deezid

The DJ1 is $329; the Hero 11 is $399 with FREE subscription. That price difference does not seem to be so significant given the very real advantages of the Hero 11.
The 120 Mbps bitrate (HEVC) and 10bit color are available for all modes.

Lack of sharpening gave it a really smooth image and color science was pretty good.
But the codec is something I never want to deal with in my live again. 😭

Lack of sharpening gave it a really smooth image and color science was pretty good.
But the codec is something I never want to deal with in my live again. 😭

Well it looks like Nikon are up for a fight over this.
https://www.slashcam.de/news/single/Interne-RAW-Aufnahme--Nikon-haelt-RED-Patente-fuer-u-17452.html
"Nikon disputes the validity of the RED patents, arguing that they were applied for too late at the time and should therefore not have been granted. Nikon points out that RED already offered a camera for pre-order at NAB 2006, in which the relevant codec technology was integrated, but it took more than a year before a patent application was filed. The patent, which was only registered after the fixed one-year period had expired, was wrongly granted from Nikon's point of view, since the patent office had no information that the technology had already been implemented and offered for advance sale"
Seems they are going down the route of "the only thing we've violated in the Z9 is a patent that should never have been granted in the first place".
Not to mention, of course, the defence of "how can we be violating a patent when we can't get our arse in gear sufficiently to actually deliver the fucking camera anyway".
At this rate, RED could probably sue them for infringing their patent on painfully delayed availability of cameras after launch. 
Although, as I've said before, I do wonder whether the lawsuit and the tight availability are actually linked.
 

Quite average look to me.
Heavily baked looking skin tones with barely any definition, same with the foliage. 

Looks like your standard Rec709 flat profile with contrast and Lut added.

I'm sure with HLG and a Log conversion (scene referred), results will be great though. Can do some tests in September. The Sensor is clearly capable, up to 8K75p!

I wonder if this camera had Cinelike D2, which is the only Rec709 profile on Panasonic cameras which doesn't mess with skin.

Quite average look to me.
Heavily baked looking skin tones with barely any definition, same with the foliage. 

Looks like your standard Rec709 flat profile with contrast and Lut added.

I'm sure with HLG and a Log conversion (scene referred), results will be great though. Can do some tests in September. The Sensor is clearly capable, up to 8K75p!

I wonder if this camera had Cinelike D2, which is the only Rec709 profile on Panasonic cameras which doesn't mess with skin.

Impossible to recreate that hasn't been there in the first place with just a lut, some good tracking and color grading skills are necessary to create the illusion of chroma detail/tonality on Fuji cameras.

Sad to see the issue still hasn't been fixed since the X-T3. I also think it's chroma noise reduction related as well, looks like there are tons of spatial chroma filtering applied.

I found something strange when I was looking at the chromaticity channels of Fujifilm video files and did some search online, and to my surprise noone is talking about this, so I decided to make a video about it. If you're a Fuji user, you might be interested.
 

If the A7s3 came with the processing of the FX6 and at least some of its video-related features, there would be no more reason to get any Panasonic nor Blackmagic camera let alone the FX6 at all. 😄

The GH4 was so hard to deal with, shot internally in 8 Bit V-Log L, the banding was insane.
Did some selective debanding on some areas to fix it. I wish I had an external recorder back then. 
The GH5 after was much cleaner but was way oversharpened, had ghosting issues caused by heavy temporal filtering (fixed in mid 2017 via firmware) and seemed to have less DR to me, still kept it until the Pocket 4K came out which was later ruined with BRAW and its quite heavy spatial filtering and sharpening, my original P4K sadly died and had to be replaced with a model that didn't support earlier firmwares. 😭

Since then I've been using the Pocket 6K and later S1H with external BRAW are okish, the higher resolution compensates for the heavy filtering to a certain degree. My new GH6 outperforms both when it comes to texture with its internal ProRes recording, the image basically looks like RAW, almost unfiltered. I love it and used it as my A-camera on my last shoot. 🙂

If the A7s3 came with the processing of the FX6 and at least some of its video-related features, there would be no more reason to get any Panasonic nor Blackmagic camera let alone the FX6 at all. 😄

The GH4 was so hard to deal with, shot internally in 8 Bit V-Log L, the banding was insane.
Did some selective debanding on some areas to fix it. I wish I had an external recorder back then. 
The GH5 after was much cleaner but was way oversharpened, had ghosting issues caused by heavy temporal filtering (fixed in mid 2017 via firmware) and seemed to have less DR to me, still kept it until the Pocket 4K came out which was later ruined with BRAW and its quite heavy spatial filtering and sharpening, my original P4K sadly died and had to be replaced with a model that didn't support earlier firmwares. 😭

Since then I've been using the Pocket 6K and later S1H with external BRAW are okish, the higher resolution compensates for the heavy filtering to a certain degree. My new GH6 outperforms both when it comes to texture with its internal ProRes recording, the image basically looks like RAW, almost unfiltered. I love it and used it as my A-camera on my last shoot. 🙂

How is this interesting?
The FX3 and A7sIII are pretty much the full frame 10 bit equivalent to a GoPro when it comes to image processing.
Also usable latitude on these cameras is quite weak while the C70, which doesn't have any oversharpening nor heavy temporal filtering and therefor no smearing nor texture loss, is the best in its class and competes with the likes of the Pocket 6K (HR recovery) and Panasonic S series and even outperforms these ever so slightly with internal RAW.
 

If the A7s3 came with the processing of the FX6 and at least some of its video-related features, there would be no more reason to get any Panasonic nor Blackmagic camera let alone the FX6 at all. 😄

The GH4 was so hard to deal with, shot internally in 8 Bit V-Log L, the banding was insane.
Did some selective debanding on some areas to fix it. I wish I had an external recorder back then. 
The GH5 after was much cleaner but was way oversharpened, had ghosting issues caused by heavy temporal filtering (fixed in mid 2017 via firmware) and seemed to have less DR to me, still kept it until the Pocket 4K came out which was later ruined with BRAW and its quite heavy spatial filtering and sharpening, my original P4K sadly died and had to be replaced with a model that didn't support earlier firmwares. 😭

Since then I've been using the Pocket 6K and later S1H with external BRAW are okish, the higher resolution compensates for the heavy filtering to a certain degree. My new GH6 outperforms both when it comes to texture with its internal ProRes recording, the image basically looks like RAW, almost unfiltered. I love it and used it as my A-camera on my last shoot. 🙂

Umm....  well, in regards to the lighting, what he's referring to is the fact that these cowboys are sitting around a fire, supposedly at night, but for some reason they are being lit by a white single-point sharp light-source that makes their fire look like a dull-semi-glowing object.
Look at this frame:

It looks like exactly what it is: cowboys sitting around a fire lit by several kilowatts of flood-lights from just off camera.
but yes, the sound is a little scratchy!  Calling @IronFilm !!!

Beautifully written!
@deezid Awesome to read from you! Bought the S1 two years ago after Andrews article and after your deep dive observations regarding an honest hq cinema image without nasty processing artefacts. Hope to see more sneak peaks of your projects. Your GH4 footage was and is a legendary treat for lovers of the little camera with the big image. "Americana" was the name of the piece. A A7S3, FX3 with the processing of a FX6 would be a uber camera though.

How is this interesting?
The FX3 and A7sIII are pretty much the full frame 10 bit equivalent to a GoPro when it comes to image processing.
Also usable latitude on these cameras is quite weak while the C70, which doesn't have any oversharpening nor heavy temporal filtering and therefor no smearing nor texture loss, is the best in its class and competes with the likes of the Pocket 6K (HR recovery) and Panasonic S series and even outperforms these ever so slightly with internal RAW.
 

In the few tests I have done the C70 matches pretty well to Alexa.

yes, it is not a colorist posting this lol. and CST in resolve is not a magical tool that can make a sony look like an Alexa. 

Holy cow! That part is the most gruesome! @FHDcrew
"Great review, you have captured perfectly what was expressed, it is appreciated that you have shared it, I liked how you express yourself in your videos, congratulations..--" Yikes!

Ah, I see what you mean now. The reason I misunderstood you is because 2% to 90% = 5.5 stops is a measure of light reflectance. It's a property of the scene and not of the recording medium. It's true no matter what camera you're using.
Ha ha! Yes, seven stops is pushing it a bit even for Portra 400. However, the image is still usable, if not optimal:

Now please don't say "I should have said eight" as I've run out of images in this series 😂

That 10 stops of DR would be for photos, while for videos it would be less than that. 

This makes me jealous of the Blackmagic cameras right now. Solves a HUGE issue. 

Wow, this news about gyro stabilization is fantastic. I use a SteadXP+ with my 6k, and it is kind of a huge pain. Sometimes it just fails to work. It also requires me to either shoot ProRes, or to transcode my BRaw files to a non-raw format before I stabilize. But the result is absolutely worth the trouble. To do this all natively is fantastic. And to not have to buy a new camera to access the feature is pretty great as well.
 
 

Nice, let's call it OBIS (Out-body image stabilization) 😎

GHAlex just did an update/release for the GH6. So excited to mess around with this. He doesn't have any shot of it up yet, but I bet they will be amazing
 
https://www.emotivecolor.com/gallery

That's another one of those endless fake comparison videos clogging up YT.