stephen

Apart of Canon there is one company only that produces sensors for hybrid mirrorless cameras - Sony. Panasonic will use a sensor that Sony semiconductors makes and sells. I doubt this sensor will be something completely new and unknown. Nikon Z6 III semi stacked sensor ? We already have it and Nikon NRaw can be imported directly in Davinci Resolve. ProRes RAW that Panasonic uses in their latest cameras can't. I wish Panasonic survives and stay as a viable player in photo / video camera industry.

Recently saw a second hand Sony ZV-E1 on a local online market place. Price was good and I bought it. Great video camera but lacks EVF. Same is true for it's pro oriented brother FX3. Typically those type of cameras are used with external monitor on professional shoots or with camera LCD display only when vlogging. If you like EVFs and want to add one, choice is not great. No external add-on EVF from Sony like the one Sigma FP has. Portkeys LEYE III modified with better loupe is the cheapest one at 450-500 E/$ but I wouldn't call it small. Then Kinefinity EVF for 1250 E/$. Great one but definitely not affordable. There is an obvious gap and need for a relatively small, high quality, affordable external EVFs for cinema / hybrid cameras. I was looking for quite some time on AliExpress for Mini OLED displays (0.39'' to 0.7'') as a building blocks for DIY External EVF. Usually they come with controller board with HDMI input too. Almost bought some components preparing to do some 3D design and printing around them. Surprisingly found an EVF ready to be used. This type of EVFs were designed to be used with industrial instruments and were on AliExpress for quite some time. They all had lower resolution and AV video inputs in the past. For the first time saw one with 1920x1080 resolution on a 0.7'' mini OLED display and HDMI input. Also for the first time this type of EVFs is targeted toward cameras. Price was good too at 230E/$ so I decided to give it a try. Received the EVF few days ago and am happy to report that it is better than expected. Here is the list of things that I like and few that I don't like: What I Like: High resolution 1920x1080 ( equivalent to 6 220 800 dot camera EVF). Cameras EVFs have 4:3 ratio to cover 3:2 frame + some black strips on top and bottom to display information like exposure and other camera settings. The sensor on this one has 16:9 aspect ratio. To get 3:2 ratio the EVF crops the image to 1620x1080. Still great resolution at the level of ~5 mln dots EVFs like the one in Panasonic S1 series. I see in the EVF exactly what I see on the LCD screen of Sony ZV-E1 minus peaking. This is a rather good thing. Solid, all metal outer shell, good, even great quality of craftsmanship. Eye cup is big, made from rubber and fits around the eye much better than traditional camera EVFs. Big and bright screen - has at least 10 levels of brightness that can be changed and controlled manually. Picture inside looks big and bright, quite easy to see. Smooth focusing / diopter correction ring. HDMI cable is integrated, ready to be plugged into a camera. HDMI cable looks to have good quality. No need of additional power or battery. It gets small amount of power (500mA) from HDMI. This is a huge plus for me. Has mounting thread, can easily be mounted on rigs or cages or even on camera hot shoe. Can be tilted and placed in any position you want. Another huge plus. I've simply put it on monitor holder for hot shoe, which is mounted on the camera cage. EVF sits higher and is slightly tilted. It also provides 3rd point of contact and add stability. I am able to hold the camera lower and closer to the chest, which makes it more stable when shooting. Optimal size for me ! Not too small and not too big. Relatively light. Another huge plus. Optics made of glass, look high quality. Great price for what it offers - 200 Euro ($) including shipping and taxes after some Aliexpress discount. Because EVF receives its power from HDMI you don't have to switch it on separately. It has its own ON/OFF switch but if you stop the camera, EVF stops too as it doesn't receive power from HDMI. This is very convenient because it semi integrates with the camera, you don't have to switch it on/off separately. What could be better: While loupe (optics) craftsmanship is high quality, optical schema is probably not the best. Seeing tower end of the frame and in the corners is kind of difficult. In photo mode EVF has to show picture with 3:2 ratio. It crops the display at 1620x1080 to achieve this ratio. Same is true for video. This is great because this way corners of the OLED display are always cropped and dark while picture in the EVF is still high quality and resolution is still great too. So you always look at a picture which is in focus from end to end and you can see the whole of it. Brightness control has many steps but goes only in one direction. Adjusting it when you want to make picture darker or go at the opposite direction is difficult. You have to cycle trough all settings value until arriving before the setting you were a moment ago. Brightness control button is too small and uncomfortable to use. Both are not huge issues because eye cup completely isolates your eye and cuts external light at almost 100%. Once you set the brightness level you rarely need to adjust it. It doesn't have the additional tools a pro external viewfinder usually has - like peaking, False color, zebras, etc. Because it takes power from camera and becomes additional consumer, battery is drained a little faster. Hard to say how much faster. I still prefer this compared to EVF that have their own battery. Picture is not as clear as in a high quality camera viewfinder. Native camera EVF receives video stream that already has noise reduced. Image on HDMI out from the camera is more like RAW video, lots of noise in the shadows at high ISO, some noise even at lower ISO. I guess the same would be with any external EVF, even expensive PRO ones. It's not EVF's fault. I also see sometimes some texture like noise, not sure because of this particular OLED display or because of the HDMI out stream. Overall picture quality is not up to what you see in a camera integrated EVF but it is close. Surprisingly noise in the shadows helps me better judge exposure and use successfully ETTR. I live in a PAL region but camera was set to NTSC to have 24fps. There was a lot of flicker in EVF image even when only natural (sun) light was available. Maybe this can be avoided with some additional camera settings. No such problem when camera is set to PAL and 25fps. Sometimes when adjusting brightness, EVF looses sync and doesn't display any image. Have to switch camera on/off one time and problem is resolved. Not a big deal but it happened once or twice. HDMI cable is integrated. A PRO EVF has just HDMI out socket and you can choose your own HDMI cable. This one can be easily modified IMHO. Size: L=~50mm; Diameter ~43mm; weight 188g with the integrated HDMI cable Overall I like it a lot. There is nothing like it on the market and especially at this price point. I am surprised it took Chinese manufactures so long to figure out that a good market for external EVFs exists. I prefer it over modified Portkey LEYE III because of the smaller size and no need to plug and charge another battery. I may buy another one. 🙂 Now my Sony ZV-E1 has an EVF and a great one too. 🙂 Here is the link: On Aliexpress You can find it on ebay too. Search for V780H EVF Here how it sits on top of Sony ZV-E1

Have the older Xiaomi 13 Ultra for almost 2 years. Same sensors and lenses except 75mm telephoto one is 62mm in reality. My idea was to use it as a pocket video / cinema camera that is all the time with me. And also as my main and only camera on some trips where I don't want to bring additional photo / video equipment. Still use it from time to time but not as much as thought would be using it. It has many limitations that make getting good footage difficult and ruin as a whole the joy to shoot. Maybe as a photo camera it would be better The good: Picture and video quality from main sensor is really good. Can be treated as BM BRAW video in Resolve. Can easily color grade it and get great results. Really impressive picture quality from a smartphone and tiny camera that is always in my pocket Main 1 inch sensor (23mm) lens is good in low light All 4 sensors/lenses are capable of shooting RAW video at 4K 24fps, 30fps and 60fps As you said, those smartphones have standard case that makes attaching ND filters really easy. I use 67mm magnetic ND filters and they work like a charm. The not so good or the shortcomings and limitations Lens optical IS should be working in MotionCam but in practice I can't get stable handled footage by just using the phone with a simple plastic case for the filters. Gimbal or special metal case with two handles are needed which totally kills the idea of pocket cinema camera for me. This was not the case with iPhone which I could use and get stable handheld footage by simply holding it and even when walking with no additional support. Main sensor is good in low light but the other (three) 1/2'' inch sensors are not. Multiple dot like flares when shooting at night. This is common problem with all smartphones including iPhone. Because of the lenses being so small at night when there are multiple light sources on some occasions you can get multiple small bright dots dancing in your frame. It can completely ruin the footage. Limited lens focal lengths. My preferred focal length for video are 35mm and 50mm. Xiaomi best sensor is on the 23mm lens. MotionCam can't crop the sensor. It can't even properly frame to 35mm or any given focal length other than native one. Can zoom in the screen which is also the viewfinder but there is no indicators to which focal length it corresponds. Video still will be shot at 23mm and I have to crop in post to get 35mm or 28mm eqv. focal length field of view Bad ergonomics. Yes I can get the shots but there is no joy in the process. While picture quality is impressive for a smartphone it can't match a Full Frame sensor or even APS-C sensor. As you said it can't bend the law of physics I need to look from time to time trough a viewfinder. Old habit and addiction that I can't overcome. 🙂 Bottom line: I still prefer a hybrid camera and a lens and I don't use much Xiaomi 13 Ultra as camera. Watched a video about street photography where the author argued that having a tilting screen and shooting from waist level is the best if we want to take stealth photos where people don't stare at the camera. We can even keep interacting and talking with the people while shooting. This would be impossible with a smartphone. Anyway this is my experience, hope it will work better for you.

Reviving the topic Most people talk about DR only as a camera parameter but you quite correctly understand it as a process Here is my answer: In short most of the time limiting part is the display (smartphone, computer, etc.) / theatrical screen or other media. Plus the color space in which we export. Camera DR is just one part of the puzzle. We have DR of: 1. The scene we are photographing or shooting in video. 2. The camera or recording device. 3. The medium that displays the recording being photographic paper or computer display or thearical screen or smartphone display. For point 1: A lot of times the scene has itself limited- dynamic range - 3-4-5 stops. For point 3: DR is related to the light intensity / brightness of the display medium. Traditional theatrical screens have only 100 nits of brightness and as result only 5-6 stops of DR. Traditional computer screens 300-400 nits which give us 6 to 7 stops of DR. Only HDR LCD screens and theatrical screens with laser projectors can show HDR video or imagery where color space allows for a wider dynamic range and medium is capable to reproduce this DR. In HDR video we can see up to 10 stops of DR. Since REC709 color space was introduced to deal with SDR TV screens it is also limited to 6-7 stops of DR. If we watch REC 709 footage on a HDR LCD screen we are still limited to those 6-7 stops. In this case limitation comes from the color space in which video has been exported. That's why a camera with limited DR - only 8 for LUMIX GH1 can look perfectly OK. In case exported footage is in REC709 it will need only 6-7 stops of DR. Where do the rest of camera DR go if we export in limited 6-7 stops of DR ? They are compressed / mapped to those 6-7 stops of the exported footage. Few more details in the shadows or highlights or both. Higher camera DR gives us more LATITUDE. You will often see latitude test go together with tests of for DR. Fuji Velvia which I used extensively in the past and was the top film emulation for landscape photography had only 6 stops of DR and 1/2 stop of latitude. If your photo was 1 stop underexposed or overexposed it was practically ruined. You have to wonder how people were able to shoot such a film and appreciate the results 🙂 When we talk about film DR we should always specify which emulsion we are have in mind. Now what happens when you have a scene with large dynamic range - 12-13 or more stops but your camera and / or export color space are limited to 7 ? Or you want to export in HDR (10 stops) but camera has only 8 stops. Some of the stops will be lost and the result will be lost details in the shadows or highlights. As one Hollywood colorist put it: "Your highlights are blown up? Who cares !!!" We don't watch a video or photograph like a scanning device from top to bottom, pixed by pixel. We look to a part of the photograph or video which is important and draws our attention. This part needs 5 stops DR to be displayed correctly and not always. 2 more stops for shadows and this is still enough for the vast majority of what we shoot and display. A limited dynamic range of the camera is not a problem as far as the important part of the scene is exposed and lighted correctly. More stops of camera DR gives us more LATITUDE and comfort in post production. Camera dynamic range becomes more important if we intend to export in HDR. That's all. In general DR and all technical aspects of picture quality fall under one philosophical category which I forgot the name: When contradicting statement about something are both true (correct): For example in this case: DR is important and DR is not important. Both are true. In practical terms ask yourself how many times you've heard somebody exiting a movies theater say: "Nice movie but I wish the DR was more " 🙂 On the other hand if we ignore those technical aspects we still will be stuck in black and white film emulsions with 5 stops of DR. Here is a great video from an Austrian photographer which goes into details about DR. It is by far the best explanation and structured answer about DR I've seen. Well worth your time: https://www.youtube.com/watch?v=uYOr6t8llgc And this one too: https://www.youtube.com/watch?v=aWGIjXutyKU

Yes, 2 new cameras coming in the next 3-4 months. The video oriented one expected in April may have Nikon Z6 III stacked sensor. Plus S1R II preorders are more than expected. Good news for Panasonic / Lumix. I hope Panasonic / Lumix will have more success and market share in camera business.

You can always use optimizations and make timeline with NR and lots of color grading play in real time. For Example - Top Menu ->Timeline -> Timeline playback resolution -> Half or even Quarter. In most cases Half or 1080p from 4K would be enough.

This is logical, you are most likely right. There were rumors about possible DJI L Mount camera coming. Not sure I am willing to wait and see what this camera will bring. The risk of being disappointed again still exists. In some of the videos about Nikon Z6 III that I've watched was mentioned that you can choose Panasonic V-Log gamma for Nikon NRAM video footage in Davinci Resolve and color grade accordingly. In general I think it would be a matter of time to find a way to color grade Nikon NRAW quickly and effectively and get the picture I want. Good thing about Nikon NRaw is it could be more compressed than ProRes RAW as Andrew mentioned and it could be imported directly in Davinci Resolve. There is no need for transcoding. Panasonic S5 II X is great, have no complains. At the end I may keep this camera and use it with manual focus and canon EF lenses. Problem is how long L mount will live. This is what worries me. At this point I am still not convinced L Mount will have a long life . Of course I may be wrong. Current Panasonic announcement was not convincing and it looks future Lumix S1H will not come next month. Maybe it's time to move for me, we'll see.

Same for me. Being exclusively Panasonic (S1, S5 IIX) for cameras and heavily invested in L Mount for lenses (mostly Sigma), decided that unfortunately it is time to switch. I hate doing this but Panasonic's future and L mount's future in general looks shaky for me. IMHO Andrew's thoughts and analyze are correct and my gut feeling too. I am OK currently with S5 IIX, cameras comes and goes but I am afraid L mount lenses value will go down too as time passes. Better to act now and save some money while I can. It will be a combination of Nikon Z and Sony FE for cameras with FE lenses exclusively. Maybe one Nikon zoom. We'll see Option 1. - Nikon Z8 mostly for video and some photo + Sony A7R III or Sony A7 IV mostly for photo and some video Option 2. - Nikon Z6 III mostly for video and some photo + Sony A7R V or Sony A7 IV mostly for photo and some video. Also interested in hearing Andrew's first impressions and opinion about Nikon Z8.

If we look at S1R II as a photo camera with some advanced video features, then yes it is good. I would choose it over Sony A7R V. As a hybrid camera that can do both video and photo well it is not at Nikon Z8 and Canon R5 II level as those two have lower rolling shutter. Nikon Z8 price is the same, Canon R5 II is more expensive. S1R II rolling shutter at 6K and 4K 24p/30p is 23ms. Compared to S5 II (21ms) it is basically the same. Not interested in 8K. I am disappointed because was expecting similar to latest Canon and Nikon rolling shutter performance, sensor with faster readout times and improvement over the previous generation. Being also more at the video side I am not sure that 4K 60p and 120P are enough for upgrade. Maybe later when price goes down. I am beginning to realize that at this point in time only Canon and Sony as sensor producers are safe bet in the long run. Gerald Undone mentioned that Panasonic should consider giving as an option a line skipped version for 6K and 4K 24p/30p in order to improve rolling shutter performance. Line skipped 6K on a 4K timeline may look good. 4K 120p already does the like skipping apparently. We don't know what are the reasons for Panasonic to choose this sensor. I've heard before that Panasonic may not have access to all sensors Sony semiconductors produces. S1R II has a lot of nice features lets hope sales will be good. There is a more positive balanced review from Media Division. On at least one 8K and mostly static shots I already can see rolling shutter effect. https://www.youtube.com/watch?v=v4_oyevhTc8

Yes, just watched Gerald Undone's review. Video capabilities for me can be summarized with one word - disappointment. I expected a fast sensor and it turns out this is not true.

Like most here I am happy with S5 IIX. Rolling shutter is not a problem for what I shoot, 24Mpx are enough for photo and don't need 8K for video. I though that with S5 IIX can finally forget about cameras, relax and enjoy taking photos and videos. Now with all specs and some photos of Panasonic S1RII out, can feel GAS pressure increasing 🙂 Guess it is human psychology. Always wanting more. 🙂 Apart of the body which is basically a copy of S5 II, everything else is as I was hoping to be. Shutter closes to protect the sensor when changing lenses, Sony A7R V style LCD, 5Mln dots viewfinder and a switch for photo/video. Lack of top LCD screen is not a problem for me and third party grip to extend slightly the handle can solve potential issues with body ergonomics. Well done Panasonic. The best part about S1R II is that Panasonic is still in the game. We had some doubts after the long wait. I hope they stay longer in camera business, not only because I've bet on their camera bodies and L Mount in general but also because having more choices is always better for us users.

Rolling shutter should be in the range of Sony A1 and Nikon Z8: 8K 24/30p - 14.5-15.5 ms, 4K 120k - 4.8-6 ms. Interesting part is 4K 24/30p where Sony A1 achieves 8ms while Nikon Z8 keeps steady at the same 14.5 ms. 4K 24/30p in APS-C crop should be lower than 10ms. The general consensus is that 14-15 ms is good enough. 8-9ms is Arri Alexa Classic territory. Nothing to complain at. Image in the video and article shows camera body top that we've never seen from Panasonic. I am not sure if this image is representative to the real camera. For me slightly smaller and lighter that S1 / S1R body would be perfect. Having the same body as S5 II for a high end flagship camera doesn't make sense, that's why IMHO this won't be the case with S1R II. If they put also 5mln dots viewfinder from previous generation (S1/S1R) or similar plus a switch for video / photo settings similar to Nikon Z8, Z6 III and Canon R5 II, then I think they will have a really good higher end camera. Panasonic always gave more for the same amount of money than the big 3. Merging S1/S1R line with high end video specs does make sense, they need this camera to compete with Nikon Z8 and Canon R5 II. Panasonic doesn't have any high end specialized video camera in contrast to Canon, Nikon and Sony. It would make sense the second camera expected this year to be much more video oriented, probably internal e-ND filters or some high end video cameras features at more accessible package.

One of the rumored specs says: mechanical shutter - 10Fps. Aha ! Here is what else more S1R II will have compared to Nikon Z8. It will have a mechanical shutter. Panasonic will get off the shelf sensor - IMX366AJK, while Nikon Z9/Z8 uses IMX609AQJ apparently modified IMX366AJK specifically for Nikon to have low readout times for photo, in fact lower than in video. I think photo users will like the mechanical shutter.

It practice it is the same resolution. I don't see this being a problem for Canon with R5 II and Nikon with Z8, Z9. Only Sony can afford to have that many cameras. Panasonic have obviously chosen to have better video specs instead of higher resolution for photo. For me it is the right decision. I am curious to see will S1R II have internal RAW video recording, similar to Nikon Z8. If yes which codec it will use. ProRes RAW like in GH7 ? Will S1R have something more than Z8 ? Otherwise I see no reason for Nikon users or even new users to choose Panasonic over Nikon. I have the feeling those two new FF cameras will be make or break it for Panasonic in camera business.

I can see only one reason not to use Sony 61 Mpx sensor and go with lower megapixel one: faster readout times. We will know soon.

Here is an answer from a pro colorist / editor. It will give you a perspective and a cool tip how to edit any footage on a not very powerful computer. https://www.youtube.com/watch?v=olvTKnLJCJc https://www.youtube.com/watch?v=lTes9KkwmME According to another of his videos, 12K BRAW is so well optimized that it can play without a problem on a Macbook Pro 2017 https://www.youtube.com/watch?v=0ShXVTiGD80

Panasonic S5 II + BRAW vs BMPCC 6K Pro FF - as expected practically no difference in image quality. Downloadable source files are available too https://www.youtube.com/watch?v=iuzKtL8p5M8a

Realistic assessment of iPhone 15 pro with Apple Log vs pro Camera in good lighting conditions. Good review and tips IMHO. https://www.youtube.com/watch?v=_SiqKfm-8kA Everybody is trying to push some LUTs but you don't need them There is an official Apple Log to REC 709 transform LUT and CST in latest Davinci Resolve that supports Apple Log and works very well

We are different and have different tastes. I like fall in Colorado video. There is some grain applied, color grading is very good IMHO, skin tones are good for me too, overall good image quality. Compare it to other iPhone 15 video posted here and this one for me ranks at the top 10% as image quality. This is exactly the occasion I would use a smartphone, when you are with friends and/or family and your focus are the people and your journey together. Filming is a side job just for memories and some enjoyment of the hobby or profession. For the purpose this video is well done! As a camera and what it can do iPhone 15 Pro is expensive but for smartphone with ton of features, usability and a camera that is in your pocket IMHO it is worth the money. If I am at the end of my 5 year smartphone upgrade cycle it would be on my list for sure. Would I buy LG V60 instead for Android RAW video? No. If I choose Android for RAW video it would Xiaomi 13 Ultra or at least Pro. After 5 years with the same smartphone I want the latest and greatest that shoots good video too, I want a great smartphone that has all the bell and whistles. It’s another story how many of them I will use. 🙂 Price may seem steep but let make a simple calculation. 1100 Euro for Xiomi 13 Ultra or 1400 For IPhone 15 Pro for 5 years / 12 months is 1100/5/12 = 18.3, 1400/5/12 = 23.3. 18 to 24 euros (or dollars) per month for the most used and also useful device is worth it for me. A smartphone is much more of a tool that I use every day, rather than a gadget. And I can save much more money from other activities and things. For me it would be a consumerism if I upgrade or purchase latest and greatest DJI drones each year for example if drones are not my business or profession.

Using lenses wide open at f1.4 for shallow DOF is a recent trend in photography or even as you say obsession. Fully agree. It was not the case 20-30 years ago. People are lazy. Instead of using some additional lighting or putting the model in front of a nice background they prefer to blur the background. I don't find this always appealing or attractive but it is the current fashion trend. In cinema most used aperture for super35 format is f2.8 which corresponds in DOF to f4 for a full frame format. One of the reasons is the fact that is quite difficult to manually pull focus with smaller apertures. Now that we have LIDAR technology this may change. As you said the other reason is that in cinema they prefer and want to show the environment and surroundings as well. Roger Deakins in an interview shared some technical details (camera and lenses) used to shoot 1917. He basically confirms that for day light he used f4 and even f5.6. He says that he used Alexa LF (FF) for shallow DOF. This is interesting as it shows that different people have different views of what shallow DOF is. 🙂 https://www.youtube.com/watch?v=vpCD67BEjiA My problem with m43 are the lenses. Focal length changes if I want to use vintage lenses or some other great optics from Zeiss or Nikon or Canon on m43. Those lenses are designed for FF. I can’t get the character of a russian 50/58mm Helios for example as it completely different focal length on m43. I used m43 in the past but moved to FF when BRAW became available with External recorder to Panasonic S Series. It gives me access to huge number or lenses - new or vintage and just simplifies my lens choice. For video close the aperture to f4 most of the times and that's it. In low light I may open it to f2.8 or simply bump ISO to higher value. FF sensor compensates for lower light and more closed aperture with better ISO performance (low noise in high ISO)

Well you can buy and try iPhone 15 as your main camera. There is no better way but to try it personally. My limited experience with iPhone 14 Pro and more extensive with Android RAW showed me that smartphones as cameras have many limitations. The list is long. At the end it is a simple choice: Can you live with and/or work around all those limitations or not. For me answer is clear: I can't and don't want to. I prefer the inconvenience to lug 1 to 2 kg of equipment more for several kilometers, but have great experience shooting rather than the other way around. Here are some examples: When testing iPhone 14 Pro as a camera I used it as GPS navigation too. Mounted on the front dashboard of my car in sunny spring day with temperature around 25-27 degree Celsius it overheated and shut down. Had to stop my car and swap it with my Android phone. It took more than 30 min for IPhone to cool down and be usable again. If you want to have some decent footage you still need ND filters, this means a special case or cage for iPhone as minimum plus probably a handle. How long will the battery last? So maybe an external battery too ? Or external SSD ? But both can't be used at the same time. 🙂 You see, if you want a semi decent footage and shooting experience, you still have to prepare and take several other items, spend time planning, etc. With time and experience for me the weight of my camera bag up to a certain limit is at the bottom of my inconveniences and concerns. As a camera that is always with me, in my pocket though latest generation of Android phones or iPhone 15 Pro are something that I can't resist. 🙂 Another case to use them would be when I go out for a day or more and am not sure do I want to shoot something or not, will I have the time or not. Having a smartphone as a camera + maybe a case with ND filters for those casual shoots is great.

Cinematic Mode doesn't use Apple log. It has all the deficiencies of previous gen iPhone video like tone mapping and sharpening. They were skillfully hidden in post. Skin tones in the last third of the video where face was lit with warm side light are a little bit off.

Indeed ! I was wondering if ProRes 4444 can be used with the new iPhone 15 Pro and this video gives the response. Good and realistic comparison with bigger sensor cameras, not just oh look it is as good as my Sony FS30. Lots of useful information. iPhone 15 Pro is great for video.

This is exactly my experience too. Still have S1 and it still drains the battery to 0 for 4 to 7 days without using it. S5IIX doesn't.

DNG files from Android RAM footage can be imported directly in Resolve. They also can be labeled in a way that Resolve see them as DNG files coming from a blackmagic camera. You have access to all the settings, like change ISO in post and even Highlight Recovery ! I'll share my workflow with some sample clips in a few days. It is easy if you have the knowledge. Funny enough but to shoot in 4K ProRes 60p on new iPhone 15 pro Apple forces you to use external storage, while with Android RAW you can get 4K at 60p internally on the latest generation flagships without any problem. External recording to SSD is available to Android RAW too. With Xioami 13 Ultra or Vivo x90 Pro Plus 1Tb internal storage at 1000-1100 E, you may never need external one. Going back to IPhone 15 Pro, here is one good example that shows that aggressive noise reduction in high ISOs is also gone with new iPhone 15. Flares are still present but much less than in 14 Pro where they are simply ruining the image. https://www.youtube.com/watch?v=DHT2TEwJJz4 This guy claims that with Blackmagic application you can have Apple Log with HEVC (265) codec. Check the Apple Log part. Hm interesting https://www.youtube.com/watch?v=BOZUfWcGCxk