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jgharding

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About jgharding

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  • Gender
    Male
  • Location
    London & Cambridge
  • My cameras and kit
    C200, GH5, Panasonic S1H

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  • Website URL
    http://www.hardingmal.com

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  1. Yeah I get what you're saying on all counts. I do what you describe there right now, and generally the S1H is the A-cam, mainly due to the S5 ii's lack of OLPF and moiré issues in interviews. I'll take the S5 ii around for cutaways and so on as it's way lighter and you can do touchscreen focus pulls. The hope is that an S1H ii would add the AF, with some improvements, and hopefully not add any bugs LOL
  2. Having used the S5 ii since launch now and having had more than the fair share of problems, I'm interested to see what, if anything happens with an S1H Mk 2 What do they have up their sleeve NEXT, so to speak? Rumors have come and gone for a long time... But nothing has appeared...
  3. The startup time is a real downer. I've lost shots to it, and it tricks me into thinking it's dead.
  4. PS. the S1H Moiré is actually visible on YouTube at 1080p and above. I'd hate to have to stop using BRAW... I'm aware I can secondary the shirt etc etc, but a lot of these shoots are very quick turnaround so it would be far preferable to not have to deal with it.
  5. Hi all, After using S5 ii and S1H on a shoot together I noticed a few interesting things RE moiré. The S5 ii definitely suffers from sensor-Moiré in certain situations, here you can see that as a distant rough-tweed cover on the gobo comes into focus with the pan down, it dances like crazy with brightly coloured red and green Moiré. I just edited around it TBH: You could do some repair in post for this, but for the odd cutaway on the post budget the film has, it's not worth it TBH. Interestingly below though, the S1H actually suffered with Moiré in some of the interviews, while the S5 ii didn't. I've not seen this before. The S1H has an OLPF and has never shown any Moiré til now. This shot is in 25p BRAW and has a mild yellow and blue Moiré on the shirt, it then cuts to the close shot on the S5 ii, where there's no Moiré at all. This doesn't look like sensor Moiré to me, and indeed that wouldn't make a lot of sense. I've punched in a lot so it survives YouTube compression, and you'll need to watch in 4K. I edited the topic etc as I had thought it was just in 4K S35 BRAW, but actually its in both 6K and 4K raw, open gate and S35. I do wonder if this is something to do with how BRAW is being processed, the S1H generally has been Moiré resistant over a ton of shoots in the last few years, so perhaps the BRAW processing in Resolve has changed in some negative way I thought? Resolve wise I've tried all the scaling filters, every raw decode quality, every raw profile, and it's still there, so I think it may be a Video Assist 12G glitch. To me, this looks like some kind of aliasing from scaling, so at some point there's scaling happening in software either in the Video Assist 12G or maybe even the S1H? I admit it's mild and YouTube covers most of when it's full size, but back to back with Moiré-free footage it's distracting. If I can't find any other options or settings I'll flag it to Blackmagic Design and see what's up.
  6. It's really short sighted. Fashion goes back and forth between YouTube and written word I think. We may be at peak YouTube, but I am also quite sick of huge sponsor midrolls, constant YouTube-fashion verbal ticks like "I don't love X feature" and "this is gonna be your shutter, this is gonna be thee battery door, this is gonna be the sensor, gonna be gonna be", and of Google answering my questions with a link to a massive video full of "WHAT IS UP GUYS SMASH A LIKE BUTTON AND BANG THE BELL" instead of one sentence that answers my f-ing question. There's seems to be a baby/bathwater problem these days as there alayws has been. Remember when manual focus photography lenses were worth very little? Remember when people gave away vintage audio equipment cos all the new digital stuff was "better"? Dumping stuff because something new exists has a habit of leading to regret. Imagine killing off the non-AI written word at this point in time :S
  7. jgharding

    Olympus OM-1

    @Andrew Reid How is the video AF on this bad boy? Is it up to Sony standards for following a face etc?
  8. yeah you're right I think, it's all very small differences now and most can be close to matched with another. I do prefer the S1H generally but as I say I'll switch come the next Pana body if AF doesn't improve. I use either Sgamut3.cine with Slog2, or HLG with Rec2020, I spent a few days playing with both and although the road to get there is different you can make them near identical. HLG is preferable to me cos you can expose normally, Slog2 still requires over exposure per the meters in order to look right which i find really annoying They do seem to have exactly the same DR once you post piepline them properly though, which says to me that DR is (logically) limited by the sensor really, not which flat gamme curve you slap on it.
  9. yeah i guess it's all preference. I now have an S1H and ZVE10 and you can match em nearly perfectly. Trouble with comparisons is everyone has a different post pipeline. The default Pana LUT is a bit rubbish, everything goes pink.
  10. S1H, I tried S1 but sent i back after moire issues in testing, the S1H has an OLPF. The crop factor isn't too much of an issue. Red has it, a few other cameras do. It's only cropping to Super 35 which is still bigger than a GH5 without a speed booster. That said I recently bought a Sony B-cam for the autofocus which is near flawless and way better than any real person I've ever seen pull. When it comes to upgrade time I'm going to switch to Sony if Panasonic AF hasn't improved, that's despite the image quality being better on the S1H. In the end I'd rather the easier more practical life. The A7S3 has a fair few downsides compared to S1H. But that AF makes me jealous.
  11. I wonder if it will be TRUE Foveon, as in three full-colour layers, or not? IIRC the later DP Quattro cameras were not quite true stacked equal RGB layers like the earlier ones, and used some trickery to get over the sensitivity downsides, though I'm googling and drawing a blank. I had the earlier DP3 Merrill for a while, and colour and resolution wise it was phenomenal, but was so insensitive it was quite a problem getting clean pictures. You really needed to be using it at ISO100 TBH
  12. YouTube cutting sometimes makes me feel a little ill. It's usually constantly cutting within the same linear shot, so not removing content, just putting in a cut so you can constantly punch in and out, plus it's often accompanied by brickwall mastered pop tunes with every frequency at maximum all the time!
  13. I see it as the edit being another "dimension" of movement. In narrative it allows you to drastically alter the mood by action or inaction in terms of cuts. I'm a big fan of unexpected shot holds. The evermore frantic pace of editing in general is a bit of a shame as the actor's performance eventually ends up suppressed by the edit rather than enhanced. A fun one is music video, for example you can move cuts on and off the rhythm of the song to enhance different things. When you're on beat it's all tied together, when you're off it creates a change in feel, the picture becomes a little less attached to the sound so you can create an extra sense of "flow" this way. As you leave the beat its more of a film backed by music, as you tighten up to the beat it's a music film. YouTube editing seems to be inexorably tied to prescription amphetamine abuse, with even a still talking head head cutting to a new post-punch-in zoom every two seconds.
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