TomTheDP

I think one of the issues is the S1H I believe only does 12 bit linear out. This really shouldn't give much benefit over 10 bit log. If it was 14-16 bit RAW you'd probably notice more of a difference. I think an advantage of RAW is if you are using different cameras on one project and or using Final cut or Premiere which don't really have ACES options.

Very odd. I'd definitely be interested in how the Sigma FP-L in 12 bit compares to the Sony.

The S1H lost that aggressive NR in later firmware, the GH5 had similar issue at first. The S1 never had the aggressive NR though, probably one of the better cameras in terms of an organic NR free image, it was rated at 12.2 stops. The C70 in RAW is 12.3 stops, which is very close to what the S1 is doing. Of course the S1 may have less dynamic range in RAW due to the likely less processing going on. But from using both cameras on projects the S1 seems to hold highlights better while the while the C70 is better in shadows. But I know people have noticed the C70 in 10 bit is doing a lot of processing, which is why I assume the dynamic range in RAW is less.

yeah meant to quote abe. In terms of the the DGO sensors it is cool to see. Apparently the URSA mini 4.6k was DGO as well. The only thing is the C70 and also the GH6 don't seem to have more dynamic range than say the S1's non DGO full frame sensor. I am curious to see if we'll get a full frame DGO sensor from someone. I kind of prefer single ISO sensors to dual for whatever reason.

I never liked using S35 4K mode on the S1 as it always looked softer and noisier, especially above 800 iso. It is just surprising the Canon in FF 4k mode looks worse.

Man that speaks really badly for the Canon.

Just to contribute to this resurrected thread, here is my Alexa Classic on a music video recently. Heavy but beautiful image.

Especially older films when it was all film. It is definitely less common these days but I have seen it, I think there was an out of focus shot that was very noticeable in the last Thor film. With super shallow DOF tracking long takes some soft focus is definitely common. I suppose its a little more critical for short form social media stuff as every shot is more apparent. Or maybe it matters less as such content is usually so short lived.

Most people like Sony these days though. But another thing is mixed lighting conditions, which is where a lot of cameras struggle. I think one thing higher end cameras are known for at least in the cinema realm is maintaining pleasing skin tones while also maintaining color accuracy. Film stocks definitely give a pretty stylized look though and everyone is using film conversion luts these days.

Must have something to do with the slightly different sensor variations and probably just lack of budget to really do things like make a custom lut for each model.

Why would they not release a new lut after intentionally changing the color science though.

It's very interesting how color differs from the lower end to higher end cameras. Even from S1 to EVA1 to Varicam. Is this carelessness or further market segmentation.

Very interesting. Very bizarre mistake by Panasonic if that is the case with the S1.

The GH6 needs PDAF.

Looks like the improvement on the lower end models is pretty significant but falls off with the higher end M1 models.

I think I'd pick 35mm on both S35 and full frame sensors. Just always tend to grab that lens.

I have seen amazing deals on used M1 Macs. You can often save 75% sometimes even 50%. Tech devalues so fast it is crazy.

I had a RED Scarlet MX for a while. My Panasonic S1 had better highlight retention. The MX was noisy but the shadows were richer. Now comparing it against the S1 in RAW might be a little different. I do really like RED and ARRI's color compared to other cheaper cameras I have used. They just hold shadow color so much nicer at least to my eyes. Pitting it against the C70 with RAW might start really skewing things against the MX. I have used the RED Epic Dragon quite a bit and that guy is definitely a real winner in almost every category except high ISO. Modern cameras are definitely a bit more versatile due to their high ISO capabilities. But if you have a bit of light to work with and aren't shooting any landscapes at night, cinema cameras definitely look better IMO. In any given side by side you might not notice, but for example working with a sigma FP and ARRI ALEXA side by side on a feature where I have a ton of footage from both cameras, I am really seeing how much easier the ARRI is to deal with.

It's my advice after years of owning and using the camera over many projects. For weddings there isn't a lot of time to deliberate on precise exposure, especially since REC709 monitoring is trash on Panasonic. Unless you are doing a silhouette shot it is what I would advise. I don't think I have ever been let down using this method. If you are used to shooting and exposing for the rec709 profiles on the Lumix I don't think you'll like log at base exposure. Personal preference of course just my advice.

I personally like dovetail, quick release ones are the best. Pricey though. I don't like VCT.

I don't shoot Sony. But I always over expose regardless of camera RED, ARRI, Panasonic, etc.. All cameras generate noise, if you want a clean image you overexpose, same goes for film. On RED or ARRI I just shoot at like 200 iso. ISO on the Panasonic in log is fixed though. If you like a bit of noise base exposure works. I personally do like grain so I sometimes will even shoot at say 1600 iso on ARRI to bring that out. For most stuff I assume people want it as clean as possible though. I also just don't think Panasonic looks as nice in the shadows. You don't really need to overexpose in very bright conditions but if you in a high contrast or low light situation its great.

My suggestion with LOG is just to expose 1-2 stops over, just using the cameras light meter and then nail WB of course. I like Filmconvert a lot

Interesting, I almost exclusively was using emotive colors LUTs as well as over exposing by 2 stops. But yeah it's never been my favorite image straight out of camera. I think I would still give that to Canon.

I own the Classic. It definitely has the best image in the game in terms of color accuracy and dynamic range. It is also just an industry standard image wise, super hard to mess up in post. I think the F35 has a more unique image though, almost film like. The Alexa does too but its a cleaner more neutral image. The F35 is also a bit less power hungry and a bit smaller, though possibly more awkward. Having simple 12 bit internal recording up to 60p and 120p 10 bit with no cropping is nice on the Alexa Classic though. No external recording required.

Would be interested to hear your findings with Emotive colors LUT. Things like this is why it's nice to shoot ARRI, although like you said simply shooting RAW on any camera would at least give you the data to get you where you want to go without artifacts.