TrueIndigo

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

I don't want to highjack this thread, but this link shows a few pictures of the ability of the Sony Smartphone. The reason I bought it, and as you know I have had a Lot of cameras over the years. It is a great camera. Nothing you are going to stick in your pocket is going to beat it. Not shot by me.

 

Any time a “newbie” student type asks me what camera to buy, I just say get a GH5 and a set of cheap vintage primes. Then learn to frame and light 💡 

I just did a musicvideo with the GH5 and S1. Guess what, GH5 was ACam.
That´s because I could rent it in a package with four batteries, Speedbooster XL, perfect cage, with rods, handle, lenssupport, the perfect mini cinema cam. Love this package. I don´t need a shoulderrig and my handheld camerawork is still fine and fitting, as I treat the camera a serious tool and I respect it. My S1 was BCam with only one battery but the spiffy FD to L-mount adapter from cieco7. I am just too stingy to invest in other extra stuff for this camera, because I am still not fond of the tilt screen mechanism, though screen and its ruggyness is fantastic.
In this video it´s both cameras together. And guess what, I love them both and would love to buy a GH6. With Prores and its creamier cinematic image, sensor readout, TC, GH- line ergos and menues it would be a no brainer for me. Putting down cameras is very different from objecting to them. But sometimes we get lost and negative about the certain lacks about in some cameras rather than concentrating on their strengths.
One general thing I would appreciate, if people become more appreciative about the mft system again! It´s a fantastic system!
I mean, a Lumix G9 or GH5, two six year old cameras, can still put out a highend image. VLog L and VLog in lit situations with that slim 150mbit 10bit codec and at blue/Golden Hour, beautiful.
And, like our friend @newfoundmass, I am a great fan of MFT and happy that our friend @webrunner5 is back, as well that I would also love our other kids to join in more again. This forum used to be about what people do with affordable gear. So if GH6 is too expensive, there is still a sub 900 dollar production work powerhouse, the GH5. @kye has been a great fan of the perfect All Intra HD. It made me happy to read about his opinion about it when he started his deep observations of the camera. 
So here is the video. Both cameras were fantastic! GH5 and VLog, both in their economic but strong 10bit 4K codecs. The performed perfectly as A and BCam, like I said GH5 was A was various reasons. Image to me is flawless with VLog L and Vlog performing beautifully in lit situation and Golden Hour, which I shot this video at. I did the directing, dp-ing, lights, editing and super quick grade. Was the typical onemanband thing. But even with a budget for a crew I might have chosen these cameras. If you are interested I could do a breakdown on lensing and cam choice in a different thread. Some dolly work included as well.
cheers
 
 
 
 
 

I did indeed manage to pick one up from Camarthan Cameras in Wales! Only retailer in entire UK to have a couple of units. Glad I did though as the camera is a miracle in itself. Punches well above expectations.
I am only scratching the surface compared to you Simon, but will get to know it better in coming days. Brought it to Berlin with me. Not even shot any C4K with it yet but in UHD I did play with it a bit and love that you can punch in 1.4x in the middle of a shot with little to no loss in detail. No need to stop recording, you can just punch in and out on the fly.
The IBIS was out of this world brilliant. 1 second handheld photo PIN SHARP
The menus and ergonomics are in top 1% of all cameras. Love the way it feels to use and that they didn't go crazy abandoning the small size advantage with fans and stuff.
I have GH6 with me as well so will be interesting to compare the two. They are very different. GH6 has the edge for high frame rates and overall video specs. OM-1 has a significant advantage in terms of size, weight, ergonomics, stills features and a few unique abilities in video mode as well. The EVF on the OM-1 is superior to the GH6. Out of this world big and immersive, especially impressive for such a small body.
Can confirm the lovely Olympus colours are still present and correct!

I've quickly gone through the Z9 PDF user manual but can't find it -- are there film ratio marking options available in the display? Considering the headline video specs of this camera, I'm surprised if Nikon still expects you to put masking tape across the rear screen for 2.39:1 guidelines in 2022.

Had the opportunity to interview Masanori Koyama, product planner for the GH6 and S1H:
https://www.eoshd.com/news/interview-with-panasonics-masanori-koyama-product-planner-for-the-gh6/
Hope you enjoy.

Couple shots of my BMPCC with my 14x Fujinon.

Haha. Sold my GH5 and bought an Olympus EM10iii.  That's definitely a "Downgrade" to a $300 cam.  I went the opposite direction.
 

It's worth pointing out that there's no guarantee that the skintones and reds are accurate to what they are in reality, although they may be. I've long been a believer in colour that is better than, rather than faithful to, reality. However, the LUT gives colours that are faithful to a particular film stock, exposed and digitised in a specific way. And it may well be the case that skin and reds are quite close in hue to how they are in reality. But blues, to give another example, are considerably "off", such that skies will be rendered as very slightly but noticeably more towards green rather than purple. So perhaps the blue of the bottle or your father's clothing look a bit different to reality.
 
In the LUT the hue, saturation and lightness of various colours will vary with respect to their colorimetric values in reality. And the relationship is not constant through the tonal range. Shadows, for example, are relatively saturated and highlights much less so. A lot of the skintones in this image are in the lower midtones and that gives the skin its robust colouration in this instance.
I suppose part of the reason for this variance between realistic colour and filmic colour is simply because of the way negative film inherently works as a recording material. But another part of it is by design: conscious decisions that the engineers at Kodak made to design a film with specific responses. 
I think most people agree that, broadly speaking, the colour of film is beautiful. I certainly do, and that's why I'm going for it!
It certainly is and, as @kye suggests, one way is to create a HLG to VLog transform. But as well as the curve, I'd assume the colour is different too. Another way is to create a LUT from scratch using a HLG chart shot. That would probably be more accurate. I don't have any plans to do that at the moment, though. I would have thought the vast majority shoot in VLog with only a handful of HLG crew? But I guess on the GH5 HLG gave many of the benefits of VLog without the added expense of the paid firmware update. 

Here are some 100% scale details from this frame.

Here is the image with just simple colour correction (colour wheels) to improve the image and then applying the LUT (ie. the filters used in that order), along with the resulting RGB parade.

Here are some 100% scale details from this frame.

Here are some 100% scale details from this frame.

Here is the image with just simple colour correction (colour wheels) to improve the image and then applying the LUT (ie. the filters used in that order), along with the resulting RGB parade.

Black and White all right. I read parts of this beautiful thread again. I never got to do a BW vid with my G6 as wanted to for this thread. So three years later comes come Black and White with my GX85, first and last shot are from the S1. Let´s show this forum some more BW love.:)
 
 

I use a GH5 and it's enough camera for my skills and modest ambitions. But for the sake of MFT survival, if the GH6 is evolutionary and not revolutionary then they might as well call it a GH5 III -- just how well did the GH5 II sell anyway?

I haven't been active on the forum very much recently, but I've still been reading and following discussions with interest. The main reason I haven't been around much is because I've been busy trying to emulate the colours of 35mm film for digital. I've focused on contemporary photo films (as opposed to motion picture film), trying to get as close to filmic colour as possible in Lightroom/Camera RAW. I've got quite good at it now: I can get a pretty accurate match. And I can use the same method to create LUTs for video that are also pretty accurate. However, post processing photos is a bit different to colour correcting video and I'd like to ask the forum's help in trying to figure out a few things in the LUT design.
(To date, I've only tested my technique on GH5 VLog, as that's what I shoot. But the LUT should work on VLog from any Panasonic, although colours will be slightly different as each model has a slightly different colour response.)
There are a few different components to my method:
1.  Match overall contrast
2. Match hue and saturation of colours
3. Match colour shifts in the shadows and highlights
Here is an indicator of its accuracy. On the top is VLog with my LUT and the bottom is the film scan (Portra 400 exposed at +1 stop)


Here's a link to a folder with the LUT. It's for Panasonic V-Log and emulates the contrast and colour of Portra 400 overexposed by one stop and scanned on a Noritsu minilab scanner with slightly reduced contrast. However, I've removed the colour cast in the shadows and highlights for the sake of keeping the discussion simple, for now.
https://drive.google.com/drive/folders/18RiY7dZ6AO87yMKArUvRDNKfouUVCu8H?usp=sharing
My first question for you guys is what do you think about the level of contrast? I've actually reduced it a little bit relative the scanner's default contrast level. But is this the right level of contrast for you?
Even though I've lowered the contrast level a little bit, it might still seem quite contrasty. That's because it's not designed as a "wide dynamic range" LUT that preserves much of the log signal, that you would then do further work upon. It's designed to give a "Rec709" level of contrast, so about 7.5 stops (which has traditionally been accepted as the average dynamic range of a scene). That means if you have a high contrast scene you might need to lower the contrast of the log signal before the LUT. Furthermore, it's designed so that middle grey as shot equals 126 RGB in Rec709 (almost 50 IRE) when the LUT is applied, which is what it should be. So any under or overexposure in the log footage will be quite apparent and require an adjustment before the lut. Basically, exposure and contrast and WB corrections should take place before, not after the lut. And, of course, it should be applied in a Rec709 colour space. If you can find a reliable way of making those adjustments directly on the log footage (you can in Resolve and After Effects, you can't in Premiere) then grading becomes very quick and easy.
Here are a few VLog stills with the LUT applied to show how it handles skintones, saturation and contrast.

hey lol im good. how are you?
oh i agree 100%
awww, sure, but it sucks lol. thank u tho. ill pm u
ive been working on a bunch of new stuff. i made a funny pitch film to fund my next 5 lil films or so, and now im trynna get that out there. never give up

Gee I don't know what to say. Well certainly thanks is in order. Yeah i missed you guys also. I went though some scary ass medical problems, actually died for a bit, but I guess too mean to die too long so hey here I am. Sepsis shock just about did me in. It knocks you down in just about every organ you have so at my age, nearly 75 now, hard to crawl back, well I never will make it back to what I was, and I have just aged the more since, happens you know. But actually right now I am really not doing too bad. My mother died a few months ago, my one daughter just had double mastectomy with breast cancer, well not much fun not counting this God Damn Pandemic. Just what the hell I needed lol. So I have been sort of out of it for a bit, literally, bummed out for a bit and working my way back. 
I am reorganizing my camera, video gear for less heft, and a little more creativity. Nobody knows how long you will live but I know I am running out of time so I just want to have a bit of fun while I can. So I came back here to be re educated and reunite with some of my old friends, which I have had very few of in my life. I hope I can contribute a little past knowledge, screw ups and all, plenty of those, and have a few good forward thinking threads evolve. And maybe a few fireworks to add to the fire. Hey I am still Don you know. But yeah I have mellowed a bit trust me. I went out though the tunnel and saw what few have seen and felt, and for the limited time was super peaceful and intriguing. I think I was going up and not down like a lot of people thought would happen. 😬

Well I i agree with you but I think the reason they depreciate some much so quickly is 2 reasons, 1. Sony makes a better one 6 months later, and 2. Sony sold a Hell of a lot of the ones before the new one. Catch 22 lol.
 Back in the day rental houses had to order new shelving just to hold all the FS5s and FS7s everyone wanted to rent.

Hey nice to hear you have seen the light, no pun, and saved us from the common horseshit reviews and such on the old innerweb. There is just so much good stuff to look forward to not to be involved in it. And Merry Christmas from across the pond. Now I won't be bored to death this winter. Thank you thank you.

Hello to everyone on the forum!
A Merry Christmas from me!
I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue.
So that's what we'll do! EOSHD is back.
Read the full blog post here

Yes, this is what I have been saying to various colleagues from the industry here in Argentina; We've gotten to the point that you can make any camera look good. That's why I continue with my dear GH5. It is not that I am not willing to invest or upgrade to more expensive cameras, but I am working in a more "economical" film production framework and the budget ends up to what is seen in front of the camera.
Yes indeed!