deezid

Downloaded lots of sample footage lately and it does still feel like Sony, but more like FX9, F5/F55/F65 and Venice than any Sony Alpha garbage. A great image actually.

native lens? Diffraction and Vignetting compensation can produce some pretty nasty artifacts, turn these off. Also was this 10 bit? Premiere?

From today's shooting with the Panasonic S1H (V-Log, NR -1) Rokinon 50mm T1.5 at T1.5 Black Satin 2 Filter 55M Organic Lut (part of Advanced Deluxe Set) Looks thick enough to me. 🙂 Key is having a camera without nasty processing - especially sharpening and strong NR but having great tonality, at least 10 bit and also good color science instead

That's exactly the problem with most prosumer cameras and their processing nightmare inherited from phones these days. Only a few cameras available below $6000 which can achieve a thick looking image - especially with internal recording (Pocket 6K Gen5, S1H/S1/S5 V-Log and R5 C-Log2 basically). Above that (below $10000) you can get a used ARRI Alexa, Varicam LT, or FX9, EVA1, Komodo, C200, Ursa Mini 12K and Mavo LF which all will deliver great images.

These are thick looking images! No noise reduction or other processing weirdness. Super highly saturated shadow areas which many cameras nowadays desaturate to cover chroma noise Overall huge tonal variation. And what I guess - proper looking motion. Something the A7sIII especially is bad with since it's optimized for low light - CFA prioritizing sensitivity over tonality + tons of temporal noise reduction and sharpening. All ending in a sterile and thin looking image. Worst thing, doing ETTR to avoid smearing and ghosting at middle gray and below hues start shifting around. 😐

Atomos keeps adding a few new cameras each month. How many cameras did BMD add to their Braw-lineup?

Yep, like expected. The A7s3 looks quite garbage in comparison to the Canon R5/6 and Panasonic S-series. Sony didn't really update their horrible processing since 2015.

Really nice and deep colors. Impressive looking greens.

Coming from a Pocket 4K with cDNG to one with Braw let me tell you BMD is using actually quite a bit of NR - although I have to admit the Pocket 6K thankfully does way less than the Pocket 4K when I had to switch to Braw (because I had to get a replacement for my broken unit). The S5 looks weird though, reminds me about the S1H pre firmware 2.0. Looks like temporal noise reduction forced on again...🙄 Also red (and blue) clipping isn't something that can be easily fixed. 😞

Nothing to be shocked about. The FS7 image looks like hot garbage with its bad tonality and horrible processing, while the FX9 looks fantastic.

Imatest doesn't care about artifacts, which is a huge issue. The available latitude on the FX9 is still better than on the A7sIII where anything below middle gray starts smearing or even shows ghosting. I'd rather have no NR or non-destructive NR on the S1/S1H/S5 (12.3 stops, 12 bit ADC video mode) vs destructive NR on the A7sIII (13 stops, 12 bit ADC video mode) or even worse A73 (10.7 stops, 10 bit ADC video mode). I'm sure the FX9 would receive better results with NR on, but their noise reduction algorithms aren't as sophisticated as the Panasonic S-series's has become, so you would run into similar issues shown on the A7sIII. And honestly, the grain on the FX9 cleans up super nicely if necessary. 🙂

Well, let's most don't 😄 AF is a big problem on their cameras, the image on the other hand in full V-Log is just wonderful, especially in the 6K modes.

I agree, probably since no one really cares about heavy videoish processing anyway but AF on the other hand...

Here's a comparison (open in full screen) between the A7sIII and S1H. Notice how the Sony shows lots of sharpening halos and aliasing while the S1H doesn't? This is quite typical for manufacturers like Sony, Fuji, BMD, Z-Cam, Nikon etc. while Panasonic (since S1), ARRI, Canon (since 5DMKIV), RED etc. don't suffer from these over-processing issues.

Don't confuse sharpening with actual detail. When it comes to low contrast texture, the S5/S1/S1H easily outperform others while having the same amount of high contrast detail but basically no sharpening.

Not the reason at all. Both Nikon and Sony do heavy processing on their footage. Strong NR creating all kinds of artifacts and strong sharpening with halos around corners. If you want a proper Sony camera which doesn't look like video, the FX9 and above are your only choices. While Panasonic starting with the S5/S1 and above looks really organic.

Just some slight spatial filtering on the S1H (NR-1), S1 and S5. Nothing which creates visible artifacts. 🙂

0 NR and 0 Sharpening are the lowest settings on the S1 and S5 and mean off basically. -1 NR is an S1H anomaly which produces the same result the S5 and S1 do at 0 NR.

-1 on the S1H equals 0 on the S5 and S1 😉 No issues with ghosting or smearing.

It is, you need to scroll down. Standard is 0 which in V-Log on the S1 and S5 means off anyway. So all good.

Always remember: C-Log 1 is basically a flat Rec709 profile. C-Log 3 is a Log gamma with Rec709 gamut. C-Log 2 is the only true Log gamma and wide gamut Canon ever made. So what you need to do is apply a curve and saturation as well as some wb/tint before that. Interpreting Rec709 as Canon Cinema Gamut (Bt.2020 primaries) will end up in oversaturation, lots of magenta and overall wrong color.

There is: V35 matches perfectly fine. Just the white point is a tad lower than full Varicam.

Providing both accurate transformations (advanced and film) and stylized transformations (organic, blockbuster etc.) 😉

V-Log (S1H/S1 and Varicam), hlg (GH5, G9, GH5s, S1, S1H and Canon C-Series) and V-Log L (GH5s/GH5/G9) 😉

Basically done with the Lut, but have to fix the V-Log L (GH5/GH5s/G9) versions and documentation before I can update the webpage. In case you want to try it out send PM. 😉 Old version can be found here, webpage will be updated soon: http://55media.net/55m-s1h-color/