hyalinejim

Post screengrabs of your export settings

S5II

Jesus, they have them in stock in some places now. Anyone get one?

Lol, I saw that video and I usually quite like Sam Holland but the title is a little bit clickbaity. For anyone that's interested he's talking about focus transition which has been around since the GH5. Maybe the reason that nobody's talking about it is because everyone has been aware of its existence since 2017! I guess it was missing from the S5 though, which is what he seems to be most familiar with.

Panasonic's official launch videos for the S5II. They ain't no Owen Collardy (GH6 launch video) that's for sure!

Yes, you can isolate one or the other! If you wanted to isolate Panasonic's offical VLog to V709 gamma (or gamut) you can use the excellent free online tool LutCalc (make sure Input Range and Output Range is set as below): But I find Panasonic's V709 curve to be too mild: blacks don't reach the top and bottom of the waveform and middle grey stays annoyingly at 42 IRE instead of 49 where it "should" be: In Resolve you can use the Color Space Transform effect. This is what it would look like for VLog to Rec709. These settings would blow the highlights, though: So I like this modification of the settings: This gives a decent curve with dark blacks and middle grey at the right value: Or, of course, you can use a simple RGB curve to create your own gamma curve, as you did for SLog2. But regardless of which method you use, if you're separating the gamma and gamut transforms then the order in which they're applied is very important. In the case of Panasonic's transforms, if the gamma comes before the gamut then the colours will break. For Resolve's transforms, if you put the gamut before the gamma then the colours will be a bit inaccurate. It's interesting to me because it's the Wild West out there in terms of what people are doing. I definitely think that some major YouTubers are doing things the "wrong" way, for example simply adding a curve to out of the box log footage and not transforming the gamut. Of course, if you like the results it doesn't really matter.

As I was watching the S5II reviews I realised that people are taking the same V-Log files and ending up with very different colour results. I guess there are four main approaches - use the colour in the file untouched, use Panny's LUT, use Resolve's Rec709 conversion, or use a third party LUT. This post compares the accuracy of each and discusses the trade-offs that might be made. This applies to the GH6 and any other Panasonic cameras that share a similar color palette. I'll be using extracted colour patches from a colour target. This is how the chart looks in reality: Below, I match the gamma of a GH6 V-Log shot of this chart and then look at the results. Open in paired tabs on a monitor and flick back and forth to compare. 1. Don't transform the colour, just add contrast: You can see here by comparing with the original that overall saturation is way down, cyan magenta and yellow are too bright, reds are too orange, greens are too yellow and blues are too bright. Skintones are too green. I guess some people grade like this. However the colours are still in V-gamut and ideally should be transformed to Rec709. Even when I manually colour grade in Resolve so that some patches are accurate, then others are still totally off. Not recommended. 2. Use Panasonic's VLog to V709 LUT This official LUT comes with a half-assed curve as part of it. But you can separate the components using LutCalc and just get a LUT that is the colour transform only. The colour LUT must come first, before the curve, or things will go wonky. Cyans are too bright, magentas too pale, yellows too dark and orangey, reds a smidgen too bright and orangey, greens too pale and light, and blues are absolutely far too light and cyan. Skintones are slightly too pink. Despite these colour inaccuracies this is actually a good colour transform in the sense that as far as I have looked I have never spotted any colour weirdness in the image like banding or colour clipping. It's a slightly muted look though, and not good for landscapes - foliage, sea and sky will suffer a washed out fate here. 3. Use Resolve's Color Space Transform to convert to Rec709 colour Note that Panasonic's official LUT is available in Resolve under the LUT menu. However, you will get different colour results using the Color Space Transform effect to convert V-gamut to Rec709. I was a little bit excited when I saw these results at first. It looked off-hand to be a bit better than Panny's conversion, especially in terms of the lightness of the blues. However closer inspection reveals that although cyans are just about right, magentas are too bright and saturated, yellows too orange, reds too bright and saturated, greens are close but deep blues are oversaturated. This colour conversion differs from the Panny insofar as it has to be applied after the curve conversion, not before. When you do this I noticed some weird colour artifacts in footage I'd shot at an aquarium. So yes, the blues are more accurate but the inaccurate Panny conversion gave an image with integrity whereas blues began to clip and go weird (even with saturation mapping). Overall, this gives more accurate and I think nicer colour than Panny. However, if I was a wedding or nightclub shooter I'd be wary of colour artifacting in strong coloured lighting scenarios. 4. Third party LUT I was interested to see if I could make a colour accurate LUT for the GH6. I gave it a go and you can check out the LUT here. The LUT must go after the contrast curve, not before! Yes, it's very accurate compared to the other approaches. When contrast is relatively moderate and the range of colours is not so saturated it looks a bit similar to the Resolve transform. However, there is much better hue accuracy and saturation control in all tonal areas, which you really notice if you crank up the contrast or have very saturated. However, I did still notice some of that colour weirdness in the aquarium shots. So it looks like Panasonic know what they're doing in terms of sacrificing colour accuracy to preserve image integrity. And I guess if total colour accuracy is what you're after you need to shoot RAW! Finally, here's a comparison on a real world image: Vgamut Panasonic Vgamut to V709 Resolve Vgamut to Rec709 (skintones are nice but note the oversaturated reds on the skirt) Custom LUT

It's not my video. However, it was shot at 35mm in APSC mode. Their written review is worth a read as well. There are a few interesting observations in there. Google Translate if you don't speak German. https://www.slashcam.de/artikel/Test/Panasonic-S5-II-mit-Phasen-Autofokus-in-der-Videopraxis--Ueberflieger-in-der-2-000-Euro-Klasse---alles-.html

There's a sequence here with the Sigma 18-35 1.8 and MC21 adapter

Yes, if EF lenses are working well when adapted then this camera is a no brainer for a lot of people, including me.

I think you're medazza!

Thanks for asking! 1. Is there any option to easily do a 2x crop when recording HD? A few users here, myself included, loved this feature on the GH5 and miss it on newer cams. A user here @deezid in search of an ideal organic image wrote (in relation to the GH6), 2. How does S5 II V-Log strike you with NR and sharpness at 0, in comparison to other Panasonic cameras, if you're familiar with them to that degree? 3. Any additional feedback on autofocus performance using EF (including third party EF) lenses with the Sigma MC-21 adapter, if you have it.

Yes, supposedly.

The S5 follows the example of the GH6 when it comes to menus, if that makes you feel any better 😂 It's certainly an interesting possibility. It would be great to be able to say to potential clients that you can offer them a range of flavours of log, all from the same camera. Perhaps people with external recorders have been able to do this for a while now. You can make a LUT to convert to and from a range of gammas and gamuts using LutCalc http://cameramanben.github.io/LUTCalc/LUTCalc/index.html However, there's probably a bit more to it than that insofar as the colour response of sensor A is still going to be different from sensor B. In the same way that many Panasonic cameras have V-Log but do not necessarily match, eg: GH5 and GH6. Presumably, the difference between Sony and Panasonic [converted to SLog] could be even greater. (I guess Cinematch addresses by doing further colour matching based on model? If it doesn't, it should ideally) In complex edits where 2 or more different cameras were used it would certainly be more convenient to have the conversion of one camera to another baked into the file, rather than trying to discern or remember which camera took which shot and therefore which needs a conversion LUT and which doesn't. Nevertheless, I would do extensive testing before baking anything in for a few reasons: 1. The maximum size cube LUT in-camera is 33 point (or at least it is on the GH6 and I'm presuming it's the same). Might this create banding in some situations, where a 65 point LUT dropped on the timeline wouldn't? 2. There are a few hoops to jump through in creating the LUT to load in camera. The LUT you create might work well in your usual NLE but will give unexpected results when applied in camera, particularly in terms of whether it is designed to work on data or video levels. All this stuff can be figured out for sure, but like so many things in life there's more complexity to it than first meets the eye.

And APSC mode is easy to access - good for giving lenses a 1.5x reach, up to 4k. Maybe a HD 2x crop is possible using Live Cropping, but I'm not too familiar with that mode? @PannySVHS

Looks like a really excellent camera. A nice new feature is ability to burn in up to 10 user LUTs in both JPEG stills and video.

All-I codecs, but you might not need them.

Lol! I'll watch this first - Gerald can wait 😂

That would be cool. I presume that to take advantage of it one would need all L mount lenses and preferably Panasonic-made lenses?

Google Translate (link) The comments have a few interesting speculations too.

Have you tried updating the converter?

Noise! Just kidding 😆 I guess if the RAW files are 14bit versus 12bit for other cams then the file sizes are going to be bigger. Don't know how the JPEG ended up bigger than the RAW though?

I would definitely try not to err on the side of underexposure with this camera, if possible, unless trying to preserve some very important highlight. If you avoid underexposure, results seem to be pretty clean even at higher ISOs.

Lol! For entirely irrational, emotional and nostalgic reasons I often consider moving back to Canon for video. But it's stuff like this that acts as a reality check on my daydreams. At the moment I'm loving the spotmeter on the GH6. I look for something white, set exposure to +2.3 stops with the spotmeter and am done. OK, my footage might be out of focus but at least it's well exposed 😂

OK, I just popped outside the back door and pointed the camera at a street light at night at base ISO 250 and DR Boost 2000 and there was no streaking visible in the viewfinder. Honestly, it's such a non-issue. Don't let it put you off. Like I said, I had totally forgotten about streaking until now, because I simply haven't seen it since the time I succesfully attempted to reproduce it.