Jordan Drake

9 hours ago, sanveer said:

Hi Jordon, since you guys have the camera, I thought I should ask you.

Someone in another thread (or this one?) was saying the rolling shutter is terrible (for video?) on the Fuji. But I vaguely remember that Fuji has a quick readout mode or feature built into the sensor, whose sole purpose is to control rolling shutter. Could you comment on the rolling shutter, from your use with with camera?

Thanks 

I only had the camera for a few hours, and did not have other cameras handy to compare it to (aside from the X-T3, which has excellent readout speed). I'll get full numbers eventually, but it seemed quite similar to a Sony a6400. This IBIS system helps control some of those micro-wobbles, but it's not a camera I'd use for fast paced handheld work. I certainly wouldn't find it "unusable" for quite a few types of shoots. Nor, however, would I make this my primary video camera.

18 hours ago, Andrew Reid said:

Looking good.

If the GFX 100 has an Luma range option then that should fix the crushed blacks.

Software get very confused about that when it comes to the edit. You use one player or NLE and it's fine, use another and it's clipped all the DR away!

I remember when I first started editing H.265, with the Samsung NX1. The software support was so bad in the early days, it felt like the camera only had 8 stops dynamic range, when in the raw stills it did 13. Now, the support is much improved and the firmware added 16-235 option, along with a hack for 160Mbit (320Mbit in H.264 terms) and it feels like you're shooting ProRes with the damned thing now, glorious dynamic range and shadow recovery!

Did you get a chance to try F-LOG?

No Luma range option (yet, firmware was still very early). I'll dig into this deeper if the problem still rears its head on the production models.

F-Log was functional (you can see an uninspired example of it in our Japan field test episode), but I was advised that Eterna was much closer to being final, so I stuck with that. It helps that I love Eterna for quick turnaround.

1 hour ago, androidlad said:

Nice work. Are you sure the crushed blacks wasn't caused by this?

Did you edit the GFX100 footage on Mac?

I was looking at that thread with a lot of interest, as I do cut our show on a Mac with FCPX. However, to test I stuck the card back in the GFX 100, and the footage played back with the crushed blacks in camera, and on an external monitor.

I'm not too concerned, it's very common for pre-production cameras to have issues like these. I'll update when I get a production unit shortly.

First proper video I've shot on the GFX 100:

Didn't have much to knock this together, but the camera did a pretty respectable job, especially as the last two shots are at 2000 ISO. The whole video was shot in Eterna.

Unfortunately, the DR+ profile did not seem to be functioning properly, so blacks were quite crushed in the captured footage, unlike what I was seeing in my histogram and external monitor. I'm optimistic that this will be fixed when we get production cameras.
 

Gordon Laing has done a really fantastic video-specific look at the S1/S1R. Worth a watch:

The S1/S1R 6K Photo is actually 3:2 instead of 4:3 like the GH5/G9. Choose your anamorphic glass accordingly.

9 hours ago, newfoundmass said:

A monopod?! You cheater! Real pros go handheld, bro! 

I'll change my ways...

3 hours ago, Lars Steenhoff said:

In 6k Photo mode the S1 can film at 60p with full sensor for 10 minutes.

If you don't need sound, ( I don't for slow-motion ) then its a great option if you don't want to crop for 60p.

 

https://www.youtube.com/watch?v=4FaqAz7eKY4&t=12s

Just looked into this. 60P 4K Photo mode still does a Super 35 crop. 6K and 4K at 30P is full readout. 

No free lunch, sadly.

On 4/27/2019 at 5:41 PM, Jimmy G said:

The S1 can be manually set to shoot video in either FF or APS-C crop, as seen at the 11:15 mark in this video from the kind folks at CVP...

Panasonic S1 | In Depth Review - YouTube:

...which they claim "will allow creatives to use Super35 or APS-C lenses". However it's not clear to me (nor do they explain in that video) as to which video rates (e.g. 4K 30?, FHD 60?, etc.) allow for that choice between these two frame sizes. Also, based on that same fleeting sequence there seems to be a user-selectable Pixel-by-Pixel (dimensions also user-selectable?) aspect ratio, as well.

In all of my online investigations into this camera I have only seen mention of this capability in this video. The function is located in the "Others (Video)" menu and has apparently escaped detection by other reviewers of this camera. FWIW, Panasonic, themselves, have done a fairly poor job (IMHO) up to this point (as of this writing) in not providing prospective buyers with a full, downloadable User Manual for these new S-Series cameras.

Perhaps one of our fellow EOSHD posters already using this camera can investigate the above functionality and report back here as to how and when it actually works or doesn't?!

You can shoot Super 35 in all framerates (4K/60P and 1080/180P can only be recorded in Super 35). In 1080P, your frame rate does jump from 60P to 150P. I'd love to see 120P added.

Pixel-Pixel is only available in 1080P modes, which makes sense as the Super 35 modes are 4K at the pixel-pixel level.

9 hours ago, newfoundmass said:

Jordan, did you find the size to be kind of an issue while shooting handheld video? At first I was like, "this isn't so bad," but by hour two of holding it up I was like "why Panasonic, why?!" 

Am I just a wimp?! 

I shot most of the episode, (aside from the part art the canyon) on a video monopod, so I can't really say.  It wasn't an issue for the couple hours we were there. I wouldn't want to hand hold it for an entire event shoot or something. The body with the 24-105mm feels similar to the GH5 with a Metabones and Sigma 18-35mm I usually use, so I don't think it would be an issue for most types of filming.

6 hours ago, heart0less said:

 

Beat me to it, thanks!

9 hours ago, Towd said:

I thought this was a nice breakdown of the S1 with some comparisons against the GH5 and a7 iii.  It looks like it would pair up well with a GH5 in a multi camera shoot.

 

Gerald is a legend.

I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.

Pretty noticeable, but not bad for super-sampled 4K. In-line with the a7 III.

On 12/1/2018 at 1:18 PM, Aussie Ash said:

Jordan's conclusion sure is feeble as audio can be directly recorded to a Ninja V or use a preamp

like the  US $100 Saramonic Smartrig+ .

Yeah, I'm really unhappy with how I delivered that conclusion. The point I was trying to make is that if you only want to carry the camera, the GH5 and X-T3 are much more full featured. If you add an external recorder, however the Z6 and to a lesser extent the Z7 become extremely compelling. The audio issues can certainly be worked around as well, but I remember shooting with Canon DSLRs and occasionally being forced to use an underpowered mic. 

I do think the main purchasers for video will almost exclusively be people with a large selection of Nikkor AF glass.

I have to finish up one project today before upgrading, but it's a pretty serious update. I'm really looking forward to seeing how Apple's video noise reduction performs. Hopefully the tighter implementation of third party plugins will also give them a nice performance boost.

3 hours ago, Andrew Reid said:

Go back and do a proper test Max that takes you longer than half an hour... But no, he's got subscriber numbers and viewers to chase so it must be done quick!

 

Max repeatedly stated that this was the first of several tests. I'd rather see his findings as he shoots them, then wait a month for a 40 minute video with all the results in every category. 
 

For single point LED lighting, Aputure's COB lights have been outstanding. Excellent colour, and very reliable.

I love the Fotodiox Flapjack lights as well, if you primarily need soft lighting. Not quite as consistent colour wise (my 200RS has a bit of a cyan cast), but the light's shape is beautiful right off the fixture, and the round panels give an amazing catchlight.

On 10/8/2018 at 3:56 AM, Django said:

..yet in Jordans video segment, a lot of the footage is labelled "EOS R 1080/24P with electronic stabilization".

imo @Jordan Drake should have used full frame lenses such as the RF 24-105mm or EF 16-35mm L for those FHD shots with EIS.

 

As mentioned in the episode, when we switched to shooting 1080P I also switched to the RF 24-105mm F4 L IS. The EF-S 17-55mm was only used for the 4K sequences.

On 4/28/2018 at 1:02 PM, Don Kotlos said:

Ok back to the subject here is a review from Chris and Jordan for DPReview! DPReview is lucky to have them. Congrats to @Jordan Drake

 

Thanks Don! It's an exciting time for Chris and I!

I think Max Yuryev is doing some great work, and certainly deserves more subscribers/views:
https://www.youtube.com/user/Maksimyuryev
 

The Royal Ocean Film Society post some great think pieces, and film criticism:
https://www.youtube.com/channel/UCWq-qJSudqKrzquTVep9Jwg

I'm also partial to these guys, specifically the dude on the right:

On 2016-06-13 at 10:55 PM, John Matthews said:

Not to descend into Jordan-bashing here, but think he might have forgotten why the channel became popular in the first place. He seems more concerned about his FS5 review, which I'm sure is really cool, but many of us will never really see. I think the best word to describe their review of the GX80/85 is "superficial" at best. I think they spent more time on scouting their location, learning about their location, running the FS5, and driving to the location than they did on learning more about the camera... possibly only reading confusing marketing literature from Panasonic. Sorry for the rant, but it seemed the only thing they had to say was: "It doesn't have a mic-input. It's got crappy sound." Meanwhile, they'll love the dual-pixel AF in the 80d- what a great cinematic tool that is! I'm not going to watch anymore review channels and I'm just going to do my best with the camera I've got now. Besides, I'm getting the impression most of the channels out there are primarily considering the clicks they can get from listing the "great" product in their "show notes below."

By the way, I specifically asked Jordan to look at the HDMI. He didn't. Doubt he ever read my question.

Log files sound great, but I think, from listening to many people on this site, they represent major challenges in post for the non-pro. Often, I look at the final product and simply can't help thinking: "why bother?" It looks almost the same. Sure, the highlights tend to blow out, just be more careful.

You mention 14-bit raw... that's cool, but if it screws up or slows anything else down, I'd rather not have it. For me, the problem of having a great camera for photography was solved about 5 years ago. With a GX80/85, you can have huge prints and have amazing latitude in post. Yes, even from 16 megapixels and "only" 12-bit files. If you print, I think most people would see little to no difference between the $3000 A7R ii and a GX80/85 on a A3-size print... possibly A2 or even A1, with viewing distance taken into consideration. For a major improvement in quality, consider medium format as everything else is simply a single-digit percentage point difference with current MFT offerings. Sure, there are aesthetic differences, but can you get shallow DOF with MFT? Of course, you can.

Wow, that's a lot to go through, but I'll do my best to cover your complaints. I  like how there aren't a bunch of 'good job' posts on this forum, posters actually take time to give constructive criticism.

Firstly, while I am a big fan of the FS5, I'm hardly fixated on every shoot I go on. It gives me reliable results (except for the 'flickergate' saga), and it's the tool I've chosen for capturing most TCSTV episodes. I realize that many viewers preferred when we shot the show on more affordable cameras, and I empathize with that. The FS5 just lets me work faster, which is key when I'm shooting and editing an episode a week on my free time. Reviewing the FS5 is at the very back of my mind when shooting episodes, I'm busy getting the shots I need for a coherent review.

I'm sorry I didn't see your request for a review of HDMI output. It was discussed, but the number of shooters using a 4K recorder on a camera at this price range seemed too small a market for us to devote a lot of time to in the review. As well, the benefits of improved colour space are most noticeable after heavy grading. The lack of a log profile or Cine profiles mean a lot of information is already baked into the files. There will be advantages to shooting 4:2:2 out, but they won't be nearly as noticeable as if the footage was shot log and properly graded.

As far as the Canon 80D, that is a flawed camera that is targeting the Vlogging audience (not pros) extremely well. The dual pixel AF is a great thing for people inexperienced at shooting video, and eliminated one of the major hurdles of large sensor capture. The stabilizer in the GX85 is also a powerful tool for people who won't use a tripod, gimbal, steadicam, etc but those users also probably won't have much interest in syncing sound.

At the end of the day, I love the image and stabilization of the GX85, but I feel like the features have been put together haphazardly. It is a very exciting preview of the GH5, which is hopefully where Panasonic will stop with any artificial handicapping and give us the 5 axis stabilizer, a great internal codec, nice preamp, and maintain the great battery life and stability.

It should be an exciting Photokina!



 

On 2016-05-19 at 4:09 PM, MountneerMan said:

So Calgary is definitely not the best looking place in the world but Banff is just 1 1/2 hours away and that is one of the most beautiful places in the world.

I think its pretty typical for people to not appreciative the beauty they see everyday. Personally one of my favorite things about traveling is when I come home I try to keep that tourist mindset for a few days and walk around with a camera as if I am a tourist and shoot everything.

Its also interesting to sometimes compare some of that footage to the stuff you shot on your vacation. Its always a nice surprise when it looks just as good if not better.

We would shoot in Banff every other week if we didn't need to pay for commercial permits to shoot there. We've been able to spring for them or find loopholes a couple times, but mostly, we have to stay out of national parks.

Jordan @ TCSTV

5 hours ago, Andrew Reid said:

Going to get mine on Thursday now, Sony had a delivery technical issue so they are coming in a few days late here.

Looking forward to it.

I do wish Sony would change their menus, ergonomics, skintones, colour, LOG profile, jello, banding, macroblocking, edge tearing, etc. quite a long list isn't it? You can be assured my coverage won't be a PR smoothie unlike ALL OTHER SITES SEEMINGLY IN EXISTENCE.

Can I just say that Sony have some SUPERB PR people.

Hey Andrew,
After all the dumping you've been doing on every reviewer, I was surprised to see my video at the top of your blog post. But hey, we all need content right?