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Will have to check it out!

And the utter lack of it has me admiring Ripley on Netflix right now. I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production. Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great. Sorry it’s not a Joker II comment 😛

I should add that anything that does require a tripod such as full length ceremony and speeches IS being captured by the S1H on a tripod.

Purely walking backwards in front of a couple walking towards me at approx the same pace. Tried it previously with the gimbal and of course that works perfectly. Tried it with just the S5ii IBIS and with/without current EIS with mixed results. The new level looks 👊 Job done so good I sold the faffy gimbal and instead, from next week, I’ll just assign it to a custom setting et voila. The rest of the day, ie, everything else is IBIS only which is perfect for the job. I do not have the time to tripod every shot and a monopod also gets in the way so a super steady handheld shot is key for me and IBIS alone with the S5ii achieves this. I’ve even held it 2-3 minutes previously and whilst you can tell it was not on a tripod, it’s not far off and there is no real camera movement. I’m not a camera movement kind of guy so don’t talk to me about panning etc 😛

Very interesting dialogue, glad i found this!

For general video, I prefer a small amount of 'float' in the stabilisation - it looks more natural. For handheld or monopod long telephoto video, I need all the stability I can get, so it's Panasonic 'IS Boost' or Oly/OMDS '+1' level stabilisation in that situation for me.

To be fair, I vaguely remember the OP stating at some point that he/she likes to have discussions about gear. And let's be honest, this forum is primarily a gear forum. Perhaps the OP should mention that this discussion isn't necessarily about a decision he's currently planning on making and instead it's about learning and gathering information. With that said, @kye has a fair point. These cameras are only tools for creative endeavors. These cameras will not make the film or color grade your film or make your film good. At the end of the day, story is king. I would suggest to the OP that they take some time and go back and look what people were creating when the DSLR revolution began. Look at t2i and GH2 videos to see what was possible with limited resolution, DR and resources.

...and if they had picked one up and shot with it, they might like or dislike it for reasons unrelated to the video it can produce (like where the buttons are, how the menus work, battery life, monitoring options etc.).

One of the reasons that people are getting frustrated is that you're "asking basic questions," but then basically ignoring a lot of the answers. It's like you keep asking what saw makes the best cabinets. When people tell you that you need more than a saw, you start asking people to compare brands of saws. Which cameras has the best color and in-camera noise reduction? All of them. Also, none of them. Go to NAB and ask 100 people on the floor. Every one of them will be completely correct. Every one of them will be completely incorrect. How do you know? Ask almost any of the others. It is also a bit frustrating that you are asking questions that seem like you are trying to choose which camera to buy and after you receive a bunch of answers, you shift your focus and start asking again. If you want somebody to yell at you about which camera has the best colors, go to YouTube. There are dozens of people shouting about how the camera that they bought is the best camera ever. Then just try to ignore the other videos from all the people saying it's the worst camera ever. Heck, there are already dozens of videos just about the Pyxis talking about how it's the best camera released in years or the most ho-hum camera announcement so far this year. Bonus: almost none of the people with those videos has even seen a Pyxis in person, much less actually shot with one.

What situations do you need that level of stabilisation for? In terms of stabilisation, MILCs really have a long way to go (but a lot of potential!) compared to the crazy level of stabilisation that GoPro etc showed was possible. Obviously there are many factors involved, but there's no reason we couldn't get very good stabilisation from MILCs. One thing I do see, however, is that it's possible to have too much stabilisation if the camera is moving in 3D space, because if you stabilise too hard then you get that gimbal effect where the camera is locked onto a direction but is floating around in space like a drone trying to hover. If the stabilisation isn't quite as good and leaves a little shake in the frame then the floating blends in with the shaking and it just looks like hand-holding and doesn't look so odd.

Instead, people respond to posts that weren't written and proselytize and talk down. It's pretty pathetic.

Literally a non-controversial, non-trolling, basic question that you can partake in politely or not.

Not really, I've asked basic questions for discussion purposes but the elitism and condescension as your post demonstrates is strong here - i'd rather just find a place with more amateur enthusiasts rather than certain folks who think highly of themselves

What software are you grading in? and what's your pipeline? I'm in Resolve, so tend to use Colour Space Transforms, which gives a whole other way to look at things because everything is on the table... the ARRI LUTs, Print Film Emulations, etc etc. Lots of discussions about equipment occur here, but it's basically impossible to discuss cameras without doing it in the context that they're for a particular thing. Otherwise you could be talking about how the GH1 is better than the Z8 because it makes a better paperweight, or how an AE-1 is the best camera ever because when you mount it on a pole in your cornfield the sun glints off the mirror and keeps the crows away. Without context there is no basis to discuss anything.

Your questions have already been answered here. You're simply just trolling at this point, and not very well at that. Not sure what exactly is is you ARE looking for..

Don't take forum discussions and comments quite so seriously - Kye discusses equipment too. I think this forum has always been biased towards that side of things. But the equipment is used as creative tools, so both it and the creativity are very much linked together. But if you're mainly interested in the equipment that's fine as far as I'm concerned - probably most of the threads on the forum are related to equipment and tools.

Same! The color really brought us into a different/alternate universe!

I just realized - I did come to the wrong forum. I just assumed this was a wider community than what actually is. Many view themselves as filmmakers. I do not, I’m sure there’s other forums/places to chat just about equipment etc and not ruffle weathers of those who see themselves as “filmmakers”.

Actually unreservedly loved it. I'm finding that I'm gradually getting further and further away from preferring verite/realistic looks and getting into the wilder end of things!

I agree. I often apply an S shaped contrast curve, compressing the highs downwards and lows upwards and expanding the mid-range to increase contrast. Balancing the compression and expansion (and the inflection points) to get it look nice is the tricky part of course.... And then there's the accuracy or otherwise of the Rec 2020 to Rec. 709 colour conversion - I think every HLG to Rec 709 conversion LUT I've tried has a different take on this...

Agreed he was really animated and passionate thought it was a cool breakdown of the trailer. What was your take on the first film?

Not at all surprised - doing that is far more complex and creative than the simple documentary stuff I normally produce.

I'm not familiar with the GH5v2 but Panasonic was (at that time) updating cameras with all the user-feedback, and your description was certainly things that the community was wanting. I definitely agree that one of the main challenges is taking a clip that was shot in LOG and has 10-14 stops of DR in it, and somehow stuffing that into Rec709 which has just over 5 stops of DR. This obviously manifests in having to crush or severely compress various areas of the luminance range, but it also means that the source material can have colours that are dramatically more saturated than Rec709 can contain and you'll need to work out how to contain those too. Once you have enough DR to shoot the scenes you need to shoot, having more is actually a liability rather than a feature. I co-produced a 5-min short with my sister a long time ago, and we estimated that all up it had 10,000 person-hours in it. But enough of this blasphemous film-making talk - we should go back to talking about camera colour profiles like film-making doesn't exist!

Based on my own experience of putting together 10-20 minute YT videos, I'd agree with that. I don't usually do the whole editing process in one go - more often it's broken into 1-2 hour sessions and from start to finish it spans a week or more. My usual process to create something for YT is: Decide on the topic/subject for the movie (based on what content I've already got, usually from an event or place I've visited, recently or in the past). Choose the clips that might be included. Decide on a 'flow' for the movie - is it going to be basically chronological or geographical? Put the clips that might fit into the flow into the editor media bin. Put the clips onto the timeline in the right order. There might be 30 or more. Do a very rough cut and play it. Delete or trim the clips to improve the flow and get the overall length within the target (it's almost always too long to start with). Repeat the cut & trim cycle until happy. Go through the timeline and adjust brightness/contrast/saturation/colour as necessary (this can be very time consuming!). If a clip is proving really awkward to adjust, decide if it's essential to the flow. If not, could it be discarded or replaced with different one? Do a similar adjustment process for the audio content (equally or more important as the picture content). For the wobbly clips (which for old content will be quite a lot of them!) try to stabilise them - another time consuming activity! Add titles to tell the viewer more about what they're looking at. This often involves some research to find the information. Add timeline markers and generate a list of YouTube chapter points from them. Render out the movie and play it through to review it. Fix the issues found (there will be some...). Render it out again and upload it to YT as a 'private' video. Add a description, the chapter list, a suitable thumbnail and the 'end screen' stuff in the YT 'Studio'. Check it plays and looks OK on YT. Make it 'public' on YT and hope al least a few people watch it for more than 10 seconds... The above also needs cups of coffee and maybe wine too 😉 SRV1981 - next time you watch something on YT, just think about how much creative work and time has probably gone into it.

I highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking: ...and this interview with Jill on John Wick and other films where they even talk about specific shots etc: Lots of info out there if you search and go looking for it 🙂