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I am going to release on the blog a little EOSHD LOG C3 profile for Panasonic's full frame cameras and perhaps the GH6. Happy to give it out for free to any of you folk who'd like to try it out in return for a bit of feedback and some test shots. It will make your camera compatible with the ARRI look library and ALEXA LUTS. It should also be a bit easier to grade than V-LOG. It also brings ARRI LOG C wide colour gamut to the Panasonic cams. No need to wait for GH7 and pay $200 for the privilege! Happy to answer any questions relating to it and what cameras it'll work best on...

I’m in.

Judging by "show results," everybody has chosen not to vote so far. 🙂 You'll get no objection from me that there's a happy medium between "coke bottle" and "counting the atoms in bricks 100 meters away." With this poll, the problem is at least partly that the example photos are a weird angle and of an uninteresting subject. Whatever lens was used, I don't care much for them.

5ii owner more than up for it 🫡

Kudos for this, Andrew, that's a hell of an offer! Pity I have nothing similar here among those available at my side or I would be rather glad to make it : ) Can't wait to see what this community can find from there though :- )

From the GH6 manual: I see what you mean about 5.7K versus 5.8K. I wonder if the extra image/video processing needed for 5.7K (about twice as many pixels per frame as C4K) is reducing the processing power available for IBIS control, so it can't react as quickly? As an illustration of what I said in words in an earlier post, below is an image circle with 4:3 (yellow), 16:9 (grey) and 17:9 (red) rectangles inside it. Note how the corners of the 16:9 and 17:9 rectangles are further inside the circle than the 4:3 rectangle (the full 5.8K 'open gate' aspect ratio). In reality, the usable image circle is larger than needed to contain a 4:3 rectangle - if it wasn't, sensor-shift stabilisation of 4:3 'open gate' video or stills would be impossible without vignetting.

I have 2x identical, tripod based set ups with S5ii's. I say 'identical', but temporarily they are not as the second RODE WG2 I ordered, the receiving unit turned up DOA, but as soon as that is replaced, I will have 2x identical set ups. Identical except I can swap out one of the 20-60mm zooms for the 70-200 f4 if I feel the need, but exceptional circumstance only such as a church wedding with no side aisle so stuck at the back. That covers off ceremonies and speeches, visual and audio so my third run & gun unit during those chapters is just that, - roaming about and the 28-70 is just fine for that. And size & weight, even with the minimalist cage and side handle...I forgot about...because I forgot about it...but have now remembered...makes me sway even more back towards a third S5ii which in it's new incarnation will NOT have the cage it previously had, nor the side handle and nor probably the RODE micro. If I am being honest, whilst the wooden side handle DID add to the ergos, it was more because it looked cool and the cage was a necessity for this vanity. The Rode Micro? Having a mic on the camera 'told' people this was a video unit. You'd think anyway. In over 90% of cases, folks think I'm taking pics not video and in most cases when they have been standing there staring at the camera and grinning like buffoons, do I tell them it's a video and then they starting 'acting'. So back to a bare bones S5ii with just lens, it's actually less size & weight and more low-key than the S9 in it's semi-rigged status. I think I just talked myself into cancelling my preorder...

I have this lens and it's a perfectly serviceable general purpose piece of glass that has the benefit of being super small!

People that make cinematic videos on YT that cut my eyes have clearly never been to the cinema. The difference might as well be iPhone 4 and Alexa. If you can't see that your jagged harsh digital and clinical cinematic video has nothing in common with cinema, then the level of blindness is almost complete. The deeper into this I go, the more I realise that not only are most answers online wrong, but the questions don't even make sense. Asking "what is the resolution of film?" makes little more sense than asking "how many bananas are in sadness?"... and the discussion is nonsensical right from the start.

Modern "cinematic" videos cut my eyeballs, but actual cinema doesn't. Please don't cut my eyeballs.

One where the viewer does not consider either. If I am viewing and immediately think, “that looks sharp”, or “this looks soft”, it has already been overcooked. Something that REALLY bothers me in any movie or TV show, is if I can see the production. Bad acting and poor dialogue are one thing, but I notice more and more these days, anything where I can see what’s going on behind the scenes. I watched Nomadland for the first time yesterday evening and my overall thoughts were: I enjoyed it and thought it a good movie. The filmmaking process did not jar. There was probably a little too much overuse of sunsets in too many scenes. The use of non-actors in most of the roles was a bit too obvious and some of the characters as a result were less ‘real’ because of that…but this and it’s ’worthiness’ is probably why it won 3 Oscars. But whether it was soft or sharp or both or neither, at times or not, I could not tell you. If I had noticed either it would have been a distraction. Fortunately, it had zero slow motion, or anamorphic bending of the edges, or blue flares. Thankfuckfully.

Test files on the way to you now.

And here you have the Osmo Pocket 3 from same camera user @markr041 with that 4K60p look you praise, so @24p you can even have much more room with 1 stop and a half of light extra at same shutter speed equivalent for a 180º angle and subsequently better results indeed, than the ones remarkable per se from these shots and such a tiny sensor size platform: The sensor size format is not actually so crucial as before anymore with the new sensor technology we have today.

Same impression for me during the opening few scenes in Trigger Warning which is new on Netflix. The VFX shots were very budget, but the footage had a real video look to them. It was shot on real equipment so I'm also not sure what it was. Also, the trailer on YT looks much better than the early parts of the film. I had noticed this "ingredient X" appearing on random things previously, and tried to ignore it because once you learn to see something you can't un-see it, and I was pretty sure that my preferred cameras wouldn't look good in this regard, but now I've seen it to the degree I can't ignore it, so I've reluctantly started investigating.

I just watched Inland Empire. Now what?

This poll needs an option (c): "Nope."

I should add, not all at the same time! For instance, I don’t fly the drone whilst doing anything else, though I will have 3x video cameras running while shooting stills. Lighting is always 2 big or 2 small or just 1 of either and very occasionally 3, but never 4 to the best of my memory…

Yes. Like learning to juggle going from 3 to 4 to 5 to 6 to 7 to 8 to 9 to teacups & saucers to full Cirque du Soleil chainsaws, ie, you have to both work up to it and work at it. 4 cameras 1 drone 3 tripods 2 large light stands with lights 2 small light stands with lights 6+ audio devices Full photo and video, every event https://www.google.com/search?client=safari&rls=en&q=it's+a+kind+of+magic+line+from+highlander&ie=UTF-8&oe=UTF-8#fpstate=ive&vld=cid:76d8ff54,vid:inHv2y8QCbM,st:0

For artists... it could win many Oscars and Academy Awards. For technicians... well, just keep reading this thread to find out.

See - the question was wrong from the start!

I disagree. I think it's meant to be exactly what it is. The issue is the internet is full of folks with opinions... No EVF? It's not intended for EVF shooters. Personally, I NEVER use the EVF on any camera and have not for years, whether that be stills or video. Even in super-bright sunlight, I can at least see the waveform monitor and otherwise trust the AF. Simply a non-issue. To me. Lack of mechanical shutter. We can debate that one and personally, I WOULD have preferred it if it had one, but hey ho. Cold not hot shoe. Meh, don't care. I don't shoot flash either and have not done so for even longer than I have not used an EVF so again, for my use, non-issue. Single card slot. Supposedly that is the compromise in keeping the same size as the S5ii battery and the camera the size it is. IMO, I would have preferred a slight grip with the extra size used to house a second card slot. This is my only real criticism of this camera, but not a deal breaker. 10 or 15 minute record limit. Sorry, but that one is a complete 1000% non-issue. For anyone requiring longer, just get a more suitable camera such as the S5ii which used 'like new', is basically the same price. And ticks all of the above boxes. And having said all that, I am actually debating myself now why I don't trade my S1H for a third S5ii... The options are: GH7, S9, S5ii and S1H. The pros and cons are: (for me/my needs) GH7 = whole new eco system for a single camera plus 2 lenses, costs ball park €6k. Not happening. S9 Pros = smallest, lightest, full frame 6k 30p open gate. Cons = single card slot. Costs €1700 with cage S5ii Pros = 3rd identical camera in my line up, non of the cons of the S9 and compared with S9 with cage, little difference in size and weight (though the S9 does just still, ooh err missus, edge it). Cons = slightly bigger and heavier than the S9 with cage. Costs €1600 S1H = Own it, best image quality of the bunch (poss due to the OLPF). Cons = biggest, heaviest, oldest, slowest, AF worst, IBIS worst and trade in money is a bit shite. Costs €fuck all Heart says S9. Head says cancel preorder and just get another S5ii.

Now if you'd asked "how many bananas encased in pastry?" I could have answered because it's 3.14

Nah 😜

interesting to know. c mount lenses are affordable and diverse. this really helps GoPro. Thanks for the info.

Maybe not, they have what they want to give us. There's a good thing though. The more FF cameras out there, the more features we have for a more affordable price no matter the sensor format. EAG :- )

I think good olpf makes the look better than just soft, just like leica lenses, soft gel like but high res.

I hope that the camera companies can come up with a m43/43 sensor fixed lens action cam. this way it will solve most of the low light issue.

this is significantly better than go pro 12.

There are no miracles but 8K resolution balances what you would expect from such a TINY sensor size factor in fact -- from an old user not posting here anymore, this is a sample with available night:

Riiiight.. so you're not a critic, you're a recovering addict! I gather this is yours then? It's.... A vibe.

I think the simple truth in my case is I started using it from the start when it was less of a thing, in order to separate myself from the herd. It became a default through laziness and a lack of creativity that then became a habit. Like any habit, it was not easy to break but once I had…which was fairly recently, I now find it jarring and one of those ‘how could I not see this before?’ moments. And that was just 50p slowed to 50%. The thought of super slo mo from shooting 100fps or more, even back when the above was a default for me, I find too extreme to the point of being ridiculous. I blame Michael Bay.

I've considered getting some of the module8 tuners before, but I think that they're very much in the category of rent before considering buying. It's pretty hard to judge them from whatever footage people put online. There are just too many combinations of lens + tuner settings. Most of the stuff I've seen online looked a little bit like hot garbage to me, but maybe I just don't like their combinations of lens + settings. They're only so interesting anyway.

When you are in any mode (that I've tried) the camera is taking the full width of the sensor and downscaling it to the output resolution you have chosen (assuming you're not using the full open gate mode which obviously doesn't need scaling). The horizontal FOV is the same regardless of the output mode. If you engage the 2x or 4x mode, it will crop into the sensor by 2x or 4x, then scale that to the output resolution. These crops are independent of the output mode. If you engage the ETC mode, it takes a crop of the sensor that is the same size as the mode you have selected, so the crop is a 1:1 crop with no down or upsampling and is obviously dependent on the mode you have chosen. Cropping 1:1 in ETC mode when you're in a 4K mode into the ~5.2K sensor gives a total crop factor of 2.7, which is pretty close to the 2.88 crop factor of Super16. The ETC crop of FHD is double that, and close to the crop factor of Super8. +1 I think if you do it well then you either look like a you're covering an action sport or selling fast food ads, and if you do it poorly you look like an influencer. Really neither of these lend themselves to the wedding vibe..

it is good to know ace pro 8k has good low light. I will keep an eye on it. thanks for your knowledge. technology has developed to a degree that much previous thinking is not intuitively right.

The IBIS of the GH5 is very similar to the GH6, people saying the GH6 is a lot of better never used both cameras (or they are influencers). In 5,7K the IBIS of the GH6 is worse than on the GH5 in 4K, much more "jumps" while walking between 15mm and upward. The real upgrade in IBIS performance is on the G9II (and probably the GH7). However I still get a lot of wooble between 8-12mm on my G9II. The new EIS mode suppress the wooble but also lower the level of fine details because of the crop. About the S9 I'm not sure, I still don't like the S5II internal video engine and I think the S9 has the same. Also the rolling shutter is probably the same than the S5II, though I'm not sure since I have not used the S9. For me the big selling point of the G/GH (outside of IBIS and RS) is the lenses weight and size. Even the tiny 20mm f1.7II has very fast AF on the G9II (though a bit noisy), this combo is a joy to use. And when I want the best quality, it's always with the 25-50mm, I just love how this lens renders (colors and contrast), I think even more than my most expensive FF zoom lenses.

Yes, it's 8 bits ... I think lot of people don't agree, but for me most of time 8 bits files are enough. If I don't need fast AF, 90% of the time I even prefer to use 8 bits 4K H264 files on my S5 instead of H265 10 bits on my S5II.

Sure does! Both in 29.97p and 23.98p (which is probably 23.976).

Pretty sure it’s 4:3? At least S5ii anyway… Could be an option and I will have to take a look but when I tried the the 6k last year, I really liked the result. The only reason I did not stick with it was slow mo, but I have finally given that up in order to become a (more) serious filmmaker 😉

I know that this music vid was shot on the 6k FF. It looks good, but it would’ve looked good on most other cameras, because of the talented crew i’m going to go against the grain and say that most of stuff online i’ve seen that was shot on the og (as well as the 4k and 6k) looks like shit tbh

Dunno. Not that exited from a pure image point of view when it comes to web footage. I like the fact of full frame 48p 17 to 9 and Braw. No prores nor h264 is a rather minus. Colour looks like on most Sony and Pana videos, which is fine but not breathtaking. What's the offial BM launch video? The one or few awesome videos, which are selling this camera like hot cakes rather convinient store muffins? The og Bmcc has tons of great and convincing footage not depending on models. I am sure Bmcc 6k can be graded into many directions. The official footage on the blackmagic website looks super. But in the hands of users so far it mostly does not shine brighter than a Pana Sony Dslm. Let's go for it!😊 @eatstoomuchjam Script page is a possible way to get started but might be too much due to scale?:)

And PS, I'm not laughing at you, but laughing at the imaginary scenario where as a one man band hybrid shooter, I attempt to juggle 3x zero IBIS or AF cameras that weigh about 5x as much and cost about that also. If not more. I also 'dismissed' anything from BM, the Sony Burano and the Alexa LF.

I didn’t dismiss it because it wasn’t even in the conversation. It would be like, “OK, you were shopping around for a hot hatchback circa €15k on the used market, why didn’t you consider a lightly used €75k Porsche Cayenne?” Pair of bare bones S5ii and a single under 1kg with lens S9 vs 3x rigged out Red Komodo? No offense, but it would be an utter fucking nightmare! 😂

You're still thinking about the GH8...? I'm wondering if the GH9 will have 12k120 in 10-bit 4:2:2. I have given up on it being internal raw in that mode, but my cat videos won't be cinematic if it's only 4:2:0 and doesn't have at least 17 stops of DR. As an astute poster recently commented, if ARRI can do 17 stops with the Alexa 35 then why not Panny? I don't think I'm asking for too much when I expect the cameras specs to compensate for my complete lack of skill.