maxmizer

I use FastStone for batch operations, it can extract the JPG file from the RAW file, but I'm not sure if it can actually convert the RAW file to a JPG (there is a difference). Also, there is a new version of codecs for Windows 10, you have to get it from the Windows Store, after installing this codec I am able to view 5DIV, T6S, and S5 RAW files in Windows Explorer: https://www.microsoft.com/en-us/p/raw-image-extension/9nctdw2w1bh8?activetab=pivot:overviewtab
Also, not sure if you are aware...but just straight RAW to JPG conversion will usually not yield the greatest results since RAW files are usually generated to be further manually processed. Personally if I wanted the flexibility of processing the RAW files but also wanted the full resolution JPGs I would just set the camera to save each image as RAW+JPG....that will save you processing time later and will probably yield the best results if you don't plan on further processing the RAW files.

https://bit.ly/30Zj0VS

Italians make it better ;- )

https://bit.ly/30Zj0VS

In terms of visual post effects that can effect the image. "Sharpen & Soften" effect in Resolve and a slight drop in exposure.

 
 

No you would be too happy if it was the case right ahah.  Little brother let it fell off...
 
Thank you, im going to check this but i really don't know if there is such a thing where i live, i already did some soldering myself on small parts like this but this seem very tricky this time, might have to buy an other one but that's ok, i reaally want to use the f3 at its best again.

Basically an S1H with 120fps in 4k in a video-camera body (XLRs, internal NDs, etc). Has to be 20-24 megapixels to get 6k raw output or maybe even get it up to 8k raw output (36 megapixels?). 

Not every camera has to be designed to go on a gimbal.. 

@Hangs4Fun I'll get a suction mount for my gopro to test, but it still looks more gimbal like to me than stabilization. I do have the Hero7 with the first version of hypersmooth so that might help. Walmart has the gopro suction mount, guess I'll pop into one and get one to try. I'm fine with the quality and I'm sure the person in the video isn't using a larger setup, as long as the sun isn't in the frame, gopro/phone size sensors do fine. My gopro cant stay on more than 30-40 minutes before overheating and shutting down, but I'll still try. Thanks for the suggestions!
@leslie there are no issues in the US hanging a small camera on a vehicle on the road, I'll be fine. I see lots of custom cars with multiple gopros on them while driving. I regularly see a corvette with 5 or 6 mounts on it even when there are no cameras mounted, looks funny, but I guess the driver doesn't bother removing them haha. Someone near me must be doing some sort of car show. I'll check linear and narrow, I watched a few others and when the driver passes trees and such there's no distortion from the ultrawide view. Thanks for the insights!
I'll report back after some testing with a gopro.
Cheers.
Chris

Don't forget about shadow saturation! It often gets ignored in talk about highlight rolloff. The Art Adams articles kye posted above are very interesting but he's only concerned with highlight saturation behaviour. Here is a photo taken on film (Kodak Pro Image 100, the same as used in my example above)

 
Here is the same scene shot as a digital RAW still with Adobe default colour but with contrast matched using RGB curves in ACR. You'll notice that at first glance it's more saturated:

 
Now here is the same digital shot with a LUT added to match the saturation and hues of the midtones. These now look like a good match. But look carefully at how desaturated the shadow areas look. The saturation has been globally lowered and the shadows are looking (dare I say it?)..... thin!

 
Finally, here is the same shot with a tweaked lut that boosts saturation in the shadows but keeps midtone and highlight saturation restrained. Now the shadows have deep blues and it looks more like the film shot. Is this a thicker image compared to the version with default colour? I definitely think it looks nicer.

Again, open all in tabs to notice the difference. Night mode is good too 🙂
 

These specs always sound good, but when a client actually sends me video from their iPhone to use in a project it always looks soft. Granted, they're not professionals, but I've never really been blown away by video shot on any phone. 

its funny but last i checked i thought glass was the most important part of a good image.  why buy Zeiss Master Primes when you can use the plastic lens of a smartphone. it will be a sad day when processed images of a phone will mimic pro equipment...

Nope, a Kiwi!
(New Zealander, in Auckland, spent most of my life here)

Atalanta is the new major production hub! If someone was to randomly kindly give me a green card, then I'd probably go there myself instead of NYC or LA. 

If you want a cinema look, ibis is not necessary ...
It might be a joke, but a certain movement of the camera is due to its high weight !!!

Because they want to keep the price low and target a large audience in need of quality webcam, remote video, streaming, live event.
If you look at the specs with a GH6 replacement in mind it's confusing. But as a new product to cover Covid19 streaming demand, it could be a "smart" product. A GH5s sensor in a box to keep R&D low and that's it !!!
Target is not C70 or Komodo users.

Don't think it was a blunder, the GH5S made sense, Panasonic got to reuse the GH5 body design (saving R&D) while trying out a new sensor (that couldn't handle IBIS in that version) which got to cater to even more new customers. (and gets to forever shut up those "but you got to use FF for lowlight!" from the babbling FF fanboys)

Actually it appears to be a broadcast camera, with a few filmmaking skills (new VLog L with 1 stop higher dynamic range) thrown in.
Also missing IBIS? I am guessing they're going after the Top Gear crowd that caused the blunder of the GH5s in the first place? 

Here you have to earn at least 35,000 euros to have a net salary as a worker ... the average taxes are 48%
I think that in Greece they have a lot of state debt to pay...

I definitely know its value....I think my problem is getting customers that agree with me and are willing to pay for it. That's a major problem in my area, customers who want everything for nothing and they all seem to have a friend who just bought a camera that will do it for free.  But...I digress, that's another rant for another day.  The C70 does look fantastic, it still feels too much like a C200 replacement for me vs. a GH5 replacement.

Point taken ... I do not use variables ... buy a set of decent NDs and meter the scene ...
If your ND adds a shift to green ... throw it away ... get one with hard stops and decent color.
 

Tiny

Almost everyone shooting with an ARRI (except perhaps the AMIRA) is shooting with a crew, they'll have someone else doing the sound, at least a 1st AC (if not a 2nd too, and perhaps more). Odds are decent there will be a Gaffer/Grip there too. 
They have the man power to handle the extra hassle. 

While the FS7/C300 is great for OMB or small crews, that need to move fast. 

Is amazing. I love it. Never going back to RED unless I’m forced to by a client.
Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras.  Yet every day we have new posts bemoaning the impending death of the format.  And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year.
 
It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase.  
If Panasonic does decide to abandon a market that they lead and tries to cram the L-mount down our throat it will be one of the silliest decisions a corporation could make.  But I wont try to predict the future as it wouldn't be the first time corporate heads made a bad call.
For the last year or so now Panasonic has been pushing adoption of their new full frame camera line and they probably want to give it as much room to breath and grow as possible.  I think with the new release of the S5, they'll also want to give it some time for new adopters to buy in before they release any news about a GH5 replacement.   At least that is what makes the most sense to me, but I do agree the lack of guidance from them and full support of the format a bit worrisome.  For example, the EVA1 really should have been M43 with maybe a bundled EF adapter or an interchangeable mount-- that alone may have given their user base more confidence in its future.  It is also too bad that the L-mount and M43 have such similar flange distances that an adapter between the two is probably not in the cards.
That said M43 is still my favorite ecosystem and format and none of the full frame cameras have really pulled me away due to some combination of rolling shutter, cropped video, heat issues, or just the size of the bodies and lenses.  The A7S III looks the most promising to me, but I'm still not entirely sold on the need to move to full frame due to weight/size of the lenses and the shallow depth of field that I mostly consider a negative for video.
Anyway, It would be sad to see Panasonic walk away from a mount that arguably has one of the most diverse ecosystems of lenses and adapters on the market.  Hopefully, we'll get some good news soon from Panasonic after they have given the S5 some time to sell through.