TrueIndigo

So...
 
I was diagnosed with kidney cancer on September 5. I had my right kidney removed on October 13 and am now cancer free (and if my scans show nothing in April I'll be considered cured!). During that entire period though, I didn't do any jobs and just focused on recovering, but had decided to dip my toe back into the water and had a small job planned for a friend this week.
 
As I was just going through my equipment in preparation of getting back into the swing of things my pup Teri knocked over my main S5 and IT BROKE. Now, it doesn't impact my job because I have two extras of the same cameras, but obviously it left me needing to get a new camera. Sooo...
I bought the Lumix S5IIX instead of getting another used S5. I swore I'd never buy a camera brand new again, but the used price isn't that much less, and I was able to get a decent deal on it with a lens. With all I've been through (having my kidney removed was, without a doubt, the most painful thing I've ever experienced, just FYI) I figured I'd treat myself. 
This is a long way to ask a couple questions while I wait for it to arrive tomorrow:
1. how easy is it to match the original S5 straight out of camera or with a little tweaking using the standard or natural color profile? I will use log, but for certain jobs it's just easier to skip that part.
2. why is there no third party battery grip? has anyone heard why? 
3. I have a couple third party batteries. Wasabi and Newmowa brands. Has anyone encouraged any problems with third party batteries? I have like six OEM batteries but I've heard the S5II and S5IIX's battery life isn't as good as the S5.
4. what are the best settings? I've seen tons of YouTubers but I'd prefer to hear it from people that do more than film themselves in their spare bedroom/garage and actually are out there getting the most out of their camera.
5. This one is most important: I just want you all to know I love you all. My ordeal has given me a greater appreciation for life, the interactions I have with other human beings, and just everything, really. Thank you @Andrew Reid and everyone else that makes this place special.

Didn't think this would work at first.

Turns out it does, and then some!
The 9.5K sensor in this thing has enough left over for 4.8K in 2x crop mode
The Ultra HD is oversampled from this 4.8K and we have our nice looking Cinema DNG internal to SD card. Something the Micro Four Thirds cameras can't do.
So it is basically a Digital Bolex at this point.
Frame grab:

The form factor is also perfect for these lenses being so small.
It feels balanced as a Super 16mm handheld candid camera.
It has one over on the Sony a1 for c-mount as well... The 2x crop is sticky, between Cine and Stills, and is remembered every time you turn it on. Whereas the Sony clear image zoom keeps getting reset when you power down or switch modes.
So yeah, I think my Digital Bolex D16 itch has finally been scratched!!
It's also perfect for bunny pics

Just to confirm for the eagle-eyed amongst you, yes, I have commenced shooting on a super-secret project to be shot on the P2K and M2K cameras.
These are the current rigs, but are likely to evolve over the course of production, which is scheduled to last all winter...

 

I liked the feel in the hand of some of those old Canon's too, Panny, which I bought purely for Magic Lantern RAW. The 5DII was thoroughly solid like cast metal. But strangely, I did prefer the industrial feel of the lowly 50D (so different from the hollow plastic of it's successor the 60D, that I also owned), which had a stiff metal plate structure beneath the grip fabric that I liked more than almost any other camera.

It is time for a good old fashioned EOSHD article. Everything you’ve seen so far on YouTube is meaningless - yes it is.
Check out a new novelty on the web... with my WRITTEN BLOG POST!
https://www.eoshd.com/news/is-n-raw-real-raw-nikon-z9-under-the-spotlight-at-eoshd
 

Skintones are looking good to me using a LUT I made for the GH6:
 



Over the weekend if I have time I'll try to shoot some charts with the GH6 and S5II to check how close or not the colour is.

As I was watching the S5II reviews I realised that people are taking the same V-Log files and ending up with very different colour results. I guess there are four main approaches - use the colour in the file untouched, use Panny's LUT, use Resolve's Rec709 conversion, or use a third party LUT. This post compares the accuracy of each and discusses the trade-offs that might be made. This applies to the GH6 and any other Panasonic cameras that share a similar color palette.
I'll be using extracted colour patches from a colour target. This is how the chart looks in reality:

Below, I match the gamma of a GH6 V-Log shot of this chart and then look at the results. Open in paired tabs on a monitor and flick back and forth to compare.
 
1. Don't transform the colour, just add contrast:

You can see here by comparing with the original that overall saturation is way down, cyan magenta and yellow are too bright, reds are too orange, greens are too yellow and blues are too bright. Skintones are too green. I guess some people grade like this. However the colours are still in V-gamut and ideally should be transformed to Rec709. Even when I manually colour grade in Resolve so that some patches are accurate, then others are still totally off. Not recommended.
 
2. Use Panasonic's VLog to V709 LUT

This official LUT comes with a half-assed curve as part of it. But you can separate the components using LutCalc and just get a LUT that is the colour transform only. The colour LUT must come first, before the curve, or things will go wonky.
Cyans are too bright, magentas too pale, yellows too dark and orangey, reds a smidgen too bright and orangey, greens too pale and light, and blues are absolutely far too light and cyan. Skintones are slightly too pink.
Despite these colour inaccuracies this is actually a good colour transform in the sense that as far as I have looked I have never spotted any colour weirdness in the image like banding or colour clipping. It's a slightly muted look though, and not good for landscapes - foliage, sea and sky will suffer a washed out fate here.
 
3. Use Resolve's Color Space Transform to convert to Rec709 colour

Note that Panasonic's official LUT is available in Resolve under the LUT menu. However, you will get different colour results using the Color Space Transform effect to convert V-gamut to Rec709. I was a little bit excited when I saw these results at first. It looked off-hand to be a bit better than Panny's conversion, especially in terms of the lightness of the blues. However closer inspection reveals that although cyans are just about right, magentas are too bright and saturated, yellows too orange, reds too bright and saturated, greens are close but deep blues are oversaturated.
This colour conversion differs from the Panny insofar as it has to be applied after the curve conversion, not before. When you do this I noticed some weird colour artifacts in footage I'd shot at an aquarium. So yes, the blues are more accurate but the inaccurate Panny conversion gave an image with integrity whereas blues began to clip and go weird (even with saturation mapping).
Overall, this gives more accurate and I think nicer colour than Panny. However, if I was a wedding or nightclub shooter I'd be wary of colour artifacting in strong coloured lighting scenarios.
 
4. Third party LUT

I was interested to see if I could make a colour accurate LUT for the GH6. I gave it a go and you can check out the LUT here. The LUT must go after the contrast curve, not before!
Yes, it's very accurate compared to the other approaches. When contrast is relatively moderate and the range of colours is not so saturated it looks a bit similar to the Resolve transform. However, there is much better hue accuracy and saturation control in all tonal areas, which you really notice if you crank up the contrast or have very saturated. However, I did still notice some of that colour weirdness in the aquarium shots. So it looks like Panasonic know what they're doing in terms of sacrificing colour accuracy to preserve image integrity. And I guess if total colour accuracy is what you're after you need to shoot RAW!
Finally, here's a comparison on a real world image:
Vgamut

 
Panasonic Vgamut to V709

 
Resolve Vgamut to Rec709 (skintones are nice but note the oversaturated reds on the skirt)

 
Custom LUT

Recently purchased the X-H2s, and you know me, the first thing I look at is chroma resolution. Just dropping this in, on the left side you see the Cr channel of an EOS R 4K C-Log 8bit 4:2:0 recording (about 420 Mbps), on the right side it's X-H2s 4K F-Log 10bit 4:2:2 (about 615Mbps):

Don't get me wrong it's better than the X-T3, but this smoothing can still lead to loss of color. I really wish we could turn it off and deal with color noise in post.
ProRes RAW helps but it's a mystery to me. RAW on the X-H2s has the X-Trans pattern, obviously. However, it gets magically converted into Bayer in the ProRes RAW file. I had discussions with people who are involved in ProRes RAW->DNG conversion, also did my own test with Raw convertor (resulting DNG has Bayer pattern) and it seems that the data that arrives to a Ninja V recorder is already Bayer, even though the sensor is X-Trans. I'm still trying to confirm all this but if the body demosaics the X-Trans pattern and remosaics it into Bayer, then it's kind of a hack which in some cases can lead to artifacts.

Well, it's certainly true that the GH6 has not made the same kind of splash that the GH5 did. Personally, I don't find M43 to be too much of a burden when shooting with a 0.64x Speedbooster. It's kind of a sweet spot of boosted light for exposure and manageable DOF. For me full frame has too little when shooting wide open with fast glass and I think that approximately APS-C or Super35 sensor size is pretty good. M43 is too small, but with a 0.64x speedbooster it's actually "bigger" than APS-C at 1.28x crop relative to full frame.
Here are a few clips shot wide open with an Iscorama 36 on an Olympus OM 50 1.8 manual lens. Talk about making life difficult for myself with an Iscorama shooting wide open - swapping diopters between almost every single shot! A lesson in patience! Oh well, it's worth it for the bokeh and the flares I guess 😂
 

As if it weren't bad enough, when the world seems to be going mad each week with yet another WTF moment, at a personal level half the universe is suddenly in question and we wonder what's going on? In all inadequacy I know, but I send my healing thoughts to Zara and you Andrew at this difficult time. I've been very moved reading these posts, and hope they also help you to know something of the reality of the regard and honest feelings community people here have in support to you and the family. All the best.

I thought I'd resurrect this topic since I am still shooting on my trusty 5D3. Here's a frame from a web promo I shot last week...
 

Take this with a pinch of salt but the GH6 won Best Photo/Video Camera at the 40th anniversary EISA-who-I've-never-heard-of-awards
https://eisa.eu/awards/panasonic-lumix-dc-gh6/
I've used it on a few jobs now and I do like the camera. I still miss the 1080 2x crop but find the battery life OK. I have a power bank on the way and plan to charge batteries in my bag as they die.
I do love the red box when recording, punch in while recording and generally tidier onscreen graphics. It's a good video camera.

Yeah, first camera I ever used (in a studio setting) was a Sinar 4x5, and you could only clearly see the image under a dark cloth (with your head to one side, of course, because the image was upside down). Punch-in focus in those days meant using a stamp magnifier on the ground glass screen, and the exposure check was a Polaroid back slotted in to give some idea of what the exposure (usually measured in seconds) might actually look like. 

Yeah, first camera I ever used (in a studio setting) was a Sinar 4x5, and you could only clearly see the image under a dark cloth (with your head to one side, of course, because the image was upside down). Punch-in focus in those days meant using a stamp magnifier on the ground glass screen, and the exposure check was a Polaroid back slotted in to give some idea of what the exposure (usually measured in seconds) might actually look like. 

I'm a sucker for cheap wide angle and have found a nice contender for APSC and speedboosted M43.
The Tokina 12-24 f4 is a well regarded wide angle lens for APSC Nikon and Canon DSLRs, but you can totally get away with using it on larger formats to a certain extent. It has good build quality, very little vignetting, is fairly sharp out to the edges and has very little distortion in the middle of the range. They go for very little now and I picked up a copy for €150 including postage on eBay.
Here it is on a GH6 with 0.64x Speedbooster wide open at f2.5
12mm (15mm full frame equivalent, 7.5mm M43 equivalent). Vignetting is evident. This is a lens for APSC formats, after all.
 

15mm (19mm FF / 9.5mm M43 equivalent). Vignetting is mostly gone. Could maybe go a little wider stopped down a bit.
 

18mm (23mm FF /11.5mm M43 equivalent). This is the minimum you can use it on full frame, where corners are quite soft at 18mm but speedboosted on M43 the corners look decent. Any distortion levels out around here and is quite good as we zoom in further.

20 (25.5mm FF /13mm M43 equivalent)
 

24 (31mm FF /15mm M43 equivalent). Purple/green fringing is quite bad at 24mm, probably the biggest problem with the lens. It cleared up for me using Digital Film Tools Chromatic Aberration effect.
All in all, I'm quite pleased with it and would definitely recommend it as a cheap wide angle option for Speedboosted M43. On full frame it suffers a lot with corner softness, but is still good for square format photos if Insta is your thing!

Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)

I've got a bunch of Samsung T5/T7 drives for the Fp and Pocket cameras and, as small as they are, they are still a bit cumbersome and in the case of the T5s I've had a couple fail on me.
This is not exactly a unique or challenging DIY project to make my own alternative to the T5/T7s but thought it might be useful for anyone looking for something similar that is both faster and, for my purposes, a bit more ergonomic.
Enter the Sabrent NVMe enclosure and the WD SN770 NVMe drive.

The Sabrent takes both SATA and NVME in sizes 2242/2260/2280 and is tool-free so you just pop it open and then insert the drive.


Once you've done that, simply snap the case shut again and you have a ready to go drive which, for me at least, is a far better form factor than a T5/T7 for mounting on a camera and is easily swappable in the field for another NVMe if you run out of space.

To be able to mount it to a camera, I decided that the most appropriate and versatile route would be via a standard 1/4" 20 thread so I designed and resin printed an adapter that will take a screw and which is then bonded to the bottom of the drive case.

With that in place it can now be mounted to the camera cage horizontally or in the case of the Pocket cameras, directly into the thread on the top of the camera.


For my own use, I much prefer mounting it in this orientation but, of course, with it now having the 1/4" 20 mount it can be mounted anywhere.
In terms of price, the 1tb drive and the housing came to around €125 so it is certainly very competitively prices compared to the Samsungs.
Oh and there is the small matter of the quoted write speed being 5,150MB/s which makes it significantly faster than even the gen2 T7's speed of 1,000 MB/s.
In terms of actual real world performance, I shot all day with it on the P4K earlier in the week at 5:1 BRAW and it didn't miss a beat.
As I say, not unique, not challenging and not for everyone but it fills a need for me.
Some better cable/cable management required now though.

Well, I made a total liar out of myself and went and bought another Panasonic GH5 with V Log in it. And to make it even more crazy I bought a Canon FD 300mm f2.8 lens, the big white one, with it, and the older 14-140mm Panny lens, the black and gray one.
With the newer firmware updates the GH5 has gotten a lot better than when I had mine before.  Pretty hard camera to beat used even today.  The 300mm ought to be good for birding and well why not. I am going to use it with my EF to M4/3 Speedbooster so will be interesting. So now I will have even more stuff.

I need more time to get a feel for it.
We've just moved back from NZ to Ireland and have been preoccupied with finding a place to live. I mainly shoot video for corporate work that I do, very little for family stuff or for pleasure/creativity. Since we've returned I've done one major job but I used the GH5 as I didn't want any curve balls that the GH6 might throw my way.
So I've really only pressed record on it a handful of times, doing a few tests. From the little I've shot with it, it seems like the battery life is really shit compared to the GH5 and a USB power source will be necessary. I don't use rigs, so I was thinking even just having one in the bag to charge up the last battery when it's been used. That might be enough to get me through a half day shoot.
DR boost gives you an extra stop in the highlights. That's it. So if you think of your average GH5 scene and where it clips, then DR boost will give you one stop more info, at the cost of using heavy NDs in most situations. I've got as far as a 5 stop Tiffen solid ND to stick under my SLR Magic Vari ND II, but am considering the Nisi True Colour to replace the SLR Magic as it probably has less colour cast (which is not so important to me) and possibly slightly less polarisation (which is the real ass kicker with vari NDs, I think).
I've satisfactorily matched the colour from the GH6 and GH5 in V-Log, and the image is thus practically identical for my purposes when not using DR boost. If you set the GH5 to minimum sharpness and noise reduction it's the same as the GH6 in terms of detail/sharpness/artificiality/organicness (except there may be differences in noise which I haven't examined in great detail), so the choice to use one or the other for me now comes down to functionality and ease of use.
I do miss the easy 2x digital zoom for HD like on the GH5 as discussed previously in this thread.
Having said all that, there are a few things that I really like a lot about the GH6:
- Red frame when recording. This is a lifesaver. I've often lost shots from having gotten into the wrong record/stop button pressing cycle
- Punch in while recording to check focus
- Luminance spot meter. This is not for everyone but it's amazingly useful for me as another exposure tool
- Usable AF using Panasonic lenses (anything I've checked on the Speedbooster is hopeless). Maybe once a year I need to do a static shoot of people walking down a corridor towards camera, chatting. The AF will do a better job than I can and give the 2 or 3 seconds of usable footage that I need.
- Confidence that I can shoot in low light if needed. Previously I've never needed more than 3200 ISO (most shots are on a Tamron 24-70 2.8, which is f1.8 on a Metabones XL) but that was a bit noisy on the GH5 and on the GH6 with DR boost it's much cleaner.
Ha ha! Here are some more negatives though:
- The build quality doesn't feel as good as the GH5.
- Some YouTuber was complaining about the silly mechanism on the memory card door and I agree with him. There was nothing wrong with the door on the GH5, but the GH6 is now finicky to open.
- The stupid light streaking thing which I have seen, when I deliberately tried to recreate it.
- The whole DR boost thing is voodoo. I've got noisy results in daylight using it, which worries me. I need more tests to suss this one out.
And finally, here are some mildly shocking things I've learned when comparing to the GH5:
- GH6 is slightly wider angle of view
- GH6 gives slightly darker image
- There is quite probably an overall colour cast imbalance. Almost certainly when using the same WB preset or when dialling in degrees Kelvin, and possibly also even when doing a custom WB on the same target. Need to test this more. It might just be the difference between my two units.
Honestly, if you have a GH5 there is no huge reason to upgrade unless you definitely need the higher resolution, codec or frame rate specs. The output is going to look pretty much the same. It's not like the jump from the GH4 to the GH5, which added 10 bit and made V-Log usable. More like the GH5 to the GH5 II - a better camera to use but your client/audience won't see anything diferent.

Ah I see, that must be pretty fun when going around in these nice places haha (non ho capito se qui si può scrivere in Italiano o no ma per non rischiare ti rispondo in Inglese)

This is the trailer of my first feature movie (mockumentary/comedy/drama) that I finished last month, not high budget and completely indie, I was the director but also the dop and camera operator + everything else techincal, then 2 writers (one of them is also the main actor) and another guy who composed the entire score for the feature. It was really fun to make, it's an hour long. Me and the two writers are currently aiming for some festivals (but it seems very hard to choose which) and also looking for some ways to show it around, we did 2  "closed doors" projections in local cinemas and we have one more on the 9th of this month! It was entirely shot on the Lumix S1.

Here is a music video I did with my beautiful GX85.
It now has dethroned my GF1 for photography pleasure, loosended my bonds with my eternally appreciated and now disfunct G6. GX85 earned no1 place in my heart. It was a bit of a way to go for this cam. It has pleased me with nice footage, great personal short cine verité extravaganza, BCam as last resort.. But only until now it has reached my heart completely. It is a true treasure.
The road to love was slippery by the slipperyness of the camerabody, the soon to become disfunct back wheel and the mediocore EVF. But still, it is almost as pretty as the GX7 or my GF1 and it feels good in the hand and now even better in the heart. So enough talking, time to let this camera speak.
Used Fujinon 12mm in 16 to 9 and ind 1:1 4K photo mode, Tokina 25-50 in the mix. Shot in colour and graded with love in BW. 🙂
 

update 0.1:
since it doesn't come with mic or mic stand, there were a big ugly hole on the right side handle, so I used some soft  silicone rubber that left from some old project, cut it with razor and voila! a rubber cover, not pretty but it works and I don't need to worry dust and rain water will get inside handle anymore.
Here are some screen shot fresh comes out of it, RGB444 on PIXE5, 180° shutter and ISO800, SLOG of course, 5600k WB, just transferd it to R709 and a tiny touch to exposure. The dynamic range and color science is truly amazing! Indeed it is a reason that F3 was called 'baby alexa'

Shot some BTS footage of a friend's short film last weekend. Some of it looks good in B&W.

There has been a revolution in colour grading over the last 15 or so years with the invention of colour managed workflows.  These enable the automatic conversion of footage between various colour spaces, and enable things like colour matching between cameras.  
Prior to this, all colour grading was based on either manufacturer-provided LUTs (or other LUTs like print film emulation LUTs), or manually grading the camera files to create the desired output (typically grading log into rec709).  However, colour management doesn't negate the need for manually adjusting the image to get a desired look.
I've been working with colour management and colour grading for years now, but decided to up my game by getting a control surface and learning to do things manually, no colour management or LUTs - just full manual ruthlessness.  
Enter the BlackMagic Micro Panel!

which isn't actually that micro in real life....

After shipping delays (8 weeks!!!) it has arrived and I've put in maybe 6 hours over two sessions.  As anticipated, my skill level is "disappointing", but my plan is simply to put on some music and put in the hours, like building any other skill.
My first grading session was actually a bit of a revelation.
I started off grading C-Log footage from the XC10, and using on the Lift/Gamma/Gain controls.  My second session was grading HLG footage from the GH5, and including Contrast/Saturation/Offset as well as a bit of Lift/Gamma/Gain.
The three trackballs adjust the hue offset, and the three rings/wheels adjust the luminance.  At first I thought that the wheels were very insensitive, large rotations seemed to make small changes in the image - especially the Gamma wheel.  However, the more I used them a funny thing happened.  I found that there were all these little "niches" where suddenly a particular thing emerged.  Go a little bit one way or the other and you adjust the feel, but go a bit too far and the look dissolves.  These are so fragile that the whole niche might only be 1-2mm of adjustment on one of these wheels.  So when you find one of these all of a sudden the control feels like it's very sensitive, not too sensitive but you definitely don't want it to be faster.
These things are "looks" related to a colour balance, but can also be "textures" related to shadow levels and shadow contrast, or to do with highlight rolloffs.  They can be broader too, like "warm sunset glow" where the balance of the colour matches the contrast, or when I was grading some Thai temples there's a way to make the gold-gilding on the buildings and statues really glow.  These looks really seem to be based on combinations of various things in the image.
Here are my initial take-aways:
These controls are enormously powerful
There are dozens / hundreds / more? of looks that you can do with only the LGG controls - throw in the Contrast/Pivot/Saturation/Offset controls and it's almost limitless.
  Just using a surface is a revelation
I've used all the individual controls (LGG, Contrast/Pivot/Offset/Saturation, etc) literally thousands of times over the years, but I'm learning new things by the hour that I never noticed or never understood.  I genuinely have no idea why having a control surface has made this difference, but it really has.  Maybe it's being forced to concentrate on only one or two controls at once.  Maybe it's the tactile nature of it.
  Moving multiple controls at the same time is game-changing
Moving two controls at the same time and in opposite directions is game-changing and simply isn't possible without a control surface.  This is where the plethora of looks comes from, as you adjust multiple controls against each other the overall image doesn't change much (assuming you're balancing the adjustments) but the ratio between the two does and you can gradually dial in different looks by navigating up and down this balance point.  There's no way you can do this with a mouse because by the time you adjust one control (which throws off the whole look of the image) and then adjust the second control (to almost completely eliminate the impacts of the first control) you've forgotten what it looked like before, so you can't possibly dial in the subtle changes required to find these tiny niches in any reliable way.
  Muscle memory developed really early
This surprised me, but it was really fast to really develop.  The surface feels familiar even after a few hours.  I'm told that pros grade without looking down, maybe at all, and that's part of their efficiency.
  You can grade full-screen
This is perhaps a Resolve-specific thing (I don't know how panels work in other NLEs) but if you're adjusting things with the mouse then you can't do that with a full-screen image because the controls are hidden from the cursor.  I have an external reference monitor, but it means that I can put scopes on my UI monitor to cover the controls and I can still adjust things even though those controls are under the scopes.  Very useful.
  It's teaching me to see
I've spotted a few things happening in the footage (which I had seen previously) but because I was adjusting something at the time they emerged, I was able to play with the controls and see what caused them.  Now, I recognise that thing and know what is causing it.  I've learned what causes things I've been seeing for years.  Once you've found a look it's interesting to adjust each control individually to see how that control impacts the look.  That can help to dial-in the look too - you adjust each control to optimise the look and after a few 'rounds' of tweaking each control you'll have nailed it.  You'll also learn very quickly which controls matter to the look, and also which ones that look is more sensitive to. Would I recommend this?  
Yes and no.
Yes, but only if you're willing to put the time in.  If not then you're probably going to have a very bad time.  I tried grading some iPhone footage, with its auto-WB and highly processed 709 image, and I was half-way to rage-quitting within about 15 minutes.  I still had that sour taste in my mouth the next day, and it took me a few days to get over!  I've now realised that all practice is good practice and so I may as well grade more forgiving footage and leave the iPhone until my skills are significantly more developed.
I don't know what my long-term plans will be, maybe I will learn to grade well enough that I don't need to use a panel but will be able to use the knowledge I've gathered.  Maybe I'll always want one.  I will definitely grade real projects using colour management and LUTs, but having these skills will complement that.
At the moment, it's a learning tool, and damn - I'm learning a lot.

Love the guitar work on this and a wonderful vocal from Rod Stewart: