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From today's shooting with the Panasonic S1H (V-Log, NR -1) Rokinon 50mm T1.5 at T1.5 Black Satin 2 Filter 55M Organic Lut (part of Advanced Deluxe Set) Looks thick enough to me. 🙂 Key is having a camera without nasty processing - especially sharpening and strong NR but having great tonality, at least 10 bit and also good color science instead

I think at this point you are focusing too much on things at the pixel peeping level that won't matter to most people. 60FPS is pretty much the new standard and will probably look identical between the S1H, S5, and GH5 as well as most others that shoot 4K 60FPS when all else is equal (DR. Color Science, etc). I have always considered the high frame rate stuff where it does it in camera to be a bit of an exotic workaround that will never yield the same results as doing it the traditional way by increasing the framerate in the file. Also, are you planning on using the new body 100% for video and don't care about the size and weight of the S1H, if so I'd get the S1H. If you have any photography plans at all, or you are trying to setup a light travel/docu kit then the S5 would probably be the best bet. I really think either camera has the specs needed to exceed the capabilities of most filmmakers and it will really come down to how well each one meets your individual needs or fits into your current or planned workflow. I did a ton of my own research on the S1H, the S5, and the R6 prior to choosing the S5 and at the end of the day the S5 simply met my needs better in more areas than the other options. A final selling point for me was using the S5 on a gimbal. The S5 with the EF adapter combined with the Canon 24mm 2.8 is actually lighter and smaller than my previous GH5 setup.

I think this is genuinely a HUGE step. Rarely, do we get such a big leap out of nowhere like this. I've never felt like any other camera was anything other than just good, or expected in 2019. This is different. It's like having a full frame Pocket 4K with nobs on... from the future. This image sits in the cinema world, not the video one. I've shot some S1 10bit V-LOG with it this weekend. Here's a frame: Compared to the X-T3 10bit F-LOG, dynamic range seems wider and shadows cleaner. Image is creamier, and less noisy at high ISOs. Base ISO is 640 in V-LOG, but extended ISO can go a bit lower. Compared to A7 III S-LOG 2/3, the codec is far more robust, less banding and compression, it looks like ProRes. I'll upload the original MOV files soon.

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade: 1.271103 -0.284279 0.013176 -0.127165 1.436429 -0.309264 -0.129927 -0.510286 1.640214 Arri Film Matrix Download It lives! The Sony a7s III conversion is now complete as well.

Yeah, the CinelikeD hack came out of me developing a couple of prototype controllers for Panasonic cameras before there was a pivot to the BM cameras. The PBC, and by extension the AFX, are actually built on that original foundation so if Panasonic introduce BLE control capabilities then its all there ready to go but using WiFi for control is not ideal (more in terms of power/heat with the cameras than the controller) so I'd prefer to avoid it.

sorry, old quote here - you mean the GX85 color profiles hack or some other one? That hack was what first brought me to this forum haha. I have to thank you. Did I see right you guys are also based in Ireland?? This device looks fantastic btw. Excited for the Oct 26th thing you mentioned also...

would you believe that

That link is banned, and also not useful because it links to the original source, which has since been taken down. Luckily, the internet never forgets: https://web.archive.org/web/20180407123236if_/http://juanmelara.com.au/blog/re-creating-the-600-brim-linny-lut-in-resolve https://static1.squarespace.com/static/580ef820e4fcb54017eba692/t/5a560498ec212d5f4a972d25/1515589920801/The_Brim_Linny_Rebuild.zip https://web.archive.org/web/20190227062207/http://juanmelara.com.au/s/The_Brim_Linny_Rebuild.zip

What focal lengths and sensor size are you looking for? and what 'look' do you want, ie, the modern look with lots of contrast and sharpness, or a softer rendering?

Adobe finally added RAW support for S5 in Camera Raw and PS, LR etc. Just wanted to share. It was an issue here...

I really enjoyed doing this. Cheers Dave... We should do another one some day, and bring a third guest on.

Although we disagree on the "less than 8-bit" images, I have been waiting for someone to mention that we are viewing film emulsion images through 8-bit files. To the eye, the color depth of Kodachrome is considerably more vast than what is shown in these 8-bit images. Kodachrome was one of the rare film processes that added dye to the emulsion during processing, which gave it such deep colors (and which is also more archival). Some of that splendor is captured in these 8-bit scans, so, theoretically, there should be a way to duplicate those captured colors shooting digitally and outputting to 8-bit. You probably would see the variation in the skin tones if you were there, but, to one's eyes, such variations don't seem so dramatic. Furthermore, Kodachrome usually looked snappier than other reversal films (when normally processed), but when directly viewing a Kodachrome slide, it won't look as contrasty as the 8-bit scans we see in this thread. Of course, the baby's face (and the parents' faces) is brighter on the front, because of the lighting angle. If the baby has been sunbathing for hours, then the father is crispier than George Hamilton.

Logically, you'd think they'd put the R5 internals in the C70 style body, whack on an EVF and even double the price if they wanted to and serve up a powerhouse that still undercuts the Sony FX9 by 20%. Then you wake up and remember who's logic it is that we're dealing with.

35mm Schneider Cine-Xenon Trees and windows.

Do you know how many movies and dramas are shot in Korea every year? You mentioned two korean directors every redditor wanks off to. I just spoke to a Korean Producer who has a studio film in the korean theaters right now a couple of weeks ago about shooting long scenes with af lenses to keep track of the actors. I personally know dp's who have used sony and canon cameras the past year on all types of shoots using af. Why are there so many people on this site who think they know everything about what everyone is doing? And why are you interrogating me? But I'll play along. No, I don't mean Bong joon ho or Park chan-wook. They are using c300 mkii and fx9's and canon and sony lenses. It's not for the whole production. Specific shots where they know they can save time and get the shot done. So yes most of the shoots are of course done with an ac/puller. I personally know and have worked with these people. I have worked in the Korean film industry for over 12 years now and worked in film and tv in NYC since the early 90s. I am very aware of how productions work. I have done everything from tape dubbing to dping indie films to directing short films and theatrically released feature films. And no I won't share people's names with you. Just deal with the fact the world is bigger than what your perspective might be. Here's a rental house a few blocks away from me. A lot of productions in Seoul rent from houses like this. Go to the cine camera section and then the lens section and then draw your own conclusions. https://www.slrrent.com/kr/