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This video answers a lot about EIS high. I look forward to trying this out on Monday. This guy tried out lots of APS-C L-mount lenses- I was surprised how many there are now. Also, there are some that could be amazing with that 1.43x crop in EIS high. Here's the S5i with the Sigma 10-18. I imagine this would be a cheap, great combo. I've long thought that if Panasonic makes just a little smaller L-mount camera (FF), they'll kill M43, especially with all the APS-C lenses now available. Right now, it seems M43 only has 4k 120fps and widely available smaller lenses; the rest is practically a wash, including price.

Didn't know that was in B&W. Thanks for the heads up. I adore B&W, so much so that I've been testing my FP in 4K 8bit mode for the sole purpose of having a smaller set up for a B&W film.

Yep, every time I invest in one, it ends up being too much for my use case. Too much cost, battery charging, transport, set up, storage etc. Just a PITA. No longer and never again!

It’s not just because the B&W makes it ‘arty’. The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series. The acting is great. The cinematography IMO is superb. I have zero criticisms of it and that is rare for me.

Yeah, if you have to walk backwards and it has to be professional-level results then that's absolutely a time when you need to pull out all the stops. I haven't really seriously tested the EIS on the GH5, but I do remember playing with it and it was more stable than the IBIS alone, which makes sense. If you can get gimbal-like or gimbal-near performance then it sounds like that will be a real advantage for those key moments. I bought one of those phone gimbals and I think I used it about 3 times ever. It was such a PITA to have to run the app to connect to the gimbal, and the stupid thing lost the horizon gradually as you were panning. When you need to shoot fast to capture things happening in real-time that faffing is the last thing you want!

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...