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Panasonic S line has the option of a crop for pixel to pixel HD. It provides a width between 16mm format and S16, of about 11.4mm. Height is smaller than both, ca 6.4mm vs 7.46mm / 7.5mm. I would love more cropping options on cameras, like S16, 2/3", 16mm, S16 width with 4 to 3 ratio and so on.

I've seen some early ARRI vs GH7 LogC images, and let's say they're.... not similar. For anyone hoping to get a pocket ARRI, lower your expectations. .....and go back to working on your colour grading.

I guess mileage varies depending on how you look at the footage. What I see in it is: pretty heavy grade done but footage looks consistent and hues look right, including skin-tones this indicates that the sensor and profile behave well in the grade and don't get pulled around in unnatural ways - this is a lot less common than you'd imagine and many of the grades I've done end up making different tonal or colour regions of the footage don't look coherent with each other.. saturated edges look fine this is very difficult because doing a strong subtractive saturation operation is very challenging as it stretches tones apart significantly based on their hue. this is especially difficult on edges where if you have an edge of a coloured object against a neutral object then in the space of a few pixels you go from saturation being low to being high, now this wouldn't normally be a challenge because maybe they're at a similar luma level but after the subtractive saturation operation the saturated pixel is now significantly more saturated but more importantly its also now dramatically darker. this will ruthlessly reveal compression artefacts on edges, and is the primary reason that I have to go B&W and blur the absolute crap out of any footage I shoot on the cheap action cameras etc for cheap camera challenges greens look good shots like the dog at 0:54 show deep saturated greens in the foliage in the background, which have clearly been significantly altered. in real life the graduations in greens amongst footage like this are very subtle, and yet the colours in the video look dense and the opposite of stretched low-quality footage, they have a density that is reminiscent of the things that the 5D with ML does very well (but I'm not saying this is at that same level - this video isn't enough to judge that) anyone who has declared war on yellow-ish greens like I have and tried to grade them back into looking lush (or even just not dead-looking) will know the whole thing exists on a knife edge. the fact that you're cooling the shadows and warming the highlights (which this grade does quite considerably) also stretches the greens too shots look to have usable DR in outside scenes in full-sun on surfaces that would be blindingly-white there is an effortlessness to the colours when you look at film there is an effortless coherence to the whole thing, like it was always going to be this way that it would be silly for it to be any other way - the colours in film look like this was their destiny - you don't question it. this coherence is incredibly rare for digital and especially smaller sensors when not given enough light, so although the outside sunshine pics are great, it's the inside shots with the deep shadows that show off a coherency into the lower registers of the tonal ranges. the colours don't cheapen, they don't thin, they don't shift, or become glaring or dull, etc. etc. Hollywood colourists can work low-level miracles, but will be the first to tell you that if the footage is lacking then there's a limit to what they can do - more would be asking for high-level miracles! Either this footage is good and the colourist was a super-star, but considering this is a YT video, I'm leaning on it being a good-to-very-good grade on top of very capable footage. The more I colour grade my own footage, the more I see when I look into the footage of others.

if you shoot 5.8k raw, there is no extra crop, 8 mm is 16mm ff.

If you using an 8mm lens on your GH5, it will be the equivalent of about an 11mm lens on the GH7 in DCI 4k RAW mode. Open Gate 5.7k RAW will have the same FOV as there is no extra crop in that mode (so an 8mm lens will still be 8mm).

No but I don't criticize it. I think it is impossible to judge cameras by videos. This is a bias that was born on social media and will never die. I have never heard about a film that it would have come out differently if they had used one camera or another and yet this BS on social never dies. The videos say more about the skill of the author than the camera. I would like to see Roger Deakins with a GH2.... 😉

only arriraw is uncompressed, magic lantern raw is true lossless codec or uncompressed. other raw formats are codecs, like r3d, prores raw, braw, canon raw light, sony raw format using r5 or r7, etc.

tastelessly shot and lit imo. they really couldve used olan collardy again

It's up again 🙂

I have used that Angénieux Super 16 zoom a fair bit on my Micro Cinema Camera and the original Pocket; neither of those cameras do well in low light but with careful noise reduction and crushing the blacks a bit you can get very usable footage in even dim light.

Two distinct YT accounts have different layouts in my end, so that's something they're implementing in a disgusting world which day less human. I recall as for instance when Windows 11 has introduced you're not more allowed to decide where you can place the tool bar in the desktop, guess what, of your own. A bit like, or more odd than, security belts NOT in your vehicle but when you'll be fined if you don't use them. If we customers don't say no, if we don't praise freedom as this online corner is an example of productive criticism, we will invariably end in the hands of pure evil/control over our heads and we even clap (for) them or call it innovation... - EAG

The point is when we notice them... Everyone will die some day no matter how many times we change. This is something I think the most stupid thing the human race is. That is, to not be aware of it. Pretending it is what it is not. Changes apply when they bring something of value. When not? In my culture we have an old adage which says to not touch in a winner team... What does it mean? It's not the case then?! Or people have the need to justify their salaries for an empty scope and useless reason for their craft? Change of policy, someone is wondering that they're focusing on content than community because people can follow up the content while read the comments. I'd say the scroll down of the page will merely bring to more addiction to new content instead. So, in my view, maybe mere greed? And the brand value? Sometimes a change is the end... Go to implement a change in your relationship and maybe it will be the end of it. It's not so rare to happen when a couple moves of town... : D Call me conservative, I don't mind. I am for certain aspects, much oldschool : ) I don't try to reinvent the wheel when things work, that's not a synonym for innovation which is something very different BTW where an uselful realm raises up :- )

So Nikon Z6iii is going to get released on the 17th.

I thought the FX3 had a Super 16 crop but maybe I'm thinking of the FX-30. The new Blackmagic Cinema Camera 6K (full-frame, L-mount) has a Super 16 crop, which has a decent readout rate (8.29 ms), almost as good as that of the Pocket 4K in Super 16 mode (7.98 ms). The Ursa Mini 12K (which is Super 35) has the fastest Super 16 readout speed, in 4k mode, at 3.89 ms.

Also keep in mind that the giants have become so giant that it somewhat flips the usual rules when it comes to improving the user interface to delight users. If YouTube make the interface worse, will you stop using it? How many people will? Does the new UI somehow result in people staying on their site and seeing ads longer, even if that time is spent frustrated and clicking on things? If so, they get more revenue. This is also why sites like instagram and facebook so strongly prefer the algorithmic feed to a chronological feed (despite that most users seem to prefer chronological). If you catch up on a chronological feed, you stop browsing facebook. If they randomly show you new posts mixed in with a bunch of garbage that you already saw, you spend more time clicking around and searching for the new posts, during which time they can send you more ads.

Open gate recording is available on a number of cameras, not just Fuji and Panasonic. Some cameras even have a 17:9 sensor so open gate is 17:9. As far as using a 3:2 or 4:3 sensor to capture for 9:17, 1:1, and 17:9 delivery, it's intended to save time for people who want to deliver to multiple platforms and don't want to have to reshoot. Plus the ergonomics of many cameras are impaired when turned on their side. I would also worry less about capturing for vertical in the highest possible resolution - if your camera is 6k pixels wide on a 3:2 sensor, the vertical resolution will be close to 4k - which is more than enough if people are watching vertically on their phone. Part of what's tricky is that many cameras only allow a single box to hint at the final frame so you'd need to guess at the vertical frame or use tape on the screen to indicate it (or something like that.

To start with, "raw" is not capitalized when referring to "raw video." However, it is when referring to specific codecs such as "ProRes RAW" because somebody at Apple said it would be. Second, to answer your first question, no. Even "raw" on many cameras is less raw thatn you expect. Anyway, there will always be a certain amount of navel gazing and discussions about which format is and is not really "raw." If applying "visually lossless" compression would make you consider raw not to be raw enough, you'll have to take that up with the likes of Red, Canon, Apple, BlackMagic, Cineform, and just about any other company who has sold a camera with a raw option. Most of the time, what people care about is the ability to change white balance/color in a pretty big way without loss of quality - that and in most cases, getting 12+ bits per color channel can be nice. They'll also say that you can change ISO, but there are a lot of asterisks around what that actually means. If the raw format allows those things, then that's effectively enough.

I had a hard time listening to the dude next to the Panasonic man, but the interview is intercut with logC footage from the GH7 and a longer bit in the end of the video, shot in auto exposure for some daft reason. But the colors look really good to me, better and more Alexa-like than a color space transform in DaVinci, for sure.

The raw crop will add to the normal 2x crop. If you shoot in open gate or in 6k mode, the raw crop should be 0x extra crop. If you set the camera to 4K mode, the raw crop will be about 1.5x and it will be effectively a 3x crop vs full frame.

According to Apple's spec page on ProRes RAW, it's compressed. Seems like it applies variable compression just like Blackmagic Design does with some of the flavours of BRAW: https://support.apple.com/en-ca/102124 "You can choose between two ProRes RAW compression levels: ProRes RAW and ProRes RAW HQ. Both compression levels achieve excellent preservation of raw video content, with Apple ProRes RAW HQ providing additional quality at a higher data rate. ProRes RAW data rates can vary significantly based on image content, because the codec is designed to maintain constant quality and pristine image fidelity for all frames."

Have you got a link for the comparisons ? I've not seen anything from the limited number of people that have one in hand that shows much of anything in LogC3 let alone an A/B against an Alexa etc. so I've been waiting for the like of CVP etc to get one to show that sort of comparison. I've seen one frame on Twitter shot in LogC3 that made me think "mmm that is actually quite nice" but I've read a comment from whoever it is that did that video you posted the other day that says its "confirmed" not coming to S5ii etc so my bubble has been burst on that front.

If you shoot for social media then you might need to publish in vertical, square, and landscape, so open gate means you don't have to film the same thing three times. Also, anamorphic..... Also also, GH5 from 2017 had it, so "recent" is a relative term. Also also also, film had it from before most of us were born, so "recent" might not be the right word....

YT keeps changing things, maybe this is the first time they've done something you didn't like, or maybe you never noticed before? They've made two changes in the past that fundamentally changed how I use the site, which annoyed me no end, but it is what it is. When will they stop? Never. This is because: If you don't change you die. If you don't believe me then feel free to make a post about it on your myspace page. Things are improving, for the most part, and A/B testing is how they work out what to do, which is the scientific method which built civilisation. If you think things don't get better then fire up Windows v1 and your old Nokia. I'll see you in a week once you remember how to manually setup the TCPIP stack to get network connectivity working. Improvements are made incrementally without people noticing. If every few years Facebook or Google released a new version then it would confuse the absolute crap out of everyone, but when they trickle the changes through in tiny little bits then no training is needed and mostly people adapt pretty smoothly. For example, Amazon makes changes to their live website 2-3 times per day on average.

Correct. 420 in opengate. Yes. I've never heard it, but I haven't really tested that either. No. Not in continuous focus- it will have focus wobbles.

the rolling shutter seems fine in 4:3 open gate. dr seems good.

news and events can be at this level. you still can break the bank account too. lol

To be clear, lenses don't have a crop factor. Lenses project an image circle of a certain size. When the image circle is smaller than is needed to cover a full camera sensor, you will get dark corners or in some extreme cases, the outline of a circle. As long as the sensor is smaller than the image circle, though, you will get an image that covers the entire sensor. If the sensor is 24x36mm (full frame), this would be referred to as a "1x" crop factor in modern terminology. If you put a smaller sensor with the same lens or only capture a portion of the above sensor, the crop factor will increase. We usually calculate this by calculating the diagonal lengths of the sensors and dividing them (or the areas of the sensors and dividing them). So a sensor of around 22.3 x 14.9mm ends up with a diagonal about 1.5x that of 24x36 and Micro 4/3 is about 2x. If you then choose to use only a portion of the Micro 4/3 sensor, the crop factor would increase again. So in raw, going to 4k from 6k is usually an additional 1.5x crop and going to 2k from 6k will be closer to a 2x crop.

Exactly

Panasonic must be pretty confident about the LogC implementation. They got this guy to shoot a film with ARRI as A-cam (Mini LF) and GH7 as B-cam, and also specifically told him to try and break it (which he failed at, despite it being kicked into a brick wall and falling onto a concrete floor from shoulder height - twice - as well as taking other knocks). and the short film itself:

No Z cameras have a s16 mode. I could see that changing with a Nikon that has bought RED, but I would still be surprised if it showed up in the Z6III. Do any FF mirrorless bodies have it? Canon does on their cinema cameras; but don't remember reading it as a feature on any Sony or Canon FF models.

canon cinema line is designed for handheld shooting. I tried many different configurations. once you mount a big zoom lense, and a zacuto top handle and a zacuto base plate, the rig is too heavy to hand hold. it is only for tripod. in that case, other cameras are better, like f3. now I set one of my c300 ogs with an efs 10-18 stm is, I don't use the top handle and the xlr lcd unit at all. I put on a small battery based mike with 3.5 mm plug in. I put on a rail based v mount mini battery to power the nano flash. I use the evf as one contacting point, the v mount battery against my chest as another contact point. my left hand hold the buttom of the c300 og, use the left thumb to touch the hard buttons at the left side, and use the right hand to hold the grip, the right index finger to touch the start button, and the right thumb to touch the nipple and the button 7 which I set as the af lock. I use continuous af as this c300 og unit has the dpaf upgrade. the footage looks very stable.