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stephen

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Posts posted by stephen

  1. Ninja Star is 130g but it requires a mounting plate (55g). So total weight is 185g. Ninja V is 380g. The smallest NP-F battery is 100g.

    Question is: Are 200g difference really a problem?

    Would not call BMPCC 4K huge. It is slightly bigger than a DSLR but weight (721g) is in line with Panasonic S5, GH5, Sony A7 series etc. Having in mind you can use a smaller and lighter lens with m43 difference in weight if any is negligible.

    Same for Ninja V and Blackmagic Video Assist 12G 5'' - they are relatively small and compact. If their size bothers you, there is a solution. Leave them in the bag and do not mount them on the top of the camera. There will be a tiny HDMI cable hanging from your camera. No big deal. Start/stop recording and monitoring from the camera.

    It is another question altogether is it a good thing to have small and light camera setup. It turns out weight is good for handheld shooting. 

    Over the years struggled with handheld footage stabilization. Until found the youtube channel of Mark Bone. Mark is professional documentary filmmaker. Same as with color grading learning from the pros helped me improve quickly.

     

    Following his advice use a cage, top handle and external monitor/recorder so the whole setup has some weight. Shooting that way is very comfortable and footage stabilization is much better than anything else I’ve tried. Whole setup is 2.5 kg. Not the lightest and smallest but good for stabilization.

    Most of the time I carry bigger bag and more weight. When I want to be more inconspicuous and look like a tourist and still shoot in BRAW or simply want to carry lighter, smaller bag, will use something like Panasonic S5 with Blackmagic Video Assist 12G 5''. And leave the recorder in the bag as described above. 

    BMPCC 4K + external optical viewfinder attached on top can also be used in this tourist style and would be even lighter than Panasonic S5 + Blackmagic Video Assists combo.

     

  2. Agree with others. My number one worry also would be color matching footage from both cameras.

    For an interview, your background will be thrown out of focus and blurred to some degree even if you shoot at f4 on FF. Never see background in focus during interviews or youtube presentations. Out of focus background is the look almost everybody goes for. Sharpness in this case will be important only for your main subject / person and this will be the central or near central area of the lens.

  3. 11 hours ago, Thpriest said:

    How do i set shutter angle so that it's always 180? is it possible?

    Yes it is possible. Switch to film mode, then first menu/tab on the right (camera like), scroll down on the left and look for SS/Gain operation. On my S1 it is the second sub menu. Choose angle/ISO, then adjust to 180 degree from camera.

  4. 10 hours ago, Thpriest said:

    How are you all dealing with the moire?

    Promist filters?

    Didn't shoot much with Panasonic S1 + BRAW to notice the moire / aliasing. IMHO it is mild.

    Yes, using Black Pro Mist filter (1/8 in particular) will be probably first on my list. Or Black Satin 1. It has less halation than Black Pro Mist. Not a big fan of halation and prefer Tiffen Black Satin when shooting people. 

    Will also try:

     - Shoot in 6K, then reduce resolution in post to 4K. It may help. Panasonic 4K 10bit 4:2:2 internal doesn't have this problem, so there must be a way to get rid of it when down scaling the image.
     - Use Gaussian Blur filter in post on the zones with moire / aliasing
     - Shoot at f2.8 when possible. Or even f4. Shooting people at open apertures deals with moire and aliasing quite effectively in my experience as most of the picture is not in focus anyway. On FF my preferences are to shoot at f4 or f2.8. So again f2.8 is not always possible and f4 may not cut it in terms of moire and aliasing. Manually pulling focus on FF camera at F2.8 may also be close to impossible in some situations.

  5. On 7/20/2021 at 6:30 PM, TomTheDP said:

    The only hindrance on the S1 is moire from the lack of anti aliasing filter. I'd also note the RAW to VLOG conversion is not giving the same colors as VLOG off the S1 internal files. 

    Did you use the two LUTs provided by Panasonic for ProRes RAW conversion:

    First one conversts RAW V-Log to V-Gamut V-Log

    Second one from V-Gamut V-Log to Rec709

    For internal recording in V-Log 10bit 4:2:2 you need to apply just the second one. But for correct ProRes RAW conversion both of them are needed.

  6. 6 hours ago, HockeyFan12 said:

    .... but S1 does have a magenta cast on skin

    True if you use ONLY Resolve color space transform from V-Log to Rec709. Magenta cast is easy to correct. You can do it once then save it and apply it on all clips. Or use corrective LUTs. Leeming Luts  is one good option. In his review of Panasonic S1, Gerald Undone showed that once corrective LUT is applied, colors on vector scope match. See at 12:59

    https://www.youtube.com/watch?v=CphwVNgX32s

    Here is another solution:

    https://www.youtube.com/watch?v=fWzJG-822Iw

    Having in mind you can shoot RAW with Panasonic S1 and adjust the colors as you wish, that's not a camera limitation but  your personal preference.

    Like Blackmagic cameras and own one. What Panasonic S1 have and  BMPCC 4K (and even 6K) doesn't is full frame sensor. Not because am full frame or bokeh fanatic, S35 is more than enough for me. But because of lenses. Most lenses in photography before digital era are  Leica 35mm format (full frame). It's nice to use the lens at it's focal length as it was designed to be used and not with a crop factor. For example Helios 44M is 58mm in full frame land at a focal length close to what we call normal. In S35 it is a telephoto lens. And so on. Full frame camera makes my life easier when shooting with vintage and modern FF lenses, specially at the wide end. With speed boosters you can close to FF on Blackmagic but not exactly match. Still a small  problem. Also with FF you build a lens collection once and never worry again when new cameras arrive.

  7. 4 hours ago, Brian Williams said:

    In terms of low light, doesn’t the S1 also have dual iso?

    Yes, it does. 🙂 With firmware coming on 10th of July, Panasonic made Lumix S1 irresistible to me. Full frame 6K BRAW from a camera that has gorgeous EVF, best in class IBIS (not that important to me, but thank you), 10bit 4:2:2 internal for the projects where BRAW is not needed, great low light, 60p,  the list goes on. And all this for less than 2500 Euro (Panasonic S1 camera + Blackmagic Video Assist 12G 5inch Recorder and Monitor). It's a great value and incredibly good camera for video and very capable for photo.

    It's underrated because of the auto focus. But hey I use manual focus lenses all the  time.

    Wish Panasonic to stay in this game. We need them.   

  8. 3 hours ago, Chrad said:

    Silly. Film is a lot grainier and we accept that as part of the aesthetic, so I don't know why we need to treat video differently and expect total cleanness to the point of sterility. 

    Here is my understanding:

    1. Noise is digital destroys information and integrity of the picture. Grain in film just gives a flavor to the picture
    2. Noise in digital often has a pattern as digital sensor have such a pattern, grain in film is random.
    3. Noise in digital is not pleasant to the eye, grain in film is. Maybe because we are conditioned by watching film for many years.

    That's why noise is undesirable, grain often is. If you watch the video that published above, you'll see how information is actually recovered after denoise.

    That's why in post typically you denoise first, then add grain. If of course, you want to simulate some of film characteristics.

    Also worth to note that when grain is too big or too much it also can affect the picture quality negatively. For years landscape photographers used Velvia emulsion, because of it's fine grain. In landscape photography you want all fine details to be well visible and defined. So we can't put a blanket statement that grain is always good. It depends on it's quality and quantity. Same for digital noise. Some small amount of digital noise is tolerable for me and most people.

    It is also my observation that some of pro colorists and DP, try to emulate if not all at least some of the characteristics of film while using digital material. Film is with us for more than 100 years, we learnt quite a lot about images and did quite many studies and improvements in this area.

  9. RAW video is always much nosier because it come strait from the sensor. In camera video recording is heavily denoised. Great performance of sensors in low light when using internal recording is mostly result of good in camera denoise.

    When using RAW footage and high ISO you'll have to denoise in post production. Result will be even better than in camera denoise but unfortunately requires powerful GPU and will take a lot more time for the final rendering. Actually one colorist said that you have to denoise always when using digital camera. 🙂

    Another way to reduce the noise of RAW footage with Panasonic S1/S5/S1H would be to shoot at 6K, then reduce resolution to 4K in post. It automatically gets rid of some of the noise.

    It is also well known fact that BRAW is partially debayered in camera otherwise it will infringe RED patent about compressed video. External recorders are not affected by the patent. While not true RAW, BRAW recording results are more than good for me and major factor to buy Panasonic + Blackmagic Video Assist. BRAW has other advantages as for example multiple quality settings and as result reduced file size. And of course ability to edit straight from the recorder in Davinci Resolve. Using ProRes RAW or Blackmagic BRAW is more choice of NLE than anything else. Quality differences are negligible and visible only in some cases and with heavy pixel peeping.

    Here is a good test of Blackmagic BRAW vs Prores RAW which demonstrates well the noise problem and differences between the two RAW formats:


    https://www.youtube.com/watch?v=qPB6wrVKHiw

  10. 1. Do we expect from engineers creating cameras, sellers selling cameras, technicians repairing cameras to be artists? Does it mean they know nothing about cameras in their respective roles ? Obviously not. Some do.

    2. Cameras are not used only for artistic work. TV, sports, reportage, corporate, personal and family even some commercials and weddings videos are not art. Would say that people using cameras for artistic work are minority. So what? People using cameras in all those mentioned areas are not qualified or entitled to have their opinion?  Or don’t have knowledge and experience with cameras ?

    3. The art part cannot be completely disregarded in youtube channels related to technical reviews. But in a different role. My observations are that success of a youtube channel is greatly affected by the presenter. How it speaks and act in front of the camera. What's so great about Casey Neistat reviews and similar to him who have millions of followers on youtube. Or Patoto Jet. They are all great presenters and somehow good actors. It's fun to watch. It's entertainment also. That's why they are popular and with lots of followers. Why was top gear so popular ? Because it's about cars and technical reviews or because it's a great entertainment  led by great presenters, screenplay writers etc. ?

    People and I mean 99% men like technical stuff. We like to talk, play and occasionally use cameras. Just kidding. 🙂  That's why Gerald Undone channel is much more popular than Mark Bone's channel. Mark is a pro DP and also Canadian.

    I like Gerald Undone channel, lot's of useful information. Does it mean that will rush and buy Sony A1 ? Not likely. Use those reviews only as guideline. At the end it's my budget and personal experience that decide what to buy and use. Don't blame the reviewers, there is interest, they satisfy this interest and make a living of it. There is some advertisement but it's easy to skip. Lived in a world where only reviews were in Popular Photography and magazines like that. It's much better now.  Lots of reviews from different people. More or less independent. If you don't like it, don't watch it. So simple.

  11. BRAW external was only for Panasonic S1H. S1, S1R got ProRes RAW. Now they will get BRAW external similar to S1H. This is great news for Davinci Resolve users like me. It's unbelievable how much Panasonic is giving to us. More than two years after the release they still keep adding valuable features with new firmware. And the prices keep falling. In my country S5 now goes for 1450 Euro and S1 for 1700 Euro. Brand new from the shop. Add 750 Euro for Blakcmagic Video Assist 5G and for 2500 you get full frame 6K BRAW video camera with in body image stabilization,  great EVF, tilting LCD screen, etc. And it is great photo camera as well. Definitely am buying one . The only question is: which one S5 or S1. :)

  12. https://www.blackmagicdesign.com/products/blackmagicraw

    Blackmagic BRAW

    Open Standard and Free to Download
    Cross platform and license free!

    For Panasonic and others Blackmagic is a competitor in camera business, so they prefer to use their own codecs internally. I doubt any Japanese camera brand will ever put BRAW inside their cameras. They didn't put ProRes codec too. Which is a pity because BRAW is very good codec and integrate so well with Resolve. And only Nikon and Sigma allow use of  Blackmagic external recorders.  Panasonic and Sony don't. Again for business reasons. 

    It's another story if those buisness reasons are valid or not.

  13. Initially also used BMPCC 4K back LCD screen. But it is very uncomfortable to shoot with extended hands with and combo that weights 1.7Kg (BMPCC 4K + Speedbooster + Sigma 18-35mm f1.8 + ND filter). Also as you said, almost impossible to see in a sunny day. Tried viewfinder as well. Much better but still not optimal. And ended with external monitor. For run and gun it is the best option by far. Can hold the camera at waist level close to the body, no strain on hands muscles, monitor is quite bright (1700Nits) and viewable in bright day light. Monitor is permanently attached to the camera and it weights 500g more but again will gladly hold them at waist level close to my body, rather then with extended hands at 30sm in front of me.

    If you shoot on a tripod or mono pod, then yes LCD screen + viewfinder (kinotechnik) is OK. So it depends how and what you shoot. From what I see on youtube most of the people use external monitor. Which is my experience and preference too.

  14. You can find S1 second hand with some warranty left for 1500 E/$. So even you have to pay for the V-Log upgrade it is still a very good deal.

    Panasonic S5 vs S1. In my opinion it boils down to one or two major differences.

        1. Do you want a smaller lighter camera or not. How important this is to you. How often you will use it on a gimbal ?
        2. Are you planning to record most of the time internally 10bit 4:2:2 or externally to ProRes RAW. If it is externally then S1 is the better option. It has Full Size HDMI. For S5 you'll have to add a bracket and a clamp for the micro HDMI cable. Once you do this (and have HDMI cable plugged in) flip screen becomes unusable, rotation is blocked by the HDMI cable. And S5 weight and size with bracket and clamp equals S1.

    Looked at several clips from S1 shot at internal  V-Log 10bit 4:2:2. Skin tone come always reddish after color space transform in Resolve and Red color is a little bit off in general. So it requires some work at post. Not quite as nice as BMPCC 4K BRAW. So for me plan is to use external recorder most of the time. And in this case S1 seems to be the better option. For internal recording would probably choose S5. Flip screen is useful and Micro HDMI doesn't matter.

    Downloadable V-Log clips at first two links. Panasonic S1H compared to Sigma FP at third link, how red color looks on both (after 2:12, compared at 3:00)

    https://www.youtube.com/watch?v=pGqrGCz_l-k&t=230s
    https://www.youtube.com/watch?v=4Al-tIFXFuY
    https://www.youtube.com/watch?v=MQJkcTd82Uo   

  15. Every camera has pros and cons.

    BRaw external for Nikon Z6, Z6 II is great. Problem for me is not the external recorder. BMPCC 4K, 6K have BRaw internal but can you use them without external monitor ? Not really. Nikon Z6, Z6 II with Blackmagic Video Assist 12G 5'' will be a smaller and lighter setup, not to mention that you get also a great photo camera, Full Frame out of the box, in body image stabilization, very good and compact EVF and much better auto focus in video.  Can put the recorder in a bag on  my side and have a HDMI cable  hanging from the camera. No such big deal if want to be as much unnoticeable as possible.

    Problem is that Z6 with Ninja V line skips in ProRes RAW. And will most likely do the same with Blackmagic video assist. According to initial reviews Z6 II line skips as well. Another problem was that when recording externally you loose EVF on Z6. If Nikon solved those problems in Z6 II and with Blackmagic recorders, I am in.

    Agree that 10bit 4:2:2 is perfectly OK for most. But it has it price too. Usually it is x264 encoded, which is more difficult to edit in Resolve, while BRaw cuts like butter. So am willing to use a recorder anyway. It saves me time in post and it is nice to have 5 inch monitor. Prefer this setup most of the time.

  16. Yes did tested it, works great on Canon 5D Mark III. Really happy as 2:1 is my favorite aspect ratio. If one day real time live view in crop mode is fixed it would be truly a great Super35 RAW camera. Was thinking of selling my Canon 5D Mark III but now with latest development, no way it will stays with me. As one of the greatest DSLRs and great Super35 RAW camera too. 

    Same for EOS M -2.5K 2:1 and 2.8K at 2.35:1 ratios are now possible. Again if real time live view in crop mode is fixed it will be a great Super16 RAW camera. Much better resolution than first BMPCC at Super16. And EOS M is already a decent Super35 RAW camera  According to Bilal real time live view in crop mode will work also over HDMI. So external monitoring in crop modes will be possible too. 

    Cross my fingers this real time live view in crop mode make it to the builds soon. It will release also additional bandwidth for writing. It means stable and longer recording times in high resolution crop modes. 

    Really impressed with what ML (mostly Bilal and Danne the last 2 years)  have achieved with EOS M and Canon 5D Mark III !

    No 60fps and certainly not in high res crop mode. Only 45fps at 1080p. There are better cameras now for 60p. 

  17. Don't think that latest development from Bilal is part of this release. At least don't see it when testing this release from Danne. Preview was not working before in 3.5K crop and higher crop modes. There was a mess on the screen. In my understanding they fixed this. So now we have life view with correct framing but preview is still not real time and it is even worst when recording. Or when it is real time framing is not correct. Indeed Bilal made a huge break trough with real-time live view in crop mode with correct framing but it is working so far only on EOS M and not 100% ready yet. 

    Another great development is using SD card overclocking. With card spanning and fast SD Card + CF Card we can get total bit rate ot 130Mb/s which is enough for 3584 x 1730 resolution 24 fps at 12 bit lossless. With global draw off can get minutes in this mode. 10 bit is continuous or very close to it.  3584 x 1730 is basically 1.6 crop factor, 2:1 aspect ratio. So Canon 5D Mark III is now truly a 4K Super35 (APS-C) camera at 24 fps. 

    Never thought they will be able to achieve this and go this high in resolution while having sustained recording. The nice thing about 1.6 Super35 crop factor is access to lenses, especially wide angles which were very limited at 2 crop factor and lower. 

  18. Thank you sam rides a mtb for sharing this information ! This HDMI capture card works very well with BMPCC 4K. Much simpler and smaller than my previous solution - Zhiyun Image Transmitter. With the transmitter can also control the camera but when monitor is on the top of the camera, can easily use camera own controls. Lag is acceptable, somebody measured it at 47ms. No worst than image transmitter or other low cost monitors. Picture quality is very good. Pinch to zoom for focus is available, false colors for exposure, LUTs, etc  come from  BMPCC 4K and are controlled by it. Can use a small phone, attach a LCD Viewfinder and have some sort of EVF.   And it's cheap. What not to like ? Very good solution for me.

  19. Now we're talking. 🙂  Wonder if external recorder improves the overheating problem. After all it's the internal processor which is the source of the heat. If they can just stream the sensor output to external recorder ?  BRAW internal is not possible but external is. Let's hope Canon will give us BRAW external. 

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