PannySVHS

So any narrative short films with lighting and direction and actors as well:) shot and to be posted with this camera?

Andrew, @Andrew Reid your article with Taiwan film pieces cannot officially discussed unfortunately, That´s a pity, as they are stunning and I agree with Don, stellar work! Loved the one you did with the 720p monster that the Samsung NX10 was. 🙂 We could start the topic ourselves but that wouldn´t be the same. Your forum deserves a stellar UI and UE. Maybe another expert could chim in and support the forum to the ultimate structure of all cameras forums ever been on this planet, short the world champion in design. I want an essay on this: "Goodbye to Raymond Briggs. A poet, a darkly humoured genius, my kind of filmmaker and illustrator to a tee" People could do a Raymond Briggs challenge. We lazy people never even did a sub 200$/EU 4K 1inch+ challenge!

The graded video shows the potential of a look which can be achieved, which I found very impressive. Though with popping complementary colour contrast and palette, it is far, far, far way from orange and teal. You need a image with good dynamic range and good codec to achieve that look. Crayon style orange and teal look can be achieved with older 420 8bit cams from all manufacturers. Plenty of luts, which were sold for the GH4 by sly sellers, were orange and teal overkill btw. The video you posted looks as seen by the camera. It shows plenty attributes to evalutate regarding image quality from this camera. I still enjoyed a highly specific grade a big deal. And it´s not orange and teal. 🙂

Don, you are very old school, b4 and PL loving man.;) L mount is highly adaptable just like Canon RF, Nikon Z and what not mounts. Lumix S5 with full HDMI would have been my dream camera. So close. You can get them used for 1200 EUR, S1 for similar prices. With the GH5 I discovered a nasty blotch issue in VLog again. I have almost forgotten about it. Pink large blotches on skintones f.i. It was a well exposed shot, daylight, cloudy summerday, which I did last year for a shortfilm. Yesterday I was grading some of my older stuff away and building some digital emulsions and bang, GH5 reminded me of an issue I had found years ago with caucasian skin. Had forgotten about it.

They did a comparison with the S1 and S5, both sharing the same sensor, pipeline and sofore image, being indeed the dynamic range and latitude champs with Canon getting close and Nikon Z9 equalling it with its N-Raw flavours. All tests for video of course. Nevertheless GH6 image in DGO mode is very impressive. Too bad it still has a few things left out in comparison to the two GH5 models, such as 2xDigi zoom or 1.4 crop for S16 coverage. No 2x digizoom for my S1 neither btw. S5 is a steal for the image you get. Even lower price than a S1. S series still needs some grading love. But with that any look is achieveable. Natural light being the most "videoish condition", needing more effort than in lit enviroments imho.

I think the R5 would melt inside. Canon just shut off any time of heat management which the hardware cannot provide. Slogan " just leave that sucker on and keep it running til it melts". And it runs and runs and runs til it melts and melts and melts😄

I second leslies comment. Two of those, so you can go tele and wide without changing lenses. Good thing is, I already got one. So only need another one.😄

R5 in 8K RAW has less latitude in the shadows than a Lumix S5 in downsampled 4K, has half the battery life, triple the price of the S5. Worlds best camera it is not, though for your needs it might be of course. But that I wouldnt be able to know, of course.:) Now let´s test the camera running in the sun of current climate change days. I bet it will not look good, since the hardware is the same, with lack of any kind of sufficient cooling. @FHDcrew Class leading latitude in the shadows by the Lumix S5. R5 has impressive resolution and looks great up to ETTR -5.

Great points. @Thpriest 4k 100p means better rolling shutter. The latter i would take for sure, even without the frame rate. Rolling shutter around 15ms or below for the full sensor would be a need for an upgrade. Otherwise would still buy a S1H over any other camera.

Maybe smoothing the red channel has an effect on the image, which has not been considered by cined. Hopefully slashcam will do an in depth test of the camera.

From a lens related aesthetic stand point it can be very exiting to have extra height. Allows the Fujinon 12.5mm and possibly other Super16 lenses to shine with maximum estate in heigth on MFT format. Giving it more of the dynamic perspective of that 12.5mm wide angle than being cut off from top and bottom to fit 16 to 9 corsette. Give it a 1 to 1 sujet and cut off the vignette left and right. Lighthouse worked very well in 1to1 ratio. Dunno if it was full heigth of the negative though or masked.

"Gut and schoen" @deezid Now you are needed in the GH6 thread to answer all our questions. 🙂 Our friend @hyalinejimhas been very busy already to do so. cheers🙂

Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)

Solid points. Except the 444 as it would be in Prores anyway and used by 444 lovin pros. 🙂 @webrunner5 But C100 is a spiffy image for what it is, like downscaled GX85 with much better low light and of course more dynamic range. Great colours too. Anyway, GH1, treated lovely, can be still very lovely and a joy for vintage and image lovers. I think I get your point, which is alway something I enjoy a great deal in an exchange of point of views. I also think the internal SLOG image of the F3 is still more impressive than the internal image from the C100.:)

It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers

Difference is, that you cannot throw these light conditions at the GH1 as you can throw at the F3. You still would have to get pretty lucky and work extra hard to get an image out of the GH1 like the images in this video. Possible, if not pixel peeping, but not an efficient thing to do imho. Possible but not granted. @webrunner5

I think the formfactor is awesome. EVF not up to the S1 or maybe even GH5, as they say. But G7, G6 was good enough already, as I say. Micro HDMI like the GX85.:) That name is pretty tricky to speak. What would a picnic at hanging bock be? 😄

Not worth it from what I read on German testsite slashcam. Afaik, it´s 12bit linear and debayerd from 6K to 4K instead of giving the whole 6K out to the HDMI. On the S1H its 12bit and Log afaik and the whole 6K resolution. Anyway, site states that Prores raw has more aliasing and artefacts than internal Prores on the Z6. Latitude or dynamic range is not better than Prores with 10bit Log. Here is the article. You can run it through a translater. cheers https://www.slashcam.de/artikel/Test/Nikon-Z6-RAW---Besser-als-ProRES---alles-.html

Yeah, this thread and you have done their share as well 🙂 @IronFilm One million viewers, must be the most successful F3 test video. Here is a collection of a cinematographer who seems to have a serious liking for his F3. He posted some regrades of previously posted footage. So here we go, some more F3 goodness:

Well, then get a Vivtar 17mm 3.5 or Tokina II 17mm 3.5, which is the same optical formula, but not the Tokina I. You get get a cheap Tokina 25-50 F4, which is lovely even wide open, just do your WB tests. Mine has a specific tint which deserves to be altered, especially for GH1 8bit beauty. Combine it with a cheap focal reducer and you have a nice, cheap n cheerful set for your GH1. For a prime, to fit the Tokina, 24mm Tokina as a vague guess! But guessing is not good enough. So why not go for a Minolta 24mm 2.8 or an Yashica M? Fifty, pick your heaven. They are all good n plenty and nifty. Konica 50mm 1.7.

Plus classleading lowlight quality without codec mush unlike the A7S3 plus 10bit in 422 full width of its FF sized sensor in all frame rates. Very fast sensor readout. @webrunner5

I imagine it's supposed to be used in S35 mode, just like the Bmpcc booster is suited for its S16 sensor size with the Speedbooster sporting a 0.58 factor. It didn't work well on M43 sensors. Now 0.71 is the rather common thing. So maybe it works for FF but i assume the FD Speedboosrer is constructed for S35 to be boosted to FF image circle of the lens. That would make sense, as that would be the most used application rather than using a very few of expensive L lenses to be pushed bexond FF. Some Konicas cover the Fuji Gfx 44x33mm sensor with charming characteristics in the corners. Andrew wrote an article about that. FF boosted by 0.71 would be around 50.7mm wide (1 / 0.71 x 36mm). Interested to see. The 0.71 boosters for Emount were solely done for S35. Havent seen successful uses on FF sensor size other than in S35 crop mode. The Mamiya 645 booster, also with a 0.71 factor is for FF sensor size to be boosted to a larger 1.4x factor of the image circle. The Pentax MF variante does that as well. Both are from Kippon and very pricy.

@webrunner5 Also by the results from your link, you would still have the R7 right up there with the Sony A6500 which sports one of the best APSC sensor for dynamic range. Add 10bit 422 and a higher 32MPixel count and it´s a pretty good sensor by this data. Fun fact, results from the website you posted, GH5MK2 betters both sensors from ISO 125 on. How it really turns out to be in pratical use, that we will see. Also rolling shutter and other great aspects of the cultivated image.:) I remember the Red Dragon test on DXOmark. Was really hard to believe the results. No one would ever believe these test results in the world of cinematography afaik.

Thanks a lot! @hyalinejim That sounds pretty good. 10bit 4K60p with dynamic boost downsampled from the 5.7K sensor is a quiet a task. Was it 422?

Yeah Don, DXOmark tests for photography. So did the site you posted, which states "photographic dynamic range verus iso setting". So both dxomark and diyphotography/photonstophotos show tests for photography. The one you posted just shows much lower values than DXOmark, lower by 3 stops!:) @webrunner5