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deezid

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About deezid

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  1. The FX6 is probably the better choice if you want it match it with a proper cine camera. This camera has a really nice looking image. The C70 looks quite mushy although not as bad as the Pocket 4K (only Braw) or A7sIII (ProRes Raw fixes it).
  2. The S5 (S1H/S5 also) outperform it in usable latitude. Sure IMATEST loves heavily denoised footage like from the A7sIII or C70, but the IQ is quite bad on these cameras in comparison. The Pocket 6K (Pro), S5/S1H/S1 and Komodo are the best cameras in that regard under $10,000. Here's a nice exposure comparison chart from Slashcam:
  3. Holy crap, that's probably the most oversharpened video I have ever witnessed my entire life.
  4. That's basically what I meant. And when your NLE doesn't do a proper gamma conversion it may appear like you can recover data, data that has always been there before. So nothing special here...
  5. ehh, no. Same exposure with RAW would lead to the same exact amount of clipping. PRR defaults to PQ/Linear on most NLEs, which is the reason why it appears overexposed and data can be "recovered".
  6. Probably just interpret as PQ/LINEAR in fcpx or Premiere. Dynamic range is exactly the same in ProRes Raw/Braw vs internal. Only benefits are: - no chroma denoising - 12 bit 444
  7. Honestly I don't see a difference apart from the worse RS performance on my S1H in comparison to a Pocket 6K, at least since FW 2.0 with noise reduction set to -1 which at least up till ISO10000 turns off any temporal noise filtering which badly affects motion. Also I agree about the sharpening, my S1H especially at 6K looks significantly softer than the Pocket 6K using Braw. At 4K the S1H looks as sharp as the P6K though.
  8. Actually there is, the internal chroma NR on the Fuji does hurt tonality and hue separation by quite a lot while it's barely an issue on the S Series which still has too much chroma NR internally to be fair - at least there's a workaround by using PRR. Also like I said F-Log and V-Log are very similar. Apart from the different white point and saturation differences the color coordinates and gamma are almost the same.
  9. Panasonic cameras don't come with good Rec709 conversions by their own manufacturer. Especially Gen 5 Film Extended is much superior over any Rec709 conversion Panasonic provides. But all the color issues mentioned derive from that very problem and can be fixed with third-party conversions like these: Color between both systems is an almost 100% match.
  10. The S5 also has the advantage of way better dynamic range and low light. Colorwise the S5 does much better in terms of tonality but F-Log and V-Log themselves are super similar. Same Bt.2020 primaries and a very similar gamma curve.
  11. Not in a synthetic test such as IMATEST which prefers heavily denoised greyscale patches over actual detail and texture, but yes, I do. The A7sIII has some awful internal processing which other cameras usually don't suffer from.
  12. Try a still with orange/tungsten lights, they'll turn dark. It also happens with the Sony Venice and shows up in many shows shot on it. The same issue occured on the Panasonic S1 and the first firmware supporting V-Log, but with firmware 1.4 everything gamut and processing-related was fixed. Since it's a Sony it'll probably never be fixed and even Blackmagic does better with their near out of gamut handling since Gen 5. There are worse contenders indeed. Doesn't mean that cheaper cameras such as the Pocket4k, 6k (Pro) and Panasonic S5/S1 seriously outperform the A7sIII and th
  13. It became faster with firmware 2.0. Check the S5 readings. Still has the best usable dynamic range though only beaten by the RED Komodo in the sub $10,000 class. FX3 and A7s3 are quite weak in that regard.
  14. It's more related to keeping file sizes small from what I've heard.
  15. Not talking about color, which can be altered anyway or just by using better Rec709 conversions than the ones provided by Panasonic which quite frankly aren't great. The processing is the culprit. Even with noise reduction and sharpening both set to -4 (lowest) and interframe NR OFF the X-T4 showed more sharpening artifacts than my GH5 even with lots of ghosting and smearing on top. Also color separation and tonality on Fuji cameras using F-Log both internally and externally is quite awful. Maybe the HLG workflow @Llaasseerr mentioned helps with both issues but didn't try that myself.
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