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Shot this video in Prores Raw 12-bit the other day with my Lumix S5: -Filmed on Panasonic Lumix S5 in 5.9k 12-bit ProRes Raw (recorded externally on Atomos Ninja V) -Camera mounted to DJI RSC2 Gimbal -Tokina AT-X 116 Pro DX-II 11-16mm F-2.8 (wide-angle lens) attached to camera via Vizelex Fusion ND Throttle Smart Adapter (EF - L mount) -Shot with V-log picture profile (original footage resolution was 5.9k 24p, and 4.1k 60p footage slowed down to 24fps) -ProRes Raw Files converted to ProRes 4:4:4 and some minor color grading and final editing was done in Davinci Resolve 17 (Final export was 4.1k 24ps) -Exported and uploaded to Ytube using 10-bit H.265 codec

Understood. Are you using Davinci for post-editing? Whenever I've had clips with different frame rates I make sure to first set my timeline to the desired framerate (and not let it automatically decide framerate based on the clip properties). then I just work on the ones that I want to conform first by doing multiselect on those clips and then right click, change speed, and set the framerate to 24. Also, I've noticed since updating to Davinci 17 that when I specify a project framerate of 24 fps, all those 23.98fps clips appear as 24fps once I drop them onto the timeline...so I really don't think the aforementioned additional step is even needed if using the latest version of Davinci 17 and specifying project framerate beforehand.

Thank you!

Would anyone care to explain how shooting in 24 fps vs. 23.98 has a tangible effect on image quality?

I will do a recording of the same scene using both formats--3840 x 2160 and 4096 x 2160--and verify whether that concern is legit or not.

I just checked my original files from the camera and framerate is 23.98. Would you be so kind as to explain more about why an exact fps of 24 is desirable? I'm not that advanced into videography to understand the difference that 23.98 vs 24 fps has on image quality...

New Firmware for entire Lumix S line of cameras can be downloaded here: https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/index4.html

Testing some night-time video with the Lumix S5 on the new Nov. 24th 2020 firmware! -Shot hand-held in 4K DCI using V-Log picture profile -20-60mm Panasonic L-mount kit lens

Shot in 2160p HLG picture style on the Lumix G9:

As far as the codec, yes its 10-bit HLG. I initially used the blurring effect on the close-up of the flower because i wanted that shot to look like it had more depth of field. Then I experimented on the other shots too, but yes I do realize that it doesn't look as good, especially on the wide shots.

Shot this 4K video on the G9 of my favorite park: -12-60mm Panasonic kit lens -HLG Picture style -Edited in Davinci

Starting a new work-week, working for a new weekend getaway with my new Lumix G9 😎 -Filmed in 4k on a Panasonic G9 4/3rds Mirrorless Camera with a Panasonic Lumix G Vario 12-60mm f/3.5-5.6 ASPH Power OIS lens -Cine-D Picture Style, graded and converted in Davinci Resolve 16 to Rec709 for export

Also, just want to give a disclaimer that I made a mistake earlier when I said that the 33 min video test recording mentioned above was 16 by 9 format. I opened the recording up in MLV and its actually 21 by 10...however, that's still a fuller look than 2:35 or 2:39, so it's awesome imo to be able shoot continuously in this mode, as well as 2.7k and 2.8k raw continous in the cropped aspect ratios. Before this latest build, I was only able to get continuous in the 1080 rewire and anamorphic pixel binned modes, where the image needed to be stretched in post and didn't look like true 2.5k. My next goal is to do a short film and try to film it entirely in 2.5k or above resolution.

Thx for that. I just realized how to make scopes visible in Davinci...did not have them visible while editing this and also realized that I had kept my brightness low on my laptop--so couldn't tell just by looking at it that the scene. you are mentioning was overexposed.

This has turned out to be an amazing camera and the best $150 I've ever spent! I purchased it pre-owned a few weeks ago just wanting something i could quickly use on the go for quality shots and now I have a cinematographic beast on my hands thanks to this latest ML build!

Here is the latest build which I was using for the recording test above: https://drive.google.com/file/d/144TxEEVYpHpMK0t77y3sKj_ZeTGRuY3L/view

I can confirm that the Magic Lantern build I am using does bypass the factory record limit on the Canon EOS M! I was able to record continuous 2.5k Raw (2512 x 1190, 16:9 format) for 33:51 minutes, reaching the capacity limit of my 128 SanDisk Extreme Pro (170MB/s). See snapshots below:

Recording about 1 min of 2.5k RAW produces a file size of about 4 GB... I'm currently using a 128 GB Sandisk Extreme Pro (170 MB/s bitrate) and so I should be able to record about 30 min. That being said, I'm still learning Magic Lantern and have not had a reason yet to record more than a few min at a time. As soon as I get a chance though, I'm going to do a test recording and see exactly how long the camera can actually record in raw without stopping. Will post a screenshot of my results 🙂

Updated video using higher quality export settings workflow: RAW MLV clips from EOS-M ---> CinemaDNG lossless ---> Edited and Graded in Davinci Resolve 16 (free version) --->Final delivery codec for YouTube Export was .mov / PhotoJPEG w/ 250mbps bitrate. Still some noise due to high iso settings (3200+ for the indoor shots) but better than initial export above (h264 codec)

I will go back and encode directly from the lossless DNG files created in MLV app and upload that version to YT. That being said, if your point of reference is a Fuji XT-3, that's not an apples to apples comparison based on the respective specs of the two cameras: https://cameradecision.com/compare/Canon-EOS-M-vs-Fujifilm-X-T3 Really the only similarity between them is that they are both mirrorless...other than that, the Fuji is 6 years younger, 5 times more expensive ($1000 vs $200), has 8 more megapixels (26 vs. 18 on the EOS-M), and also has a BSI-CMOS sensor vs. a standard CMOS sensor. Just from those specs, it seems obvious that the EOS-M would have more noise, especially in low light, and less sharpness. Also looking back at my shots, I had to push the ISO to 3200 in some scenes, so keep that in mind as well. My 15-45mm kit lens has a minimum f-stop of 3.5...so not exactly the best for low-light. I hope Zeke can weigh in on this issue as well, as he has way more experience than I do in terms of pushing the EOS-M to its maximum possible image quality, but this seems like it has less to do with editing/encoding and more to do with the fact that your camera just has a better image sensor.

I'm still learning and found out that my editing workflow was not ideal. I was using Zeke's suggestion of exporting the original MLV Raw footage to H265 MP4 and then doing all the color grading and editing on my iPad Pro in LumaFusion. The reason I'm using this workflow is because my desktop is really old and encoding even 2k video is painfully slow. With LumaFusion on my iPad Pro however, I can edit seamlessly and encode 4k almost in real-time. Did you play it back using 1440p and 2160p on YouTube? I didn't think it was that bad honestly when you play it in those higher res modes on YT. I played it back my 4k monitor and did notice some grain on the higher ISO shots...I used the 15-45mm ef-m kit lens) which is not the best for low light btw...That being said, I don't see such a glaring difference as you describe when comparing it with other EOS-M videos shot under similar conditions and using the 15-45mm kit lens. If you would be so kind as to give me a reference point for what you would consider a non-grainy image, I would really appreciate it.

Hello everyone, I just recently picked up an EOS-M after being inspired by Zeke and wanted to share a short film I shot using Danne's new ML build (7/29/2020): https://bitbucket.org/Dannephoto/magic-lantern_jip_hop_git/downloads/crop_rec_4k_mlv_snd_raw_only_2020Jul29.EOSM202.zip YouTube link to my short film, "A Venetian Splendor on the Gulf:" Shooting Conditions: Shot hand-held using neck-strap to stabilize 15-45mm EF-M lens 23.972 fps 12-bit, raw 4k anamorphic and 10-bit 2.5k raw clips Exported from MLV as h264 12-bit mov, up-scaled to 2160p and graded in LumaFusion