you're a pro. Buy the best camera you can afford that fits your requirements wether that's specs (resolution, codecs etc) or i/o's ergonomics etc. Obviously be smart and on the lookout for what camera will be a better long term investment rather than short if the camera is at the end of a cycle. The FX3 is imo a much better investment and solution than the A7IV. First it doesn't overheat. That alone is key. Then you have all the cine features including LUT support. The fast readout sensor, A7IV has terrible RS. And of course the cage-less body and top handle with XLRs. If you're on a budget or don't need FF then the FX30 makes even better sense. S5ii is also very competitive. Why wait a year or two if you need the camera today? Don't get me wrong, I don't buy cameras often at all, in fact much less than your average person around here. When I find a camera I'm comfortable with I stick with it forever. And I rarely go for flagships when they are new (I skipped R5, A7S3). But there are plenty of excellent options in the $2K-$3K region right now both new and used if you're in the market for an upgrade. So many in fact that it is hard to choose!

MANY things! Timecode. SDI outputs. Reliability. Internal NDs. More recording options. etc etc etc etc But for many people these extra factors don't matter to them. However, for many professionals these would be deal breakers for these to be missing.