kye

I haven't been following this thread as this isn't a camera for my style of shooting, but wow.... those specs! Perhaps the most interesting mode for me would be "6144x2592 @75fps max (DCI 6K 2.4:1)".. 6K, widescreen, 75fps is a very interesting resolution! and who knows, there might be a later firmware update to get higher frame rates from the lower resolutions perhaps?

I shoot handheld with the GH5 and manual non-IS lenses, so I'm familiar with the territory. There are lots of effective options: Keep the GH5S and pick any combination of: put it on a rig (eg, shoulder-rig, easy-rig, gorillapod, etc) that gives more stability / ad an IS lens / shoot a wider lens and add stabilisation in post Get a GH5 and pick any combination of the above Go Olympus which is meant to have the best stabilisation and use any combination of the above Choose a FF / S35 camera and use any combination of the above I'd suggest you also take into account the whole workflow... Keeping the GH5S will ensure maximum compatibility of files and image / colour in post, getting a GH5 will keep similar image / colour and also share the same lenses, Olympus will share the same lenses and have better stabilisation but different colour, S35 / FF will need different lenses but have different image / colour, etc.. It's all a trade-off.

I've bought Wasabi batteries and not had an awful time, but I can't claim that I've really tested them hard either. There's no reason that original batteries will always be better. The problem is that after-market batteries are probably price-driven and are therefore likely to be of lower quality, but there's no reason that an after-market supplier can't make a superior product if they decided that there was a market for it. Some after-market batteries claim to have larger capacity or are more durable, and a company could do well and get a reputation if they actually delivered on this. On the other hand, manufacturers often compete on pricing on the camera body, and make more profit on the peripheral items such as lenses or batteries. Yes, they have a brand name to protect with reliability etc, but in any market with an established name the reason that newcomers often grow and steal market-share is that incumbents are often price-gauging...

I think that blown out highlights might be the worst aspect of poor quality digital, for me at least. Worse even than poor resolution, over-sharpening, or low-bitrates with macro-blocking. That's one of the primary benefits of shooting with 10+ bit depth, you can expose for the greatest DR and then choose your middle exposure in post while applying a nice highlight roll-off, and do it without breaking the image. To this end, I haven't really noticed the DR of my GH5 being too low as I can normally get the exposure I want and also not clip highlights.

All of the above, plus many more things you didn't list. Saying "Shouldn't a mAh be the same" is kind of like saying "Shouldn't all 4K be the same"..... Battery science is complicated.

I completely disagree. I shoot very fast run-n-gun using auto-WB and available (normally mixed) lighting, so I know all about what you have to do to correct WB in post when it's not right. When I was shooting my 700D I struggled to get barely usable images, and I thought it was me until I did an A/B under controlled lighting to discover that if the WB is right then the image is fine with zero adjustments but if it's off, even by a little bit, then you're basically screwed. I was also dissatisfied with the sub-720p resolution from it, did some research and bought the XC10 for its might higher video quality and bitrates, but that suffered these same problems as the 700D. The C-Log on the XC10 was better than the more normal profiles, but still hard to work with, and I still found the image to break apart easily. I now shoot with my GH5 and the difference is like chalk and cheese. The GH5 in 10-bit is glorious to work with and you have to be brutal in grading to even degrade the image slightly, and WB adjustments in post are straightforward. The GH5 even in 8-bit modes is much more forgiving and I have now realised that my problem wasn't me, it was the difficulties associated with Canon CS when not white-balanced appropriately. Ironically, I found Canon with ML to be a completely different beast and suffers none of the problems grading shots with WB problems, so it's not the Canon hardware that is causing these difficulties, but the image processing - the magical Canon CS.

I agree. I think their theory that AI and image processing will eventually be the winning tech is probably correct, but we're likely a good amount of time away from that, enough certainly to implement phase detect and develop the DFD technology in parallel. The two technologies kind of compliment each other in a way, with AI learning what should be the subject of the video and which direction the focus should be in, and PD confirming which direction to go for each area of the frame. Still, who knows what this stuff costs to implement, so maybe the numbers actually do stack up, they'll be laughing as they pull ahed of the other manufs when the DFD works well, and they'll have saved some money along the way, but who knows

Could also have been a focus wheel, but a zoom would make more sense due to being so flexible. Just take an identical set of cameras and an identical set of zooms and you've got a pretty flexible setup. Just have a stand-in sit in each seat while someone frames up each one and locks it down and it would be a pretty quick setup time.

They're not the softest, but what they lack in enjoyability they make up for in shelf life!

Not favourite fonts, but you can create a clip (eg, title) and configure all the settings and then copy it to a Power Bin which is available to all projects, then you can just drag it out of there onto your timeline, kind of like a preset. You might need to go to View -> Show Power Bins to see them, but then there's in the Media Pool and you can just drag things between there and the timeline.

Never heard of that before.. try exporting the project as something high quality (like Prores HQ?) and see if the dud frame is in that file. If not, you can use the Media Management tool to transcode it to the h264 file you need for YT.

+1 for compatibility. I have a Spyder and an extended colour 99% Adobe RGB monitor but can't calibrate it in anything but sRGB, despite both products claiming compatibility with the standard. Buy the monitor (or at least choose the monitor) and buy the calibration device they have "partnered" with.

Yeah, that's more than a first impression. Great footage though!

Do you think it's a matter of getting used to the FS5 though? Each camera has its challenges that we have to work out how to overcome, so maybe it's just the devil you know...?

It depends on the cave wouldn't it? If it was a tourist cave then that stuff would already be managed, etc, and you'd be renting it out essentially, or using it on a day that it wasn't in use.

There's probably never been a better time to do it, because now you can get almost every piece of equipment to run on batteries. @tupp was right about gases and stuff, which is a really huge deal if you're trying to run a generator down there, but hello 2019 and its cheap LED lights and affordable high-ISO see-in-the-dark cameras! That leaves dealing with the authorities and working out what they will or won't do. It might be a good idea to ask around who has done such things before, as it's possible that they really don't like people making scary cave movies because they think it will scare tourists away, or maybe they like scary cave movies because scary movies are popular and people will come to the caves for excitement or whatever, you never know. I saw a great film once about homeless people living in a subway station and they got permission from (IIRC) the polish rail department to film there with the criteria that the final film must begin with a statement from the rail people, so it did. The first 3 minutes of the film was a portly gentleman from the rail department reading a statement about how the rail department wants to reassure the public that homeless people don't live in the subway and that it's clean and everyone should use it and that they are proud to support the arts, all while looking like he's completely terrified to be on camera. It was great! Can't remember the name of the film, but it was a first feature and it was really good, so if someone can remember then please let us know

I always shoot with the expectation I'll grade later, so I never really consider what things look like SOOC, but considering the combination of 10-bit modes with things like Cine-D etc, it's probably a great camera for that too. Especially if your grading in post can extend to putting a slight adjustment over the whole timeline to tweak things to your taste.

Considering how small it is and how many matt-black technical things are in a camera bag, maybe it should be orange Great stuff!

There is an absolute truckload of videos and blog posts and tutorials about how to get the best out of it, so there's no shortage of info. Just google it if something isn't immediately obvious

Yeah, sports at night is a tough gig technically, and I realised when I got there that I should have brought a lens in-between the 17.5mm and the 135mm. Ideally it would have been the 85mm F2 lens that I have thought about buying but can't justify, lol. Even the Helios 58mm F2 would have been useful as the longest lens I have less than the 135mm. [Edit: anyway, it's all a learning experience..]

Resolve is radically under-priced is the better way to look at it. Here's a history of Resolve I prepared earlier..... Having said all of that though, I still think you'd have to be doing hours of editing / grading per day to justify a control interface, or one that costs more than $50 anyway

I've heard wedding shooters talk before about insisting that the PA mic for the reception is put on a stand (even if it's wireless) so that it forces the people speaking to speak from that location. I think the rationale was that it provides an excellent place to put an external recorder / mic combo (on the stand), but also if you're a single shooter then it means you can get a tight / third angle from an unattended camera on a tripod that's been pre-setup and manually focused (in addition to an unattended wide angle and the camera you're operating which can get reaction shots). I've also seen people put a recorder / mic on the PA speaker itself with a strong attenuation to one channel as a safety precaution. IIRC it was literally an external recorder taped to the speaker stand and a LAV mic sticky-taped to the grill in front of the main driver in the PA speaker. Assuming that you set the levels correctly, it means that if there's a problem with what you're recording then the PA tech will also be hearing it and will fix it, instead of your line-out getting messed up accidentally at some point and no-one noticing.

You're welcome! Video is tricky and colour and colour science is especially tricky because it's a very very deep subject. The main levels I see in colour are: Use camera on full-auto in standard colour profile, don't adjust in post Dial in a profile to get the results you want in-camera, maybe using a grey-card and maybe not Shoot log using a grey-card and grade in post using LUTs and basic adjustments Grade manually without relying on LUTs to do the work Professional colourists I also hang out on liftgammagain.com which is aimed at professional colourists and in many ways the gap in skill level and knowledge between 3 and 5 (or even 4 and 5) is larger than the gap between 1 and 3. If you're curious to have a tiny taste of what a professional colourist skill level might be like, check out Juan Melara on YT. It's a fundamentally different kind of skill level. Here's a couple of videos to get you started: In talking to the professional colourists I've come to understand that the world of Hollywood and the real pros has basically no overlap with the YT world - if all you know is YT then you've never seen a glimpse of how that other world works, with the only exception I know of being Juan Melara. I'm happy to point you to other resources where pros hang out if you're curious. In this sense I appreciate that you're torn between people that haven't got a clue how little they know and probably complain about anything resembling work, and those with more knowledge criticising you for not catering to a more informed audience.

Not that I know of. There are some de-flicker plugins that might speed up your exposure adjustments though, if they've got a long enough time-base built into their algorithm.

After much time spent editing and even more gnashing of teeth in the colour grade, here's a teaser edit I did from the bull ride adventure. GH5... Voigtlander 17.5mm F0.95... Minolta Rokkor-PF 135mm F2.8... Rode VMP+ I wish I was better at this!