Mark Romero 2

That seems strange... I often have Resolve open and then open photoshop (for some quick and dirty graphics). I do have hardware acceleration checked in photoshop. Am using Windows 10 and an RTX 2060 super

Agreed, that does seem like a clunky workaround. Just one more thought though... when you make a compound clip, you can always decompose it in place. Again without having much experience working in multicam, I thought that after decomposing in place, you could possibly replace the multicam clip, but then again, I have been wrong about so many things lately, this is just a shot in the dark. That is good to know. That would ALWAYS drive me crazy. There was also a bug where if I would change opacity on a track above (let's say track 2), then the opacity would also change on the track below (track 1 in this example). This would happen if I was using either an actual clip or even if I was using titles. And of course the maddening thing is that it wouldn't ALWAYS happen, just some of the time. Oh, and to ward off a future problem that you may or may not experience, if you use DaVinci Wide Gamut (which I really like, by the way), then you will notice that your white text in your titles is now gray. I tried right clicking on the title and selecting Bypass Color Space (or something like that... can't check because I am installing the latest update), but that didn't work at first. I think eventually I had to turn the title in to a compound clip and then use color space transform to convert it from DaVinci Color Managed back to rec.709

Again, I am not 100% sure this will help for your situation, and i don't do much multicam editing, but can you create a compound clip for the clip you want to change crop factor of? Again, haven't tested it with multicam so I might be leading you down the wrong path. But I noticed that was the only way for me to crop (well. zoom, technically) when doing picture-in-picture, so maybe it can help with doing crop / zoom of multicam clips???

I don't know if it is a 10-bit vs 8-bit thing, or an S-LOG vs V-LOG thing, or a Sony vs Panasonic thing, or it's a color-science thing, but I just don't get the same sort of weird colors in V-LOG on the S1 that I got in S-LOG 2 on the a6500. I know a couple of the more notorious people on youtube have recommended workarounds for 8-bit Sony; dunna did it said just crank the saturation all the way up. Caleb (dslr video shooter) said to use the 709 matrix gamut instead of s-gamut

Are you talking about standalone Fusion or fusion inside DR 17? I am not sure this will help but there is Render in place in Resolve 17:

It always feels good to press record for a paying job. I try real hard not to take things for granted, and realize I am lucky to have a job that I enjoy. May you have many more opportunities sooner rather than later to film again. There are so many stories to be told.

It's a pretty good video. He says that most of the noise is in the red channel, so... you can take a standard RGB node and turn off channels two and three, meaning it will effect just the red channel. Then I wonder if that would be the best way to do noise reduction is on that node that is only correcting the red channel. Also, wonder what the difference in effectiveness of using temporal noise reduction on All-I footage compared to Long-GOP. Since Long-GOP only records "differences" between frames, is it possible that a near identical noise pattern can carry on through several frames? (If I had the ability to record all-I then I would test it out but I can currently only record in Long-GOP.)

So firstly, this is shot with an S1 instead of an S5, but since the sensor and codecs are the same (I have the V-LOG upgrade on my S1), I think it gives a pretty good representation of what sort of dynamic range you can expect from an S5. Please note that the sun streaming in the windows was REALLY strong as was the sunlight bouncing off the bay. Anyway, I have questionable grading skills and poor gimbal technique, but Panasonic V-Log with the new DaVinci Wide Gamut makes it pretty easy to get a lot of DR out of the footage. (Internal 4K 30p 10-ibt 4:2:2 slowed to 23.976fps on the timeline, and exported as 1080p) PS: If anyone knows why I have so much rolling shutter on my drone footage, please let me know... I think the shutter speed might be too high since I misplaced the ND filter for my drone camera (Phantom 3 advanced shooting in 2.7K at 30fps slowed to 23.976fps on the timeline).

Hmmm... i would definitely try switching the lenses around to see how much of a difference the lenses are making.

The a7 III is about due for a makeover, but the a7S III was long overdue before it was released. So maybe Sony is going to be taking a while longer before a7 IV finally hits the streets.

Forgot to mention earlier that I will probably get a Mavic Air 2.

I am pretty happy with my S1. The only potentially NEW cameras that interest me really are if the a7 IV comes out and it is basically an a7 III with 10-bit 4:2:2 and maybe 4K 60fps, and probably more importantly, better ergonomics and menu / ui. Otherwise, still thinking of adding an S5 / GH5 / another S1 (instead of using my a6500 as a B cam). I guess personally I am more interested in lighting and audio at this time. The S1 is pretty much a better camera than I am a camera man, so I have a lot of catching up to do before I find it deficient in any area for me.

I personally believe that one of the reasons / the main reason that the S5 doesn't have all-i is because it just can't handle it... maybe the processor is different, maybe it is just a heat dissipation issue. I mean, the S1H has a fan and weighs, like, 27 pounds for a reason. Sure, the GH5 has All-I but the sensor is half the size of a full frame sensor, and with the S5, Panasonic has somehow managed to fit a full frame sensor in to a body that is slightly SMALLER than a GH5.

Thanks for the input.

Thanks for the input. As an aside, I am still torn between getting a GH5 as a B cam to my S1, or getting another S1 (kind of put off by the weight), an S5 (kind of put off by the time limit for 10-bit recording and that won't have 6K internal). While GH5 appeals to me, then I have to deal with buying full frame lenses and m43 lenses, or speed boosters. Ughh... I am actually thinking of going in the opposite direction, and trying to avoid proprietary software as much as possible. Thinking of switching my main computer from Windows to Linux (Debian, or Mint) and using Free Open Source Software (FOSS) as much as possible. And using proxies in DNxHD instead of prores. While I am not a flat-earther or anything like that, I just kind of like to have freedom of choice where practical, I guess.

I'll try again I guess. I have used the 1080p 60fps 10-bit vlog out of my S1 and for some reason it just didn't seem particularly good - even with up-rez to 4K and without up-rez to 4K. Maybe operator error??? It wasn't bad mind you (certainly not as bad as Sony 1080p from my a6500 and previous a6300 and a6000), but it just was disappointing in a difficult-to-pinpoint way.

In defense of 4K... Reduced apparent noise when down-res to 1080p in post Ability to reframe on a 1080p timeiline without losing image quality Some cameras just have really bad 1080p (a lot of the 2nd gen Sony e mount cameras, like a6300 and a6500). On the other hand, I think we are all well aware of the drawbacks of 4K, such as file size / storage requirements, playback difficulties, often worse rolling shutter, often more restricted frame rates, potential quicker overheating...

I think it is a tricky situation for Panasonic. Firstly, it makes sense to promise (and eventually deliver) such features as all-i internal since the GH5 was the PREMIERE camera in the G series lineup (or, at least the premiere VIDEO oriented camera in the G-series lineup) With the S series, the premiere camera is the S1H. On the other hand, the S5 - in spite of all it's video capabilities, is still the "bargain" camera in the S-series line of cameras. I wouldn't be surprised if Panasonic considers the S5 to be something like "The G7 of the S Series" of cameras. I saw a video around September of 2020 in which one of the more-senior members of Panasonic imaging was being asked about the future of Panasonic cameras and he kind of mentioned there were challenges ahead and Panasonic was going to distinguish itself by producing great cameras for content creation. So moving forward, I am pretty sure that EVERY Lumix camera is going to be a VERY capable video camera. (Unfortunately I didn't bookmark that video... maybe someone else has a link to it???) Anyway, as mentioned at the start of this post, that kind of puts Panasonic in to a tricky situation where they might have cameras that are technically capable of doing more things, but they need to hold back on the features just to distinguish the higher end cameras.

Nice work. My only question is: Models got money for video? I thought models would fall just south of local musicians when it comes to resources available for self promotion...

I pretty much ALWAYS do this but 99% of my shots are on a gimbal (in my real estate videos). Also, I tend to do this for drone shots as well.

Beautiful work!!! Really nice job.

Yes, this is the Panasonic 24-105 f/4 I will have to pay attention tot he diffraction and igniting compensation settings. Oddly enough, the only time I have seen something really similar was by Sony a7III shooters using the native Sony 14-105 f/4, but they were shooting stills in RAW. And yes, this was in 10-bit V-LOG, but I use Resolve for editing. (Although you can see it in the source footage. I just cranked up the saturation here in Resolve to make it more apparent.)

I think that Wong Kar Wai was kind of the king of undercranking. (Thinking of "As Tears Go By" and "Days of Being Wild" in particular... not sure if he used it up as much n his later works though). Can we undercrank with digital cameras??? I think on my S1 I can shoot at 24fps but then have a shutter speed of 1/12th of a second. Will have to try it. I'm such a sucker for late 80's Hong Kong Cinema.

Huh... that's some pretty strong ghosting there. I will have to double check but most of the ghosting I seem to get with that lens has been green.

Can you post a screen grab of the flare??? I had one issue when shooting in V LOG with the 24-105 and underexposed. I didn't have direct flare though, but I was getting green and magenta rings in the shot. (Saturation is turned up a bit to better show off the rings.)