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That's really common, and why many photographers have someone else help them in selecting their best prints. Gary Winogrand was a famous street photographer and used to deliberately not develop the rolls of film he shot for something like a year, so that when he was looking at the images he wouldn't remember the situations associated with them but would only judge the image based on the image itself. We're all guilty of preferencing a shot because it was hard to get, rather than the finished product being good

I'd be very surprised. Considering that I have very little to do with being famous, with people who are famous, or with people who know people who are famous! My Bacon score isn't 6, but it's not 2 either [Edit: after a bit of searching (considering I'm not in IMDB) I got it down to 4. Not bad.]

I was watching a TV show last night and they had some cool spy vs spy stuff through the streets of Hong Kong, and it was shot well, had great colour science, the story was engaging, but it felt like a home movie. I've watched several seasons of the show and other sequences didn't have the same feel. I worked out that it's because I'd been to where they were filming. I've increasingly noticed this trend - if I've been somewhere then it doesn't seem so exotic anymore, it doesn't have that 'other world / smooth / detached' feeling that something being 'cinematic' feels like to me. Some of my favourite travel videos have transformed over the years from spectacular experiences to slightly awkward sequences of shots of places I've been. Does anyone else find this?

I agree about them being visible if you're working with different colour spaces, but after the conversion then I find it's less relevant. My workflow is typically: Node to do things prior to conversion (mainly WB and exposure) CST General 709 grading nodes My thoughts around having a node in different colour/gamma spaces would be if I could have one before the CST to simulate things being done in-camera, and after the CST as custom grading things like having nodes in YUV etc. Obviously the nodes before the CST would have to be tailored to the colour/gamma of that clip, but if I just saved a power grade for each camera then I could just add them from presets then adjust away. More experimentation is required. I agree with your sentiment, but I'd actually say they're not clueless about mounts, they see them as the boundaries between entirely different universes that cannot be breached. @BTM_Pix The amount of "oooh, the P6K has EF mount - finally there's a camera that exists in my universe! All the other ones have been in a different language in a parallel universe, and if an EF lens was ever in the same room as a non-EF camera then it would turn our solar system into a black hole". and by the way, to most people there are two lens mounts - "the one I use" and "not the one I use" which has the internal description of "nope nope nope nope.. back away now.... alien creatures are amongst us... they didn't choose my lens mount soooooooo.................. WARNING!!!!". The Canon vs Nikon debate places these two crowds so far apart that the curvature of the earth prevents even radio communication between them. The MFT mount may as well be an underwater song made of colours.

Wow, the E1 sure is reasonably priced... I think subconsciously I was thinking the E1 was in the same pricing category as the E2. So many cameras to keep track of!

That works From what I'm seeing, there are still a lot of shows that seem to have smaller budgets. I'm not certain, but I wouldn't be surprised if lots of shows are made and then bought by Netflix, rather than being made for Netflix and having that kind of budget. Mind you, I don't only watch the big shows, I'm watching a bunch of stuff, some quite niche.

Absolutely. There are some situations where the physical size of a GoPro is required, but the majority would be fine with any of those cameras. It's not like GoPros are really that much cheaper these days either! I think that vlogging really benefits from a very wide angle lens, as it makes it look like the person is a sensible distance away from the camera, rather than them in that uncomfortable spot where they might be talking to you but might also be leaning in hoping for a quick kiss In this sense I think that the Osmo Pocket (at 26mm equiv) and RX0 (similar FOV) missed the mark for this. A GoPro is a more flexible tool IMHO being that you can crop in for a smaller FOV at a lower resolution, but it's pretty hard to crop-out and get wider than the lens!! Especially considering that very few people with either of those cameras won't also have a phone with a 24-28mm lens. yeah, the second-hand market is basically a graveyard for older models. That's why I don't really feel bad about doing this to my Hero3 but it not surviving the process: In terms of vlogging with an F3, sure you can.... Just hit the gym first!!

I agree. In fact, now I think about it, if I had to choose between 4K 8-bit and 1080p 10-bit I'd be torn, but might go 1080 with 10bit just because of the flexibility in terms of doing radical grades in post, which I do quite a bit when in less-than-ideal available lighting conditions. I see GoPros (or at least, action cameras) quite a bit on Netflix shows. They're always for shots mounted on the outside of a car, or other difficult placement situations, but what gives them away is the over-sharpened over-contrasty image, not the FOV or image quality more generally. I don't know why people don't just apply a blur filter over the top to match them better, even if it's not about matching, just making them not look like the image has been embossed onto something would be a great step forwards! If I vlogged I'd be pretty tempted by an action camera. Wide FOV, portable, you can get decent stabilisation with more recent ones, some have 100Mbps files, etc. Not bad for that particular use-case. There aren't many other use-cases where they'd be a good fit, but for some I'd imagine they're a reasonable choice, but that wouldn't be that big a segment of the market..

Yeah, I was contemplating the better IBIS of Olympus but the 10-bit internal of the GH5 won out. I was emailing with one of the Olympus ambassadors about options and when I said that I had gone GH5 for the 10-bit even they conceded that 10-bit internal was a hard thing to pass up.

Ah, I misread your comment and thought you were calling BS in the other direction lol. Yes, if you're putting a priority on accuracy then the IDTs don't work. I tried both and confirmed it for myself some time ago. Taking two clips in HLG and exposing them one stop apart, then bringing them into Resolve, taking one of them and doing an X to Linear conversion, scaling up the brightness, then converting Linear to X again. I tried every combination of X I could find (2100, 2020, etc) with each way to raise the luma (Offset, curves, Gain, etc) and no combination was a perfect match. In the end I realised that many of the conversions were similar, thus my earlier comments about log profiles being similar. When I finally wrapped my head around the idea that grading isn't about accuracy, it's about what looks nice, then I stopped worrying about profiles. Many professional / high-end colourists don't bother with CST / ACES / RCM and just take the log files and adjust colour balance with LGG, adjust contrast and primaries and are done, often only taking 10-20s per shot for the bulk of the work before starting the polishing and 'look' adjustments. Instead of doing a CST -> adjustment -> CST can you just use a single node and set the CS of the node (it's in the menu you get via right-clicking the node) and would it do the same thing? My understanding is that the CST is simply a user interface to the same RCM functionality that applies to clips in the media pool, timelines, etc.. I've been meaning to try it, but just never got around to it. It would save a lot of time and simplify the node structure somewhat.

As people are posting their whole rigs, mine is the GH5 and Sony X3000 action camera. GH5 for "proper" shots, and the X3000 for random travel sequences between locations, and if I suddenly need a super-wide angle. For the GH5 I have the FF equivalent of 15mm F4, 35mm F2, and 85mm F2. I'll also take a longer lens on a trip if there's animals or sports, but it's not a core lens in my kit.

Are you using the Panasonic IDT and finding that it does a really good job? If so, I wouldn't be surprised. Anyone who has spent any time grading (or colour matching) different gamma/colour spaces will know how similar they really are to each other. Both Log and Linear are mathematical terms used to describe certain functions. Sensors 'see' in Linear, and then encode to Log (assuming that's how you're recording) and although they do differ in subtle ways, both in deviating from a mathematical Log curve as well as doing 'nice' things to the colours, I'd recommend people to get some Log footage and then convert it to 709 using different input profiles and see what differences there are. Many of the settings are so similar that when you click on the new one there is so little change that you wonder if you hit the right buttons... For the GH5 I've been playing with both the HLG.2020 and HLG.2100 profiles and getting a decent look from both in various circumstances.

Also, if you're going to test the cards by recording with the camera, make sure to record something with intense movement, not just a still scene. The bitrates can be a lot lower in reality if nothing much is moving. Trees blowing in the wind, fountains (zooming into just the water spraying part), or design your own. I got five still images that were completely different, put them into a 1080p60 timeline and exported them as a prores file. Then play the video on loop so it just sits and kind of flickers as the video loops. Then point the camera at it, set a smaller aperture to get everything in focus, and record it at 24/25p for a few minutes. I analysed the footage I took to confirm that this test works and even if the shutter is open between frames no frame is anything like the previous one.

Agreed. There is a huge debate about log in 8-bit vs 10-bit, and there are instances where people do grades and show minor issues, and there are tests where people deliberately film difficult situations and then try to break the 8-bit footage and can't do it. There are many more complexities involved, as @KnightsFan mentioned, and compression is the biggest one. Trying to have a serious debate about 10-bit vs 12-bit is fine, but just don't try and push the angle that 10-bit is anything less than 99% as usable in 99% of the situations. If you're after ultimate quality then sure, shoot RAW that's totally fine, and yes it does give ultimate freedom, but that's like comparing a Ferrari and a Lamborghini - you can compare and one might be faster than the other but you can seriously claim that the slower one isn't fast enough to be used for everything except the smallest of situations. See my above shot of the HK harbour and tell me how 10-bit would somehow have been better when there aren't really serious artefacts in a grade that no-one would ever do in any situation in the real world. In terms of WB, yes, the colour science makes it trickier, but if you know what you're doing and have a half-decent software tool at your disposal then the only thing stopping you from getting an excellent balance is skill. and I would know - I shoot available light and often mixed lighting all the time and the thing that limits me is my ability to adjust WB in post. Check out these images.... An ungraded frame from a shoot I did, note the horrendous green/magenta lighting: and the two grades I got back from (the very gracious and much more experienced) members over at LiftGammaGain.com.. The first from Szilard Totszegi: and second from Cary Knoop: and the thread is here: https://liftgammagain.com/forum/index.php?threads/advice-for-grading-mixed-green-magenta-light-sources.12727/ This was after I'd battled with the video for hours, and gotten no-where near what they managed to do. Even after seeing what was possible and outright trying to copy their efforts to learn from their examples, I still didn't get it as good.

Indeed it is We went on a special trip to a beach where you can see it over the ocean and all we saw was clouds. Admit defeat, run back to the bus, then get back to the port and the thing is in full view and the sun set over it. Life is funny like that sometimes!

That's how I shoot all the time, grabbing a quick shot then running to catch up. Or getting shots of the family while they're doing their thing. For me the strengths of the GH5 really help with that. IBIS for walking while shooting (trying to simultaneously do the ninja walk and also not walk into a pole or anything) or for standing and grabbing a faux tripod shot. The 10-bit for being able to significantly push the image due to no control of lighting and little to no time to work the scene. Etc... My other approach is just to get volume, as not only does it mean you get lucky more often, but the practice increases your hit rate too. Here's some random GH5 shots from filming at the speed of life...

I wasn't. That makes sense. I guess it just depends on what lenses you have on it. I have a GF3, and when paired with the 14mm f2.5 pancake it's (just..) pocketable, but you put the kit lens on it, or anything with a longer focal length or wider aperture and the size advantage disappears pretty quickly, but whatever works for you. I thought for a second there your reference of people who aren't so 'patient' might be to people in fast cars, maybe a street racing reference, illegal street racing, small camera doesn't attract attention etc... for street videos, or maybe undercover law enforcement. Or alternatively, referencing some kind of meme I'm unaware of, or humour that I wasn't getting, or..... or.... ???

I'm confused. It was a genuine question.. like, either I learn something about the GX9, I learn something about the GH5, or I can offer advice.

See my above example... the 10-bit is better than you think.

I've posted this before, but here's a clip I tried to push to breaking point, but it seemed pretty much unbreakable. This is the GH5 150Mbps 10-bit mode, so not even the 400Mbps All-I. When I was playing with ML raw I compared the 10-bit to the 12 and 14 bit modes, and although I could see a slight difference between the 10 and 12 if you pushed it hard, I concluded that 10 bits was enough for me. In terms of the GH5, the dual ISO is one feature that would be great to have, but the IBIS more than outweighs it, and in comparison to the S1H, the smaller size and cost more than outweigh it for me. Literally, if I became a billionaire tomorrow, the GH5 would still be the best camera available for what I do.

Considering the GH5 is currently winning, it seems that the answer to your question is "3". Or, put another way, 0.000821/day. ??? What is it about the GX9 that makes it 'faster'? I never really thought of the GH5 as slow...

......and I could keep shooting on auto ISO / auto SS and it would no longer look like I left my ND filters at home!

Maybe, but it would have been strange for me to say it all those years ago, when I only just now looked it up and learned what it meant!

Not sure about the quality, but Resolve comes with a Media Management engine built in. It's kind of hidden, but its super simple to use, and has all the cool codecs. https://***URL not allowed***/davinci-resolve-media-manager/

Meh... Kids want to be <insert the occupation of the tallest most impressive person they saw in the last 2 years here> when they grow up. All the kids that wanted to be astronauts when they grew up became accountants anyway, and once they make a few videos and meet the algorithm then they'll grow up to become accountants as well Same with anyone deemed 'successful'. I once had a very intelligent relative (who is a high-level manager in a small-medium sized business) tell me I should 'write an app and make a comfortable living off it' and I thought he was making a joke, but he wasn't. When I showed him the millions of apps on the App Store and told him that writing an app is like starting a business he changed his mind, but he genuinely didn't know. No-one makes a million TV shows or movies of people losing their savings for every movie or TV show about a dot-com billionaire. Of course it looks easier than it is.