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Regarding technique and creativity, has anyone seen Adolescence on Netflix? Among the most viewed TV series on Netflix is Adolescence, a four-episode British miniseries that is receiving rave reviews from audiences and critics just about everywhere. The praise is partly about the story it tells, and partly about the way the series was written, performed, and, above all, directed: each episode is in fact shot in a single, very long take, that is, all at once, with no cuts between shots and therefore no breaks for the actors and crew, and no editing required. Adolescence was written by Englishmen Jack Thorne and Stephen Graham. In addition to contributing to the screenplay, the latter also plays Eddie Miller, the protagonist's father and one of the main characters. The director, on the other hand, is compatriot Philip Barantini, who four years ago had directed Graham himself in the film Boiling Point - Disaster is Served, a thriller that was a good success in the United Kingdom and which, just like Adolescence, was shot with a single long take. Adolescence centers on the story of Jamie Miller, a 13-year-old student who is arrested on charges of committing murder. However, the detective plot is set aside fairly early on because the point of the series is not so much to get to the resolution of a case, but to analyze the motives behind the actions of a teenager in our times, and to place them in the social and cultural context in which he lives. For me, who has a 13-year-old son, the first two episodes were a punch in the gut. Perhaps the absence of editing also helps to give you no respite and lower you even more into the story. Truly a peculiar product. Two scenes in particular struck me. For the first, at the beginning of the first episode, I had thought of a crane being moved on a trolley or truck. The second one is even more peculiar because the camera goes through the window and flies high above the houses. Netflix has released a BTS showing both scenes. (Spoiler: they used a drone) Sorry, I couldn't find a YT link: https://x.com/NetflixUK/status/1901617851192033326 It was entirely shot on the Ronin 4D: Spoiler alert: https://variety.com/2025/artisans/news/adolescence-one-take-episodes-netflix-1236339292/

Manny just released a video saying that he made a mistake about the noise is stiils. According to him, he made the comparison opening all the files in Lightroom - he found surprising that Adobe have compatibility on day one with the new camera. But Panasonic told them after that Adobe jumped the gun and the drivers were not optimized yet - and that he should compare in Capture One, because in C1 they worked together and the drivers were right. After he opened the files from Panasonic in C1, the noise problem was gone, and the files from the three cameras, bar from color differences, were "indistinguishable". In fact, what cought his attention is that the files from all the cameras were much better (color, details, rendering) in C1 than in Lightroom...

Summary of the Mackay video is that he won't take a stand on which is better as they both have relative strengths. For the way he shoots, he loves the LUT implimentation and the anamorphic function over the Z8 particularly. His rolling shutter/stabilization "test" was ridiculous yet he did shred everyone obsessing over it regarding the S1Rii. Most striking to me was the shadow noise comparison with a backlit subject. Panasonic is shockingly better to my eye. He states that the Z8 noise could be readily cleaned with NR, but that is a lot of noise in hair and I think would be a bit of a mess without a lot of attention in post.

https://www.l-rumors.com/hot-panasonic-will-announce-a-new-lumix-l-mount-cine-compact-camera-in-april/ Maybe now everyone will leave the poor S1Rii alone…

I have the OG S5 I could sell/move to C camera and make room for a LUMIX FX3 style camera. However if it’s priced around the S1Rii I may still go for that. After 4k 120p uncropped and a faster readout speed, we’re really running out of things to complain about. What will people even argue about on YouTube anymore? LX3? They should troll Sony with that model number.

I thought at the time and still do, that the S1Rii was and is a 50:50 hybrid in every sense of the word. Not the absolute cutting edge for video and nor is it for stills, but one of the best to date for both. I will be interested of course in what this new more video-centric thing may be, plus anything/everything else and shall talk about it as so many of us do, but as there is nothing I am especially looking for...

Agree 100%. Problem and an opportunity: problem for everyone who wants a video-capable-forward camera first (and I get that this is a film-making/video first forum); opportunity for others like me who very much need a advanced hybrid camera that can be a workhorse for high-quality stills too. If this release for the S1Rii would not have been on the horizon for another four to six months, I'd likely have a Z8 in hand now while my bank balance would be crying about another system switch.

I hear you. I was also disappointed to see the newly released DPR studio results clearly indicating that. The Nikon NEF file holds more detail at higher ISO for sure. When it comes to H.265, it is all about implimentation and we'll have to see what is not enough vs what is too much in real use. I'm not ready to make a judgement yet. The H.265 in the Z8 has been criticized for smearing and in time Panasonic might be skewered for being too aggressive with NR too, but on the contrary, I've yet to hear of compromises in detail with the S1Rii. This still is from Cam Mackey's recent video. Skip to 19:45 for more of this.

Panasonic uses NR on still RAW in a still oriented camera, let alone video. Reviewers bash Nikon for its h.265 implementation that doesn't allow to disable NR, but say nothing when Canon/Panasonic doesn't allow to disable it on RAW!

Nice to have a video from someone actually shooting with the camera and doing a good job at that. Very good review. I would choose the Sony a1 over both of these, it has the speed over the a7r V and close-enough in resolution at 50MP, and it has the better sensor over the S1R II and of course the mount very much depends what you're most invested in but I definitely have more stuff for Sony than I do L-mount.

Nah, you missed my points big time. I kind of feel like you have an idea about things and aren’t really looking to hear or grow from other peoples experiences but just keep doubling down on your own hot takes. That’s fine. For clarification, the DP I mentioned who was well versed in post production was shooting to get exactly what he needed and not wasting time with shots or elements they weren’t going to use. The only reason he was that efficient was because he was dialed in to how to best achieve what he needed and how to use after effects so well. He wasn’t “fixing it in post”. He was “shooting for the edit” not for “excessive coverage” and wasting everyone’s time. Much like how David Fincher works if your familiar with his subtle use of VFX in narrative storytelling. And the other DP/Operator was an ass. He bought an FX6 and a barely knew how to use it but would book jobs anyway and literally be reading the manuals on breaks in between takes. He was lost, but definitely not in technical specs. When you say that pros aren’t on here talking about camera gear, how do you know? Do you know who’s on here and what they do? Also, many of the guys I’m friends with here in LA go to trade shows and meet up at companies when new products come out. They beta test stuff and talk directly to the engineers and then we all chat about it over dinner or coffee. You’re way off if you think the conversations don’t sound like how we talk here. Camera guys nerd out on camera gear, they just do it in private circles with other pros.

Indeed, it's also why I kept my pre-order, the files from the S1RII look much better in 4K than on the S5II. I agree about the Z6III, and the IBIS looks really better on the S1RII too. Anyway it seems some people totally missed my point, of course most clients don't see the difference but if you want the best quality, by example to extract stills or viewing your footage on a big screen, even for family stuff, the S5 and S1 internal recording is just much better than on the S5II. I loved Panasonic before the S5II because their camera had a video IQ very close to stills. But if the aim is to shoot only for clients (and most of them can't see a difference between 2k and 4k resolution), yes the S5II is clearly the better choice, especially because of the much better AF and IBIS in video.

I get that people love to dissect every little thing, but as someone working with some of the biggest media companies, I can tell you that a lot of these so called issues don’t even come up in real world professional work. The S1R II delivers solid image quality, stabilization, and dynamic range. More than enough to create high level content. I’m not saying don’t analyze your tools, but at some point, you have to ask, is this actually making you a better filmmaker, or just keeping you stuck in analysis paralysis? If your priority is making great content, you’ll be just fine.

I’m an Italian composer with background in pop-rock music and orchestra (I was keyboardist/songwriter in groups and I played tuba in marching bands.) MUSIC I WRITE: both classic orchestral (or with pop-rock instruments), and modern hybrid electronic (ambient soundscapes, synths, textures..) I personally play and record piano, guitars, bass, keyboards (this makes the music “alive” even with a vst orchestra). FAVORITE FILMS: almost everything but porn and scary horrors 😄 My favorites are drama, adventure, comedy, action, sci-fi, animation, kolossal. I’d also write for monster horrors like Tremors anyway! 🙂 MY MUSIC (& concerts/covers): https://youtube.com/playlist?list=PLqwrFAHE2GMU8jXz-ghliobGXuYHH99ht Instagram: https://www.instagram.com/danielenasuti/ If the budget is limited I can write music that gives the emotions you need anyway, maybe with a simpler arrangement. If you want something specific I can do a little Demo (the quality of my music has improved lately, now I can produce things I haven’t released yet).

Not necessarily...if you batch run them through something like DxO PureRaw...which is what I do, and then import the results into Lightroom... All my cameras and lenses are covered on V2 as things stand and I think they may be up to V4 now? V3 at least and whatever V they are on, probably doesn't do S1Rii files yet? And if not, they will soon. But for me, it's just a no-brainer, - batch run an entire folder of raw files which get spat out the other end as DNG's. OK, the DNG's are bigger but I eventually chuck away the raw files and just keep the DNG's and the finished Jpegs after I have then personally fiddled with them in Lightroom. I prefer Lightroom's cataloguing system and interface, but that might be because I have been using it for a decade or so!

Even with the Ninja V+ and the new smallrig cage the little X-M5 is still quite light. Gearing up for an event next week and will test out battery life and any overheating issues. Rolling shutter isn’t as good as the X-H2s but still totally fine. Also, lack of IBIS is mitigated by building up the rig a bit. The increased dynamic range is pretty impressive on this little guy. Still can’t believe this is an $800 camera. 6.2k open gate Prores Raw. just need to do some better cable management and maybe look into 3D printing a tiny side panel to help hide cables and wireless receivers. Loving these little Andycine Lunchbox SSD caddies too. Gets rid of all the extra space with standard SSD’s and cheaper than the expensive Angelbird units.

Thom Hogan said something about camera shortages that makes a lot of sense - it is a sensor supply problem. The sensor manufacturers (Sony and the rest) are sweating to supply the demand - not so much for camera sensors, but for smartphone ones. Cameras sensor are made in somewhat older node processes, and, contrary to commen belief, these legacy nodes (aka transistor size) have much more demand than the cutting edge ones, and is hard to order new processing machines. Hence, when you plan to launch a camera with some sensor, you estimate how many you will want, based in projections, and order X sensor in a batch. You get these sensors in time, but if you want ANOTHER batch, you will go to the back of the queue. Since until recently the camera seles were down, and these orden are made WAY in advance, I guess that almost everyone order a smaller batch than needed.

That's always one of the problems with the R for resolution cameras. Always a better video one coming a bit later.

And don't worry, this thread might be dead soon anyway. 😉 Our beloved source of all things rumor has just announced a video-centric, 24mp camera will be revealed by Panasonic in April. Let's see.

Rules are meant to be broken and Von Trier & Vinterberg did so by the early 2000's. Their first films under Dogme95 were shot using MiniDV and they later quickly embraced RED/ARRI digital cinema. Breaking the Waves was shot on 35mm but digitally scanned to process it in post and give it an aesthetic. Basically early modern color grading. All movies shot on film today are scanned digitally and graded. 35mm usually scanned at 4K-6K and 65mm/75mm 8K and beyond. Projection is also digital. Its a fallacy to think film is super soft with lack of detail. People romanticise old 35mm movies but they were usually scanned at 480p/720p for TV, VHS, DVD. Most of the time from from second or even third gen prints not even original film negatives or masters. Maybe you are into soft grainy contrasty Lo-fi analogue aesthetic and that's fine but you can emulate that look pretty well today in Davinci. Personally I embrace digital cinema and how its democratised filmmaking on a lower budget. And while I do have a deep appreciation for analogue medium in general (especially as a musician, engineer) I recognise it is more about the tactile experience and workflow than sound/image quality which can be closely emulated today in digital.

I’m going to check this out. Thanks for sharing this.

Interesting and will add it to my list. Thanks

Summary = prefers the Lumix over the Sony and will be selling the Sony as a result. To be fair, he also owns an S5iix and an S9 so makes sense. Prefers the Sony (just) for stills but the Lumix for stability and video plus the 420 Lumix footage looks better than the 422 Sony. And I would agree. For me, my A7RV is very much a photo unit but as invested as I am at this time in L Mount, a S1Rii would make more sense in my line up, but not enough to warrant change for change sake at this time.

There are moments here I enjoy but this forum feels more like a place to vent about gear than to actually discuss the craft of filmmaking. Where are the conversations on creative problem solving? How are people pulling off run and gun shooting in restricted areas without permits? What are some cost-effective practical effects techniques for horror films? Are certain shot compositions or camera movements more effective at evoking specific emotions in an audience? I know I can find some of this on YouTube, but part of the appeal of a forum like this is the ability to connect directly with professionals, exchange real world experiences, and even spark collaborations. Is anyone still having these kinds of discussions here?

Filmstock Lynch Dune > digital Villeneuve Dune, Filmstock Bladerunner > digital Bladerunner 2049. Oh boy, I´m in trouble now. The original Bladerunner is a stunningly beautiful and groundbreaking scifi neo noir, in which color makes the world materialize like one can touch and breathe it. Bladerunner 2049, though a well designed and high class realization, is rather abstract and reduced in regards to composition, geometry and colour imo. Lighting, though a tour de force of effort and technological prowess, feels streamlined to me. In comparision, light in the original Bladerunner is vivid, lively, wild and untamed, of opulent baroqueness. 2020ies Dune felt hollow to me, when I watched it on Netflix. It looked and felt like a center perspective duotone coloured video game. I just read that it was transferred from digital to analogue and then scanned back to digital. Posh spice! 😊 The 1980ies Dune was fun and a best of 80ies spectacle with a meditative prologue and full of atmosphere, great ambitions and quirky failures, a cult classic with lasting charme and soul. Though I prefer the analogue filmmaking of masters like Lynch and Scott over filmmaking of current times Villeneuve, I would not say that analogue Roger Deakins is better than digital Deakins. I imagine there would be more bad analogue movies than good ones and at the same time more digital mediocrity out there than analogue lacklusters in absolute numbers, due to the sheer amount of digital output. A statement about analogue being better than digital is very general and misses a lot in regards of the beauty and quality of digital filmmaking. The og post is still a good tease for a lively discussion and a well written fun read. It sofore deserves my big like! I do not a agree on the general premise of the original post but I can share its love for originality and sincerity for cinema, though I found that in digital as well. I love the number of quirky, playful, inventive shorts, semi pro music videos, classic and not so classic indies and labours of love, which have been produced since the rise of 8bit 420 cameras. I love the 8bit 420 gems of old days vimeo as well as full scale digital cinema movies like Lighthouse, oops that one was analogue.;) I don't care for most of the high scale Hollywood or Netflix Blockbusters but I love tons of other digitally filmed, edited and graded films and videos I got to enjoy. On a side note, the first Raid movie was an 8bit 422 masterpiece in many regards, the glory of Panasonic AF100 output to an Atomos Ninja. Most of you know that, of course. I still enjoyed mentioning it.:)

Exactly... Dissecting every little stat on paper and arguing in YouTube comments over various cameras is one thing... but there's something to be said for mastering your craft and learning your tools. I research the shit out of gear and then after I pull the trigger on a purchase I rarely look back. I keep my cameras, lenses, lights etc...for YEARS. Really knowing how you can push a camera or other tool while out in the field is a solid skill. I have worked with so many camera ops, even DP's on set who said to me, "Oh, I didn't even know this camera had that mode/function... But alternatively, I was working as a 1st AD on a small indie feature a few years back and that DP was really, really good. He was the one person on set who was getting paid full rate. And it was worth paying him with how tight and efficient he was. He also was really good at After Effects and compositing as well as color grading and was going to end up doing that stuff later in post. I'll never forget the lesson I learned on a very full day watching him shoot. He was so efficient with our massive shot list and there were a lot of times we thought we had to go again for third and fourth takes. I would walk over to the director and make sure we were good because I would notice little continuity mistakes or other issues and the DP would always dismiss me. Later at lunch he explained that he knew what we needed and that the background was going to be replaced in post, or he was just going to mask off the extra that walked into the frame etc... So many other inexperienced directors/DP's would have spent hours "getting it right" but been behind all day. So my parallel with the S1Rii here is that I want to be able to put it through its paces and how it will stand up to certain things. I want to know that if I'm shooting an event that I can shoot a wide video clip and know that later I can extract a few cropped stills and it will hold up. Because this is a hybrid camera, I want to really know if it will act like one when pushed. Of course we know it will be fine for most things and the 4k will be great but some of us are looking to push it.

I hear you for sure. You’re definitely right. I think the point behind the nitpicking is to figure out where the current gen Lumix bodies stand in comparison to the competition and last gen, including IQ. It’s been a while since they released a pro body like this so it’s good to see where their focus is now in their positioning within the pro market. Things like downscaling and cropping do factor in to purchase choices just like features, ergonomics, and reliability do. Some want paint brushes. Some want tested utilitarian tools. Some want some balanced mix of both for their money. It may or may not make a difference; some of us just want to know what’s happening under the hood. Because if we’re gonna say that clients don’t really care what we see, how come most of us don’t just pick up a few secondhand 5D3/D810/A7Sii/GH5/C100/P6k/FS7 and call it a day? Some answers to this may reveal legit analysis paralysis. Others, not so much. It’s something every artist or business has to answer for themselves. Like I really don’t care for the FX6 since what I have is good enough, but if owning one fits well into existing clients’ workflows AND gets me more jobs then hey it’s time to consider upgrading. (Remembering that we’re pages deep into a topic discussing video performance for a supposedly photo-focused camera model haha)

S5ii had improvements over orig S5, but lower level of details with oversharpening was annoying, even with 6k VLog and also with a LUT burnt in. It was especially noticeable on extracted stills when viewed from a big screen. If you check Connor McCaskill’s latest S1Rii Youtube clip, he has a download link to his footage. Had a play on resolve, and damn, S1Rii IQ looks definitely better and different than what came from S5ii sensor. Grades pretty effortlessly too. The only downside with Z6iii NRaw along the big file sizes is the NR. Don’t know if the full M4 Max chip is enough to play the timeline in real time with NR, and it is expensive. Have a PC with 5800x CPU and RTX 3080 GPU too and editing is more stuttery with it than with M3 Pro Macbook. The latest Nvidia 5xxx GPUs have 4:2:2 support now, but they are not cheap either, and I prefer the ease of using macOS. A new camera usually means you need to get a new computer for editing too, but with S1Rii that does not seem to be the case. Even M1 Pro would be fine

I disagree, I really think the video engine is worse, of course much more when using the standard profiles. In 4K the level of details is low but yet these details are over-sharpened. In 5,9K/6K, there are more details but the bad sharpening is annoying. Of course most clients don't see the difference but they can't really see the difference between 4k or 1080P either ... So if use high resolution video modes I want the best quality for cropping, for extract stills etc. If not, even an old GH2 is largely enough to create beautiful images. From my point of view, lowering image quality is never a great thing, I just hope the S1RII will be closer to the S1 and S5 than the S5II.

No, I'm not sure, this is the first thing I will test when I receive the camera. Since I like to crop and extract picture from my videos I can see a big difference between the image processing of the S5II and the S5, I agree V-log is a bit better than the standard profiles, even more in 4k. The S1RII at least seems to keep good quality when using the High stabilisation mode in 4k thanks to the 8k sensor. About the green tint, the last firmware fixed it for me or I was lucky ... Yes I hope they will add 8k raw internal though.

It will be 4 years trying to bully everyone into manufacturing stuff in the US not realizing that they will have to pay the factory workers US wages instead of Chinese or Thai, and the increase in costs for the manufacturer from what will make 50% tariffs look like peanuts. I hope the US consumer enjoys their inflation. Having already crashed the stock market and let Russia off the hook, soon with the sanctions lifted, there's a lot of other unintended consequences to come from voting for a convicted fraudster that people may not have realised at the time when they voted for a senile Russian asset. Of course there's a ton of Japanese cameras made or assembled in China and certainly shipped from China, Thailand or Vietnam rather than directly from Japan so the US will be seeing massive price hikes on all that as well, and that's the best case scenario for the US - as at some point importers may choose to prioritise other markets over them, and there's plenty of stuff in short supply like Fuji cameras which will be withheld and sent to the many other markets without tariffs. There's also the problem of raw material resources if MAGA want to make manufacturing great again and do large quantities of modern electronics on a farm in Alabama, they will have to import a ton of it from China or plunder Ukraine (maybe snatch a few gold watches and gold teeth from dead bodies whilst they're at it?). The whole bullying of Canada and Greenland thing is all so these nazi crooks can dig them up for raw resources and access Canada's hydroelectricity on the cheap. It isn't going to happen, not if Mark Carney wins. I hope people who voted for the nazi party feel the hit in the bank accounts. YOU DESERVE IT 10x.