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A great benchmark. Do you still have that XC10?

hmm to be fair this theory of “everyone who is involved and interested in this clearly terrible product is a pedophile” makes more sense than anything i can come up with

Thank you very much , you helped me a lot.

Went hot-air ballooning and if there was ever a challenge for shooting, this was it. Extreme low-light and extreme DR from hugely bright light-sources. They say you can't take bags in the balloon, and it had been really wet weather, so I decided to go small. I took the GX85, TTartisans 17mm F1.4 for the low-light, Laowa 7.5mm F2 for an ultra-wide, and the 12-35mm F2.8. I was a bit cheeky and took a sling bag and kept it under my jacket. The requirement is that nothing is loose in the basket and that you can hold on with both hands for landing, so I figured my bag under my jacket was basically the same as having a big pocket. It's a crazy early start. We arrived in the field before first-light and they started setting up in pitch darkness guided only by torches. I started shooting at F1.7 and needed ISO6400 at first to get any kind of level on anything except their torches. I shot on the 17mm at F1.7 and gradually reduce the ISO until the balloon was mostly inflated, then swapped to the 7.5mm for a few wide shots, and then swapped to the 12-35mm F2.8 and it was time to get in the balloon and off we went. I also shot with my iPhone 12 mini for some quick shots using the ultra-wide when I didn't want to change lenses, and also as we were approaching landing, as I had put the camera away in anticipation. It was super-foggy and the pilot ended up having to land early and for a while we were going pretty close to the treetops so I'd put my camera away when he told us that he'd be landing at the next opportunity. Frame grabs.. mix of GX85 and iPhone, put through a quite moderate FLC pipeline. In retrospect I took the complete wrong equipment and used it in the wrong way (so, it's business as usual!) but the FLC pipeline really took the footage to the next level, and I used just enough strength on the film emulation to get rid of the digital look to the images. Here's a comparison. Grade (same as above): SOOC: The GX85 has super-whites so despite being SOOC that image is actually slightly clipped in-post and some highlights can be recovered, which the FLC grade has done, but you get the idea. The SOOC is with the GX85 default profile and has much more of a video look to it, despite being pretty good compared to other similar cameras. If I was to take the same equipment again, I'd lean into the darkness and just use the 17mm at F2.0 where it cleans up and use the GX85 at something sensible like ISO1600. This would have the early shots as perhaps being unusable, but it would mean that the torches the crew used wouldn't have been clipped (I clipped them in favour of exposing what they were shining on). We're going to go again later this year, and for that I plan to take the GH7, 9mm F1.7 and 14-140mm F3.5-5.6. This will be a much larger setup but if I use a neck strap then I only have to have one lens in a pocket and so I won't need a bag at all. I just bought the 9mm F1.7 and it's sharp wide-open, so apart from having AF, it is both an ultra-wide as well as a low-light lens. I can crop in-camera and/or in-post to get a tighter FOV, but you don't normally need long focal-lengths when it's that dark. The more I use this FLC pipeline the more I like it. If I'd have shown these images to my 2018 self, I wouldn't have believed me when I said that it was me that made them.

The question you asked was “Is it possible to record only Log without the LUT with the G9 MKII ? And how? I haven't found it.” That was the question I was answering. The question you should’ve been asking was if it was possible to record Log without the LUT whilst using a monitoring LUT. For that you need to use the view assist.

Thank you But I know this video, it doesn't prove that with the Lut on, the log is recorded in log format. I don't think you've tested this setting yourself, because that's what I do: - either the Lut is applied on the monitor and it's also recorded. - either the Lut is off, and a log is recorded, but you can't monitor your exposure in Rec 709. Is it strange that no one noticed this ?!

Turn the Real Time LUT feature off to not bake it in.

I'll repeat my question; my English is poor. With a monitoring LUT V-Log to Rec 709, it's impossible for me to film in Log without recovering the LUT when recording with the Lumix G9 MKII ? Is it possible to record only Log without the LUT with the G9 MKII ? And how? I haven't found it. Thank you very much.

Greetings Friends! More seamless texture images are ready for you on these pages on my site: https://soundimage.org/txr-brick-seamless/ https://soundimage.org/txr-concrete-pavement-seamless/ As always, they're 100% free to use in your projects with attribution, just like my thousands of other images, Mp3 music tracks and sounds. It's all original...all my own work. Here's a preview video showing some of my textures: https://youtu.be/ZYIZjpb3I3c?si=g68J8QhnaZHChwB2 Ogg MUSIC MEGA PACK Speaking of which, don't forget to check out my new preview video for my Ogg Music Mega Pack...it runs just over an hour and has chapter markers so you can get a good preview of the various genres in the pack. It's also kind of fun to listen to while doing other things...hopefully it'll give you a good idea of my music if you're not yet familiar with it. Here's the link: https://youtu.be/W7yQVscjqUM?si=wD1XqAOJ6_Lswgqw OTHER USEFUL LINKS (I hope) https://soundimage.org/ogg-game-music-mega-pack/ https://soundimage.org/ogg-music-packs-2/ Enjoy, please stay safe and keep being creative! 🙂

No thanks 😂

PS — Just to answer someone else out there to whom I’ve sent this link: Nothing against it looking like video, if so. Video is cinema : P If this means looking like it was made for the big screen in terms of narrative — well, docs are usually made in a different form. But docs are also cinema ; ) That narrative form, usually made for the big screen, can also be reached through distinct ingredients such as cadence, dynamic range, lighting, framing and their respective language each element carries. Not to mention editing, pacing, sound design, and how it all aligns with intention. That is, further to that — narrative intent doesn’t depend solely on medium or format. Whether fiction or documentary, cinema arises from how all elements are orchestrated: rhythm, texture, spatial composition, sonic atmosphere. The so-called 'cinematic look' is less about resolution or gear and more about coherence — how lighting interacts with story, how movement informs meaning, how editing shapes perception. A documentary can be just as evocative, immersive, and crafted for the big screen as any scripted film — sometimes more so, precisely because it plays with reality through an authored lens. Think of the slow-burn, meditative tempo of Chantal Akerman’s News from Home, or the hyper-composed observational poetics of Gianfranco Rosi’s Notturno and Fire at Sea — all undeniably cinematic. Or the emotional montage and reflexive voiceover of Agnès Varda in Les glaneurs et la glaneuse, merging essay film and personal documentary with formal invention. Even in cinéma vérité — like Frederick Wiseman’s institutional portraits — the framing, duration, and soundscape create a cinematic rhythm far beyond "capturing reality." Lars von Trier’s The Idiots (Idioterne) and one of my favourite ever (as you well know ; ) offers another perspective on cinematic form, blending the boundaries between staged drama and spontaneous behavior. Shot with a raw immediacy and handheld style that can resemble documentary, it challenges traditional narrative structures and pushes cinema toward an exploration of social taboos and collective behavior. The film’s use of naturalistic lighting and unpolished texture contributes to its unsettling, immersive atmosphere, underscoring how cinematic expression can emerge from both form and content in provocative ways. Closer to us ; ) Portuguese cinema brings its own deep contributions to this idea of documentary as cinema. Pedro Costa’s Vitalina Varela or No Quarto de Vanda / In Vanda’s Room unfold in shadow and stillness, shaped more by presence than plot — fiction and documentary blending until the line dissolves. And Manoel de Oliveira — whose films stand almost outside time — gave us a cinema where documentary, poetry, theatre and metaphysics cohabit the frame, inviting reflection instead of reaction. Also worth noting in the video I’m commenting on here (shot on the Panasonic G7 with cheap C mount glass such as Kern Pizar 26mm f/1.9 and Cosmicar 12.5mm f/1.9 lenses) is the distinctive grain structure — a tactile, organic texture that enhances its cinematic feel. This film grain, far from being a flaw, enriches the image’s atmosphere and adds depth to the visual narrative, demonstrating how video can carry a rich, sensory cinematic language all its own. All this just to say: the tools of cinema aren’t bound to fiction, nor to any one format. If it resonates, constructs space, breathes rhythm, and asks something of the viewer — it’s cinema, regardless of whether it was shot on film, video, or through a window.

Busy day?

< Off to desperately search for a G9ii review by someone called Wright so I can make a two wongs don’t make a right quip>

Just a note for @Andrew Reid: that's Richard Wong, not Robin Wong... I know, both review M43 cameras.

I don't quite understand, but I have the impression that it's impossible to shoot in log without baking the display LUT? Strange, less interesting.

I don't quite understand, but I have the impression that it's impossible to shoot in log without baking the display LUT? Less interesting. I think Sony allows it.

That's what I always say to my people… This camera is a gem. Lets you use unique glass that’s nearly impossible to mount on anything else unless another MFT format device but what cam? ; ) This is what cinema is made of — and still made with ;- )

Kern Pizar 26mm 1.9, Cosmicar 12.5mm 1.9 (some shots are punched in to crop out the vignetting).

Love this camera! : ) Right now, I have a crew to start working with my arsenal based on 4x units... What C mount lenses used there?

I actually came back here after I don't know how long to figure out what camera to get. I've loved my Panasonic S5, until the LCD broke. The frame is now off-center and stuck in selfie mode. Very weird, especially since I babied this camera. And it's past the 6 month warranty from mbp. I bought a nice new external monitor, bit I hate rigging it up. I was thinking of selling it and putting the (probably) meager amount I'd get for it on ebay, now that it's faulty, to another S5, but now I'm afraid any copy I get can break down on me like that. So I'm trying to figure out what to get instead. Recently I finally upgraded to Resolve studio and I've been remastering old projects in 4K. I'm surprised how good I can make old footage look. I have shorts shot on the GH1, Nikon D5100, and the Sony a6300, which I can make look really good in spite of the "old, bad" Sony color science. Even the short on the D5100 looks great. I've already thought for a while that we've had great image quality for a long time now, and the advancements in software have extended the life of these old cameras. All I really want is something compact, with good 1080p that doesn't have horrible artifacts or chroma noise, uncompressed internal audio with good preamps, enough dynamic range that highlights don't blow out so easily (I can live with dark blacks and even kinda prefer it) and long battery life and is easy to use without rigging it up. Oh, and doesn't overheat. I've been trying for a while to pare down my gear and see how far I can go with minimal equipment, which can be burdensome. I totally get why my favorite director, the late David Lynch (RIP) loved shooting with the Sony PD150. He knew it looked like shit but he loved the creative possibilities it gave him. He could shoot stripped down without a crew and cumbersome equipment to slow him down. He called the PD150 his "ugly, beautiful little thing". It's why I loved shooting with camcorder and the GH1 int he first place. I want to try and de-program myself from the cult of pixel-peeping and dynamic range charts and just embrace the "ugly". Any recommendations? I liked the G7 a lot when i had it. Here are some old short (and sample footage) remastered: "Ballad of Crazy Pete" was shot with a hacked GH1 (100mbps hack although it never yielded bitrates that high, some shots in that short are as low as 10mbps) "Crappy Halloween" was shot with the Nikon D5100 (or was it the 5200?). I don't think I used nay flat or special picture profile. I'm still remastering Chicken but here's a grading test I did with resolve. Shot on the a6300. 8bit Slog 2 with the "old, bad" Sony color science. All of these have film grain applied. Without it the remastered images were pretty clean after light NR (not all shots needed it). Just for fun here's an old G7 test video from like 2017. Shot in 4K, but I don't have the raw footage anymore so this is just the original 1080p export scaled to 4K in Adobe Media Encoder. Another thing to note, I recently did a paid video gig with an old Canon HF100 consumer camcorder. I bought it for like $60 just for fun "vibes" and the client, who is a young woman in her early 20s, got really excited when I said I could shoot with an old camcorder, and requested I shoot with it. So times you don't need the latest and greatest.

We live all in a weird world today but blame Marvel! LOL ; ) EAG :- )

We have today a new sub-forum expressly open by our webmaster in order to include this niche as many others of similar kind. Have you already noticed it? https://www.eoshd.com/comments/forum/38-gimbal-dji-drone-action-cameras/ I believe once up now by Andrew, it would be nice to have a few selection of these threads moved to there instead? If not for anything else, it might help to establish a new trend and become people here used to visit the sub-forum too, increase the visibility and diversify the offer for valuable information on topic.

Just as an add-on to the topic: Feiyutech realsed a new Scorp Mini, with stronger motors (good) a detachable wireless back handle (kinda good - the remote function is interesting, but I have concerns about robustness) and an updated tracking model (better, but not as good as DJI's). Performance look almost on par with the RS4 Mini, but much cheaper.

We’ve been using AI intensively lately in all aspects of business and this industry too, and I’m still amazed at how much it contributes to putting food on the table for all of us. This isn’t about violating copyright, but rather about using AI with goodwill — it serves people and helps generate income for our families and coworkers. A dream made real. Fits creation. It doesn’t serve (at least to me) to replace anyone or anything (far from it!). I don’t need to see much to get that. On the contrary, we now have an army at our service ; ) When in good hands, there’s really not much doubt about this new kid on the block. I guess no producer is refusing these precious hands and brains. I confess, I love tools! And no less, what people can do with them! ;- ) - EAG