kye

That's the US... so a budget of 30K per cam minus 25K for insurance coverage leaves 5K...

I'd suggest not getting too far into the weeds with this - people get all funny about things like this when in reality they don't really have much significance. Start with a goal, such as the ability to shoot some situation or other and have the final graded results be of a certain quality, and then work out what is required for that. Others might disagree about this, but I think there isn't a single situation where the difference between uncompressed raw and 3:1 compressed raw actually makes any visible difference to the final edit, let alone what is visible once it is compressed to the deliverable. Doubly-so if you're delivering to a streaming service who will compress the living daylights out of the file.

...a skintone comparison it sure 'aint! But if you know what you're looking at then other things can be inferred.

THIS. They're constantly seeking to make the site/app better. and "better" means more profitable. Absolutely. Changes are to bring something of value. Value. Shareholder... value. Maximise shareholder value. .... remember, if you're not paying, you're the product!

I have a vague recollection that a recent camera allowed multiple framing guides at the same time so you could put up the vertical and horizontal boxes at the same time on the monitor. Seems like a good idea, but can't remember where I heard it.

They were shared privately, but there will be a YT video, so will share that when it surfaces. The images I saw were partly graded so were more a work in progress sort of thing and most likely will get changed before publishing. I haven't seen comparisons of GH7 V-Log capture -> CST to LogC vs GH7 LogC capture, which would be the comparison you'd want to see before making a purchase decision. It might be that the GH7 LogC doesn't match Alexa colours, but it might still be better than capturing in V-Log and grading from there. I think it's a real pity that ARRI didn't go absolutely nuts and profile the sensor and then have a 64x64x64 LUT that matches it to an Alexa within the GH7 DR range. It's not like the GH7 is going to cannibalise Alexa sales....

If you shoot for social media then you might need to publish in vertical, square, and landscape, so open gate means you don't have to film the same thing three times. Also, anamorphic..... Also also, GH5 from 2017 had it, so "recent" is a relative term. Also also also, film had it from before most of us were born, so "recent" might not be the right word....

Probably not. But you probably don't want uncompressed RAW because the file sizes are astronomical. There are compression schemes which are very close to be visually lossless, which are almost as good, and save a significant amount of storage. Depending on your needs, you're likely willing to sacrifice some image quality for some space savings. For example, you might accept a 1% loss in quality for a 50%+ reduction in file size, etc. BRAW has compression ratios between 3:1 and 12:1, even on their top cameras, so the artefacts from huge compression ratios can't be that bad, and you can get a lot of compression before people can even notice.

YT keeps changing things, maybe this is the first time they've done something you didn't like, or maybe you never noticed before? They've made two changes in the past that fundamentally changed how I use the site, which annoyed me no end, but it is what it is. When will they stop? Never. This is because: If you don't change you die. If you don't believe me then feel free to make a post about it on your myspace page. Things are improving, for the most part, and A/B testing is how they work out what to do, which is the scientific method which built civilisation. If you think things don't get better then fire up Windows v1 and your old Nokia. I'll see you in a week once you remember how to manually setup the TCPIP stack to get network connectivity working. Improvements are made incrementally without people noticing. If every few years Facebook or Google released a new version then it would confuse the absolute crap out of everyone, but when they trickle the changes through in tiny little bits then no training is needed and mostly people adapt pretty smoothly. For example, Amazon makes changes to their live website 2-3 times per day on average.

I've seen some early ARRI vs GH7 LogC images, and let's say they're.... not similar. For anyone hoping to get a pocket ARRI, lower your expectations. .....and go back to working on your colour grading.

wrong thread. dammit.

I guess mileage varies depending on how you look at the footage. What I see in it is: pretty heavy grade done but footage looks consistent and hues look right, including skin-tones this indicates that the sensor and profile behave well in the grade and don't get pulled around in unnatural ways - this is a lot less common than you'd imagine and many of the grades I've done end up making different tonal or colour regions of the footage don't look coherent with each other.. saturated edges look fine this is very difficult because doing a strong subtractive saturation operation is very challenging as it stretches tones apart significantly based on their hue. this is especially difficult on edges where if you have an edge of a coloured object against a neutral object then in the space of a few pixels you go from saturation being low to being high, now this wouldn't normally be a challenge because maybe they're at a similar luma level but after the subtractive saturation operation the saturated pixel is now significantly more saturated but more importantly its also now dramatically darker. this will ruthlessly reveal compression artefacts on edges, and is the primary reason that I have to go B&W and blur the absolute crap out of any footage I shoot on the cheap action cameras etc for cheap camera challenges greens look good shots like the dog at 0:54 show deep saturated greens in the foliage in the background, which have clearly been significantly altered. in real life the graduations in greens amongst footage like this are very subtle, and yet the colours in the video look dense and the opposite of stretched low-quality footage, they have a density that is reminiscent of the things that the 5D with ML does very well (but I'm not saying this is at that same level - this video isn't enough to judge that) anyone who has declared war on yellow-ish greens like I have and tried to grade them back into looking lush (or even just not dead-looking) will know the whole thing exists on a knife edge. the fact that you're cooling the shadows and warming the highlights (which this grade does quite considerably) also stretches the greens too shots look to have usable DR in outside scenes in full-sun on surfaces that would be blindingly-white there is an effortlessness to the colours when you look at film there is an effortless coherence to the whole thing, like it was always going to be this way that it would be silly for it to be any other way - the colours in film look like this was their destiny - you don't question it. this coherence is incredibly rare for digital and especially smaller sensors when not given enough light, so although the outside sunshine pics are great, it's the inside shots with the deep shadows that show off a coherency into the lower registers of the tonal ranges. the colours don't cheapen, they don't thin, they don't shift, or become glaring or dull, etc. etc. Hollywood colourists can work low-level miracles, but will be the first to tell you that if the footage is lacking then there's a limit to what they can do - more would be asking for high-level miracles! Either this footage is good and the colourist was a super-star, but considering this is a YT video, I'm leaning on it being a good-to-very-good grade on top of very capable footage. The more I colour grade my own footage, the more I see when I look into the footage of others.

Not a clue. Seems odd to criticise a video if it doesn't answer every question you ever had about something! 😂😂😂 But, it's ok, comparisons are coming.

Panasonic must be pretty confident about the LogC implementation. They got this guy to shoot a film with ARRI as A-cam (Mini LF) and GH7 as B-cam, and also specifically told him to try and break it (which he failed at, despite it being kicked into a brick wall and falling onto a concrete floor from shoulder height - twice - as well as taking other knocks). and the short film itself:

Some stunning footage at the start of this one...

but only one at a time.

Nice. It also takes the weight of the rig, which is awesome too, especially if you're rocking a C300!

I also like the approach that @mercer told me of putting camera on a monopod and putting the 'foot' of the monopod into a tapemeasure holder (like a little cup basically) mounted to your belt. All the benefits of a monopod, but completely portable and much less visible to by-standers etc.

Good thing you weren't in the game pre-COVID - Iceland was the top destination and there aren't enough warm coats in the world to make that place a hazard-free zone!

You forgot the S9! The other thing to consider is that Panasonic makes a product strategy decision and then 5 years later that decision resulted in a camera that doesn't align with what consumers and competitors did in the 5 years in-between, but consumers are like "last week we all decided that X was most important and now Panasonic releases this without it? are they even listening?!?!"

Nah, I just meant staying extra time. Maybe they travel enough and so time abroad doesn't matter much to them, but I just figure that if you're planning on shooting half-a-dozen videos about cameras and lenses and accessories and then Panasonic says they'll fly you to Japan and back, maybe you ask them to delay your return flight by a week and for the cost of a hotel for a week you film the outside parts of your other videos in somewhere interesting rather than that same spot you keep going back to for video after video, plus you get a week of the worlds best ramen and sushi instead of your local whatever.

37 mins minimum. The days of 2s clips when accidentally double-pressing the record button are finally over!

Next release ... GX85mkii with GH7 sensor and LogC!

More finished work..

Maybe they stayed in Japan after the event?