Mark Romero 2

It's somewhat less intuitive than the method you mentioned, but one can change the Key Output Gain in the Key window on the color tab. Just a quick tip: If one uses key frames in the key section of the color tab, you can navigate between them by using the [ and the] keys.

Ok, let's talk about SEX for a moment here. And by sex, I of course mean lenses... Are there any lenses that take advantage of the AF systems on the FX6 / FX9 or C70 that are either parfocal or at least have minimal focus breathing? Because that's the great thing about the Panasonic lenses for the S series of cameras. For example, with my S1 I can go from an out of focus shot to... ummm... a more out of focus shot with minimal breathing.

Looks great!!! On a similar note, I tried photographing a fireworks show once. It was a complete disaster.

Well... that's kind of good news, as long as one uses FCPX. Not so good for PP users.

I would tend to agree with @IronFilm above. A GH5 is a heck of a good camera.

So on my S1 and Weebill S, the Canon 16-35 f/4 L balances ok. Yeah, it is a bit front heavy and I have to slide the camera pretty far back so that I can only tilt the screen upwards about 20 to 30 degrees or so. On the other hand, it makes it farily similar in balancing as, say, the 24-105 f/4, which for anyone who doesn't own it, extends a LOT when zooming. How that Canon lens would balance on an S5 is hard to say. Maybe have to add weight to the S5 body to balance with it on a gimbal???

OK, Thanks. Do you use a stabilized lens then with the GH5S on a gimbal? And thank you for confirming that warping can be problematic with a wide angle lens and IBIS. Just wanted to make sure it wasn't JUST pilot error. Thanks for sharing your insight and tips.

That's a good question. I am not sure: Will the S1R be getting the VLOG update??? Here's the thing that kind of has me a bit beweildered / confused / annoyed with using my S1 as a run and gun camera (I really mean on a gimbal for real estate). In many situations, I find the IBIS can lead to warping that I can't get out. Might be 100% user error. I am using a Canon 16-35 f/4 L on my S1 (along with the MC-21) and I have found that with my workflow using Resolve, it is better to set the S1 and len to Lens Stabilization (where the IS of the lens handles pan and tilt, and the body stabilization only handles roll). Then use Resolve's stabilization in post to smooth out further. I noticed on Panasonic L Mount lenses that I CAN'T use Lens stabilization only. Maybe the Dual IS system in use on Panasonic L Mount lenses automatically divides the duties up where the lens is handling pan and tilt and the body is handling roll already? (Without having to assign it in the menu.) Anyway, this is probably why I will continue to use the Canon 16-35 f/4 L on a gimbal instead of going for the smaller, light (but much more expensive) Panasonic 16-35 f/4.

Ok, so here is my stupid question of the day: If most weddings are outdoors, why not a GH5 for your third camera (for the ceremony / speeches) instead of an S1H? It should last over an hour, right? I've never used a GH5 so I don't know either way.

Speaking of ProRes RAW on the a7S III... I thought I heard somewhere that some cameras that export ProRes RAW are not FULLY compatible, meaning one can't adjust white balance or some other aspects of the image. Is that correct? Am I confused (again)? Was someone lying to me??? https://youtu.be/EmiEQq2MAeU?t=800

Good to know about the 24-70 f/2.8. Of course it is all subjective. I only own the Panasonic 24-105 f/4 (and a Canon EF 16-35 f/4 L on the MC-21) and I think I like the rendering from the Canon a bit better than that of the Panasonic 24-105 f/4 for video. For stills though probably the other way around.

Agreed. Although it is good to note that IF you need the blacks lifted so much, it won't be chock-a-block full of noise. Agreed! For whatever this video was supposed to be (I know it was a commercial for Panasonic), it was kind of weird choice in music. As much as Panasonic lenses seem to be great for filming, they do seem like they need some sort of softening filter on them. Maybe it's the lack of the OLPF as you suggest but I just think they are a bit too sharp for my tastes.

Yeah, the colors looked good and the DR and noise control were good. Just when I speed ramping between drinking my first and second cup of coffee in the morning, I tend to get tilted.

Someone please tell me that speed ramping is going the way of creative transitions (where people decided to use EVERY transition that was available in their NLE at least once per video). I'm not the only person who hates speed ramping, am I??? And what was up with the music in that video? Sometimes it was obnoxiously loud, while other times there was no music where a little bit of music would have gone a long way.

If they do, then I'll buy two.

@Trek of Joy Thanks so much for the updates!!! Happy shooting and be sure to post links to your videos when you have the time.

Glad to hear you found a camera that is going to work well for you. I think for your case you made a great choice with the a7S III Are you going to bring along a second camera for stills??? (I thought you mentioned you do a lot of stills on the side as well). And exactly how bad is the shutter shock of the a7R II??? Is it not usable on a tripod due to the shutter shock??? I remember watching a Gerald Undone video and he mentioned that the dual antive ISO kicks in across all profiles at a certain number of stops above the base ISO. I don't remember off the top of my head what the native ISO values are for Slog 2 (or SLOG 3) on the a7S III, but if I understand correctly, you just figure out the number of stops, then you use that same number of stops difference for all the profiles.

Yeah, one can certainly argue that Panasonic S cameras have the best VIDEO lenses out there this side of cinema lenses due to the linear focus, adjustable focus throw, parfocal cabability and minimum focus breathing. Looking forward to the 6K firmware for the S1. wthere was a test on youtube where they were comparing the noise profile of the S1H between the 4K downsampled from 6K in camera, to the 6,K and then dwon-rez in Resolve, and the 6K that was down-rez in Revole to 4K had less noise. (Think it was dpjourney who did the comparison but could be wrong on that).

I guess I have to agree with you (and just so everyone knows, I own three WORKING Sony cameras and an a6300 that sadly died when my client knocked over my tripod, so I ain't no Sony hater). Two years ago it would have been the must-have camera for video shooters. But now there are so many options from other camera makers that - while they don't go head to head EXACTLY against the a7S III - at least make for compelling alternatives.

If you need continuous autoffocus then I agree with @Thpriest that you would do better with either Sony or with Canon. If you go with Canon make sure it is a model that has Dual Pixel autofocus in video. My understanding (and I could be wrong so do some research) is that some Canon cameras that claim to have dual pixel autofocus might only have it at certain resolutions.

New firmware announced by Panasonic for the S1 (as well as some for S1R and S1H) coming November 24th. The good news is that the new AF system (implemented in the S5) is coming November 24th. Red recording status frame indicator (Yeah!!!). They also announced that firmware is coming in the first half of 2021 for the S1 which will allow for 5.9K RAW over hdmi, and 5.9K / C4k internal recording. Finally 4K 60p internal will be 10-bit 4:2:0 instead of current 8-bit 4:2:0 All the same, I am thinking of either "downgrading" to an S5 or instead going for... ...an R6.

Which EF-S lenses do you have that aren't working?

Ahhh... got ya. Thanks.

That seems kind of strange... On the S1, if you put an EF-S lens on the MC-21, the camera will automatically default to APS-C mode, both for stills and for video. In fact, you can't get out of APS-C mode. The exception to the above is something like Tamron EF-S lenses since I guess even their crop lenses had the EF mount.

I like @Geoff CBsuggestion of getting an a7 III. you can probably buy one used for around $1500 (maybe less???) as the price NEW just dropped to $1700. If you decide you want to go 10-bit, then there is the Fuji X-T3 / X-T4. On the other hand, if you shoot 8-bit Cine 4 on the a7 III with the contrast down (or shoot in HLG) you are gonna get about as much dynamic range as the X-T3 in FLOG. I like my Panasonic S1 a lot, but it is heavy and the autofocus is second-rate. I might "trade down" to an S5 since it has better AF and is lighter, and since I normally use Lens image stabilization to avoid warping when on a gimbal. Lenses for full frame panasonic cameras are expensive though. They are VERY GOOD lenses for video, but expensive.