deezid

Shot this recently on the S5IIx in BRAW using the Sigma 28-70 F2.8 (and some DJI Mini 3 Pro drone shots). Quite happy with the external output, 13 stops of measured DR without any noise reduction, no gamut clipping, no banding, no slow motion noise (no temporal filtering).

The answer is motioncam.

Looks like an extra shaky GoPro to me? 🤷‍♂️

As far as I'm aware, there were hardware limitations that led to limited raw support on older S series cameras not delivering each chroma channel individually. Also using BRAW on the older S Series you will get an image that is both oversharpened and mushy looking. That issue doesn't exist on the Pocket 6K and S5II(x) at least. The Pocket 6K has lots of issues with highlights and artefacts though at its second native ISO range.

I have some more good news and spoiler alert: You may want to get the paid RAW update. BRAW is now completely fixed it seems. No more sharpening, no more filtering and mushy textures. Instead more texture, both luma and chroma than recording internally and at least 1-2 stops of more usable latitude since the shadow areas are clean now and highlight recovery seems to give one extra clean stop of highlight range. BRAW with highlight recovery Internal H265/H264/ProRes

I agree. If you want good looking Rec709 on the S5II avoid any of the Rec709 profiles at all cost. Use Real-Time Lut with a nice lut, preferably made for the S5II and its new colorscience and you'll get great looking results.

Right now the S1H definitely has the better image right out of camera in comparison to the S5II and you can find it below $2000 even. Selling mine for 1600€ atm, PM if interested. The problem of the S1H is its horrific autofocus, so it's a manual focus only camera, at least for video. Lenses I would recommend: Sigma 28-70 F2.8 lens Lumix F1.8 24, 35, 50 and 85mm lenses

Same, color looks better and the shadows aren't green (no banding either). Panasonic has to fix their issues with the S5II.

The regular S23 4K cDNG in Motioncam blew me away. Looks better than anything than I've ever seen from any phone, crappy and heavily processed "8K" phone included.

Seriously!!!

The red clipping is baked into V-Log. I really wonder why I don't receive pre-production models of their cameras haha.

Will do some tests with standard soon. Right now I'm more concerned about the V-Log issues and really hope it will be investigated by Panasonic soon. My top priority is fixing the banding, after that the red clipping and even later the sharpening and filtering.

I bet with BRAW and even better ProRes RAW the color would be visible actually. The chroma filtering kills of anything in dark areas that isn't super saturated. E.g. dark blue or brown clothes turn grey, hair turns grey, skin turns grey etc. ' A processing issue that would be easy for Fuji to fix, but yet they don't care because their customers don't mind inferior products. Nobody ever puts pressure on that company. *Retailed. Now you can find it around 2000€/$ in every corner of the internet. The low bitrate Long-Gop codecs of the S1/S5 were quite superior over anything Long-Gop on the X-H2s with no obvious issues. Also the old S series barely has sharpening if any at all shooting V-Log by default: S1: X-H2s at -4 sharpening: The X-H2s uses a very similar sharpening algorithm as seen on most phones, which is not what I want my footage to look like. The S1 on the other hand has a many times better image (internally or ext. ProRes). Externally in BRAW/ProRes RAW both are quite similar again but Fuji keeps the RS and no crop at high frame rate advantage while Panasonic has much better IBIS and slightly better low light. If Fuji wasn't as awful with their image processing and codecs (not ProRes), I would recommend the X-H2s as well. But at the current state it's a hell no!

Also noticed that the S1H is more prone to moire shooting BRAW. I think it may be caused rather inferior debayering inside the BMD VA.

Is her hair grey or dark brown? Anyway, compared the X-H2s against the S1H and the S1H ran circles around it. The X-H2S simply cannot differentiate between fine hue changes especially in darker areas because of its over cranked spatial chroma filtering. With BRAW the X-H2s was as good as the S1H. It's simply just a processing related issue. Speaking of processing issues, the S5II banding issue is not PDAF- nor sensor-related like some were suggesting, the S1H internal V-Log is almost as good as RAW on the S5II, while V-Log on the S5II is quite awful. TLDR: If you want a great image without compromises for around $2000, get the S1H/S1/S5 or Pocket 6K and avoid the rest. For comparison: S5II RAW (DNG in Resolve) S5II int./ext ProRes V-Log S1H int. V-Log

Again to each their own. I would rather have an image without cranked chroma noise reduction reducing tonality to a pulp especially when shooting log, badly affecting skin, foliage, dark areas etc. nor super heavy sharpening leading to quite heavy amounts of noise that an optical diffusion filter cannot reduce btw. The lower amount of processing, the better the image. Ask RED and ARRI. Heavy chroma NR doesn't really affect baked Rec709/sRGB profiles that much, Log on the other hand suffers terribly. The X-H2s may have 4K 120p without a crop and super low rolling shutter but awful IBIS, autofocus and rather mediocre video quality unless you'd shoot external raw which thankfully doesn't decrease dynamic range since the 14 bit ADC video mode only seems to sample noise in shadows anyway.

Chroma and luma detail (in V-Log) look pretty much the same than on my S1H if not even better. V-Log is the only profile with the banding problem though, even HLG is clean in shadows. Can't say anything about the sRGB profiles since I would never use them.

To each their own. To me the heavy chroma filtering when shooting internally is an absolute no go. Skin looks lifeless and so does any kind any kind of foliage. That's only one problem next to the insane amount of oversharpening the cameras forces on your footage. The image lacks tonality and color separation and looks thin as nothing I've ever seen before, something that cannot be fixed in post. Fuji also really needs to work on their AF and IBIS. The S5II on the other hand has no issues with that but has banding in shadows which hopefully can be fixed via a firmware update. Btw. external ProRes on the S5II looks identical in every single way to the internal H265/H264 codecs, there's not a single difference in IQ even when pushing color a to the extremes.

Keep in mind that the S5II has wildly different color than the S1 and S5, which both looked identical. Also the S5II has some image-processing related flaws which still need to be fixed. I'll hear from a person who is close to engineers soon hopefully wether this issue will be solved or not. If not I would highly recommend looking out for the R6II or even Pocket 6K or just staying with the S1 if video quality is important to you. Skip any Sony (unless you can afford the A1 or FX6) or Fuji cameras. The banding artefacts are quite obvious in darker areas on the S5II, so in case you intend to do some lowkey style shooting you will run into problems. Some examples: https://www.cined.com/panasonic-lumix-s5-ii-lab-test-rolling-shutter-dynamic-range-and-latitude/ (latitude tests) Also seen here, red and green banding, similar to GH4 back in the days, both 10 bit 422 and external ProRes.

It has the worst tonality and color separation of any camera I've tried over the past 4 years. To be fair I never tried the X-T4 and 3, which are considered even worse in that regard. To add the image is also heavily oversharpened in comparison to even Sony cameras. Also the Long-Gop codecs have heavy 1-sec interval flickering and the All-I codecs are impossible to edit on M2 Max machines even, which means you basically have to shoot ProRes. No issues with external BRAW though, all the color information is definitely there from the sensor. The internal image processing is just awful but once bypassed you'll get a nice image. With ProRes RAW the image is even better. Dynamic range with the 12 bit readout for external RAW is pretty much identical to the 14 bit readout, you won't get more than 12 stops either way. Only advantage over other cameras is that the X-H2s still has is its fast readout.

Well, I'm not anti-8K. But the 8K on the S23 is so bad (barely any better than the awful 4K output) that motion cam's 4K cDNG runs circles around it. You can process the RAW output to 4K H264 in Rec709 and it will look many times better than anything else ever shot on a phone still, or import cDNG into Resolve and go even further, do HDR in ACES e.g.

Also cameras such as the Canon R6II or Sony FX6/FX9 don't have any of these crazy NR and oversharpening issues despite using Phase AF. It's not a hardware issue but an image processing flaw.

sorry about the late answer. Not sure about the S5II's banding issues in dark areas. Waiting on former updates by Panasonic on firmware updates before I'd recommend this camera. Unlike oversharpening there's nothing that can be done to hide banding artefacts.

Get an Android phone that supports motion cam. Shoot 4K cDNG and upscale in post. The S23 actually does an incredible job with motion cam. Will look at least 10x better than any garbage like 4K and 8K phone video, iPhone ProRes included.

That's what's also called the smartphone processing approach, apply tons of spatial and temporal filtering and another layer of heavy sharpening to compensate.