Mark Romero 2

Looks good. Shot at 60p??? Were you shooting in 4K or 1080p? I like the look of (older) Canon EF lenses on the S1. don't get me wrong, I like the look of the 24-105 f/4 but I think that is best for maybe product photography where it is ok to have a "clinical" look.

Thank you for the compliment. Yes, I do / did use IBIS on the Weebill S, but it is a bit complicated. The first video (34 Vista Real), I used the full BODY IBIS, where all of the Axis are controlled by the IBIS of the S1. In the second video (38 Thunderbird) I instead used the Lens IS for the majority of the stabilization (I think it is three axis from the lens) and the body is handling the other Axis. Note that I am using the Canon 16-35 f/4 L which has lens stabilization, so you can set the S1 to let the lens do the majority of the stabilization. I did this for the second video (38 Thunderbird) because I noticed a lot more corner warping in the first video (34 Vista Real). I was told on facebook or some such place that by switching to lens IBIS I could reduce corner warping when shooting at 16mm on a gimbal. So what I have found is using lens stabilization (primarily) with IBIS and then using stabilization in Resolve helps to get the smoothest motion for me. I have tried using the Weebill S with IBIS turned off completely and it just isn't smooth enough, even with stabilization in Resolve.

Same setup as above, except with a DJI Phantom 3 Advanced for the drone footage:

S1 with Canon EF 16-35 f/4 L on MC-21, on a Zhiyun Weebill S. Shot in V-LOG 10-bit 4K 30p (slowed to a 24p timeline).

When shooting photos, I shoot in RAW and I make sure that the picture style is set to something like standard, as it will affect how the monitor / LCD look. When shooting video in VLOG, I use either the built in monitoring LUT or one of the LUTs that I uploaded from the Varicam collection on Panasonic's site (like the nicest, or the Fashion Low Contrast, or something like that). When it comes to MONITORING the image while shooting video, I tend to prefer a pretty contrasty image since for the majority of my work (real estate) my main problems are keeping the horizon level and the walls vertical.

If you mean being able to punch in while recording? If so, I am not sure. It isn't available on the S1, but only on the S1H as far as I know (and I am only 50% sure it is available on the S1H).

Well then... I am totally hosed.

@Manav S Looks good. What lens did you use? Also, I noticed on your video you mentioned that "collabs were welcome" but it didn't mention what part of the world you are located in? (Some of the footage at the beach reminded me of northern California.)

Sure, I agree with your points. For me, personally, I use my FF camera for real estate videos where there (quite literally) isn't a budget for lighting (agents are only willing to pay about $300 or so for the videos and you often only get an hour of time on site, so not really feasible to try and light). I think that the a7S III would be a great event / travel hybrid camera (if they can get away with the 12mp stills). The S5 has the POTENTIAL to be really strong in that area (if we ever figure out the secret sauce to getting the AF settings optimized or if a new firmware helps to upgrade the AF system significantly).

Well... yes and no. One of the two main reasons I moved from my aps-c Sony a6500 to the full frame Panasonic S1 is because of dynamic range, which is better on the S1 than the a6500 (the other reason was 10-bit color of the S1 compared to 8-bit color of the a6500, which kept me from buying an a7 III with 8-bit color). I really don't care too much about the shallow dof, although I find the dof and rendering of the Panasonic 24-105 f/4 very nice. Guess I could get the same DOF on an aps-c sensor at f/2.8 too. Of course, two things: 1) Cinematographers may or may not have lighting to negate the need for higher DR, and 2) the dual gain output of the Canon aps-c sensor in the C70 looks pretty amazing. If they put that in to an R body (R7 anyone???) I would be all over it.

Just came across this video. He suggests setting AF Sensitivity to +3 and setting AF Speed to 0 or less to avoid pulsing.

@PannySVHS Nice work!!! On a personal note, I am glad that seven years of high school German classes finally paid off.

Can a 600D really fulfill your outdoor light needs? Would it be possible to compete with outdoor daylight? (Would you have to use a Fresnel modifier to make it bright enough to compete with daylight???) Would it give you enough light to "spread around" during twilight and evening shoots? (Assuming that you are going to need additional lights for the background in the evening / night.) Where I would imagine a single 600D would be most effective is INDOORS when you have bright / blown out windows and have to stop down or use an ND filter to tame the window views. Then you would have to throw a lot of light on the talent with a big light, and that would more-or-less even out the exposure. If you check out the explanation of the key light setup in this video at the 4:20 mark you will get an idea of what they are able to accomplish. Considering they are in Arizona and the view out the windows is at "normal" exposure (meaning, not totally blown out). They said they shot at T.2 and had 2 stops of ND behind the lens.

Don't know where you live and what you do all day, but I find myself either doom scrolling the news or hanging out on forums like this and developing a serious case of GAS. I suspect that I am not the only one doing so. Plan on taking the S1 out tonight just to shoot some Christmas lights displays. I still have footage from LAST Christmas that I haven't edited together yet. Oh well... Anyway, it gives me an excuse to spend time with the S1 and my Minolta MD 50mm f/2.

Thanks again!!!

Thank you!!! And just so I understand, is it suggest that one DOESN'T overexpose as they normally would with LOG footage? Or is it still suggested to overexpose when using LOG to avoid noise? I guess in certain situations you have to over or under-expose...

how tolerant is it if you over-expose or under-expose significantly??? I tried watching the workflow videos and it seems like it only allows for adjusting for exposure a little bit (less than a stop).

Thanks for the hot tip. I just picked up a Godox VL200 for about that price at Adorama. It's nice, but still not as powerful as I had hoped once I put it in to a 55" soft box with double diffusion. Wonder if the Fora 300 would be significantly better. is the output difference linear to the wattage difference? (i.e., 50% brighter?)

Thanks for the suggestion. I haven't seen the Monochrome Live View feature on my S1... wonder if it has it too??? The S-series of cameras have so many features I often find myself dumbfounded when the camera is acting in a way I didn't expect, and then I am sitting there looking at it trying to figure out what to do to get it back to "normal."

I was pretty impressed with the autofocus. Were you shooting at 50fps??? Unfortunately I can't seem to watch the three other videos afterwards. Don't know why but when I click on the links to them, nothing happens in my browser (Opera).

The flat picture profile of the D750 was always very nice (although only 1080p and it didn't have any focus peaking or zebras). I would imagine the flat picture profile of the Z1 would be equally nice. And the D750 was a great stills camera, so no doubt the Z1 is a great stills camera, too. As for the 8-bit SLOG on the a7 III, some people think it is pretty good (or at least usable), some people hate it.

It would be great if you could post a frame grab or comparing his LUT on VLOG with the standard VLOG LUT.

I think we all pretty much have different opinions on what "cinematic" means. As for a7S III, I like the look in the samples of the Arri Lut (see video below), and also couldn't one shoot in RAW on a Ninja V to avoid the over-sharpening / noise reduction???

So when they say Dual ISO (in terms of the Panasonic S-series of cameras), they don't mean same noise level, but they mean same dynamic range as the native ISO??? That would differ from Black Magic sensor....

Thank you!!! Darn, for what I do do, that extra stop and 2/3rds would reduction in DR would be significant. But as for 4K 60p on the R6, then it does have a minimal crop (and not the 1.5X crop I thought I heard somewhere???)