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hyalinejim

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Everything posted by hyalinejim

  1. hyalinejim

    Panasonic GH6

    I can run a test for you if you tell me the parameters you're interesred in. I can run record on a full battery and see how long it lasts.
  2. hyalinejim

    Panasonic GH6

    Thanks! It's a lut I made that emulates Portra 400 film as scanned on a minilab scanner (which I've posted about here before). Since negative film has quite a lot of stops above middle grey and only a few under, the highlights are relatively low contrast compared to the shadows.
  3. hyalinejim

    Panasonic GH6

    Lol! In all fairness and after looking closely at the above, the GH6 does seem to have slightly finer detail and a slightly softer and more natural look when viewing at 100% in 4K. But it's subtle! I guess with GH5 V-Log a lot of people might have left the NR and sharpness settings at their default settings instead of turning them down to the minimum and this may have contributed to the idea that the GH5 is overprocessed. @deezid might chime in with his experiences as I think he now has a GH6
  4. hyalinejim

    Panasonic GH6

    Sorry, ignore the fifth image above, too late to edit now.
  5. hyalinejim

    Panasonic GH6

    I don't like it either! Especially when doing long interviews 😞 I definitely thought I noticed a difference between the GH5 and S series cameras. But, forgetting about noise, high ISO performance and recovering from bad exposure and concentrating only on the "organic" versus "artificial" continuum I don't see a difference between the GH5 and GH6 set at the same exposure when examining single frame. Here are some examples. Both cameras are ISO 400 V-Log and have been colour and exposure matched. GH5 is first, then GH6 in each pair: That's what I mean about the image being essentially identical for my purposes. Maybe the detail is slightly finer and less coarse in the GH6?? Of course, this comparison ignores temporal characteristics (maybe the noise pattern is nicer on the GH6?) as well as the extra dynamic range in DR boost which will differentiate it from the GH5, as well as the VLog colour being a nicer starting point on the GH6 if you're just going to use Panasonic's luts. That is a very good point!
  6. hyalinejim

    Panasonic GH6

    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.
  7. The crushing disappointment with the XC10 was the ghastly temporal smoothing resulting in ghosting artifacts, most noticeable in log.
  8. Sorry, I should have been more specific. When it's flipped out to the side it will tilt through 270 degrees - from facing 180 degrees toward the front and 90 degrees down. If you don't want to flip it out to the side then it will tilt up to around 30 degrees up. That's it. It's not like the XC10 which could do 90 degrees up, I think, which was cool.
  9. The GH6 screen only tilts up a tiny bit. It doesn't even get to 45 degrees. It's like a token gesture tilt!
  10. I meant the position of the person, not the mic. Like center of the room versus closer to a wall.
  11. Three things come to mind: 1. Buy a bigger softbox to soften the light more without needing to move it in frame 2. Use a weighted horizontal boom to mount the light above the frame, with the vertical stand positioned just out of frame 3. Position the interviewee on the rule of thirds line with the light on the same side, but out of frame.
  12. On the topic of placement within a room, where is the best spot for getting nice sound and minimising reverb? Maybe @IronFilm will know?
  13. And their expensive crap! Yes, I agree with you. They weren't always like this.
  14. I'm a big fan of doing this. Sometimes clients are mildly shocked by the suggestion, as if it will suddenly be too dark to see if I turn off the lights... in daytime. Then I have to start explaining about CRI and green spikes versus full spectrum etc. Their eyes glaze over then and I guess they assume I'm not actually a mad person. But I always find it weird that they think it's a weird thing to do, when it happens from time to time.
  15. Maybe lower or switch off the ambient/fill light as the white/closer walls are acting like reflectors.
  16. @Kisaha Well done, good luck and post your results!
  17. Lovely shots Tim! The most "digital" film I've shot, in terms of colour, is Ektachrome 100 as its colour seems to be more accurate than negative film is, similar to how any digital stills camera has fairly accurate colour in RAW when rendered with the Adobe colour engine.
  18. Giving them a bit of additional exposure is good for most colour negative especially if they're a bit exhausted, like myself. You get better contrast in the shadows, and usually better colour saturation at +1 or +2, even when fresh. Exceptions that I've tested are: Ektar 100 (+1 is ok but box speed has better colour saturation). Same for Ultramax 400. And ProImage 100, I'm convinced is cut from the same sheet as Gold 200 and 100 is the perfect ISO for it.
  19. Yes, I think the image quality from the lens(es) will be stunning. But nowadays if anything goes wrong electronically it looks like you are basically fucked and can kiss goodbye to whatever you paid for it. And that's bound to happen eventually. Even at the height of my film GAS I tried to avoid spending over €100 on anything for this very reason. Anyway, hers is clicking away happily. So far so good!
  20. I used to live at McCurtain's villas and there is a well-known McCurtain Street in my home city 🙂 Maith an fear, Kenjo! Submit it to IndieCork @Emanuel a very good festival, with close links to IndieLisboa 🙂
  21. Sounds like you got in at the right time. I do have an XA and don't shoot it quite as much as I should, although I do try as it looks so cute, is very small and results are good if I get the focus right. I had an Olympus RC but it was knackered and I sold it on for parts. Also had a Canon AF35ML and the AF was a crapshoot so that went back into the Bay. I went on a compact film camera binge during lockdown as there was little or no other entertainment. Sold all thatI didn't love before I moved temporarily to New Zealand, which was a mild mistake as I could have made quite a bit more over there, at the ends of the Earth, than I did over here. Here, at the pool in Tuscany there is a Dutch girl taking her first shots with a green sticker Contax G1 that she paid €700 for. I am obsessed with film freshness because I'm profiling various film stocks to make emulation luts (for video) and Lightroom profiles (for photography). I was lucky to be able to buy fresh rolls of everything I'm interested in very shortly before this current shortage / supply chain problem hit. At the same time I have 40 - 50 rolls of various films that have been shipped across the world in the belly of a presumably equator-hugging ship on a five plus month journey at least once and/or zapped by X rays at numerous airports there and back again and I now have absolutely zero qualms about using these rolls for my own personal use now. I don't care how beat up the chemistry is, the value of that at today's prices is insane.
  22. Yes. Give it another read. There's something fundamental you're not seeing. The x axis is the log of exposure, which depends on the amount of light (% reflectance) being recorded. The y axis is density, the degree of change in the negative due to exposure. There are lines linking both axes at various exposure levels. "98%" etc are written horizontally but that's just for legibility. They are properties of the x axis, exposure, not of the y axis, density. 98% and 2% are characteristics of the scene, for example white paper and black paper, not of the negative.
  23. Yes, for sure! The 1n is reassuringly heavy and solid. It has an incredibly loud shutter sound which can be a good thing or not. And I forgot to mention it's one of the very few Canon EOS film SLRs with 100% or thereabouts viewfinder coverage.
  24. The percentages refer to reflectance of light in the scene.
  25. It looks great @Emanuel! Is it a kind of Umbrellas of Cherbourg vibe but without all the melancholy and unhappiness?
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