Geoff CB

Voigtlander 40mm with Promist filter. Really is an incredible image for the form factor.

Use the color adjustments mainly for creative project. For day to day editing what I use the most is hitting offset and I can adjust the white balance with the left wheel, tint with center wheel, and the exposure with the right. I use that adjustment constantly. Have the stream deck setup to create new color nodes and for switchin between editing/color/fairlight/deliver pages.

My desk setup. Love hard buttons and jog/shuttle shuttle wheels for edit and the color wheels being physical. Just makes editing and grading more fun for me. For those considering I would AT LEAST get a jog wheel, so nice to go through the timeline with it and very hard when I'm on another computer without one.

It can result in an X if you push it past max. The filter does not have hard stops on either end of the ND range. Prefer the internal ND of any pro camera, for obvious usability reasons.

Hope it comes in and undercuts everything at $1500. Also would kill for the option for true 24p, no full frame has it under 3 grand.

Who cares what it looks like on the camera? I want to see an image from that combo.

Voigtlander 40mm f2 on Panasonic S1

I would get a 77mm or 82mm filter anyway and use step up filters. A lot of big modern glass is in those filter sizes.

I have this one https://www.adorama.com/hykvc77.html. Great image quality with no color cast for me. A bit difficult to get used to at first because you can adjust the circular polarizer on it as well but I haven't found anything with as good image quality as it produces.

Willing to bet they added glow/had a filter to smooth the skin tones and dropped the exposure on all the greens. Bottom shot definitely added a mask to the main character and dropped the exposure on the entire background. Additional one where I lowered the contrast in the background.

That's actually not true, if you upload in 4K youtube uses a different compression method for 1080p as well (VP9 vs H264) making it look much better.

Is your client asking for 4K high bit depth delivery? If not I would NOT ad the variables of the external recorder and RAW that you've never shot with on top of you shooting for the day. If you do go that route give yourself 2 days to get used to the setup and editing it before shooting.

I honestly would return it if you can. You can just repurchase it if the S5 isn't better.

This is what I have been doing recently, clients really like it because they can watch and download in one spot. Also it's doesn't take up space like dropbox/google drive or expire like wetransfer. My usual process: 1) Export a DNxHR 12-bit 4:4:4 file in Resolve 2) Handbrake to create a H265 10-bit 4:4:4 file that I set on slow render speed for very high quality at a lower bitrate 3) Upload to Vimeo If I have a DCP delivery for a short film/trailer I use the DNxHR file and run it through DCP-O-MATIC. Of course some clients I know don't care about resolution or image quality that much, for that I just export using the Vimeo preset in Resolve.

You loose color information in log images in 8-bit codecs. The more DR here you are trying to accomplish the worse it will look. S log2 is really the limit for 8-bit and even then sometimes that's pushing it.

When I had the A7III the AF on the Tamron 28-75 was absolutely excellent. I've pretty much decided to buy this camera over the holidays or next spring. Unless Nikon REALLY knocks it out of the park on it's next release.

Thankfully it's on a solid color. Select the red of the shirt with a qualifier and use a little blur and it should reduce it.

Yeah they really need this integrated in resolve and premiere.

Very few mirrorless cameras are sold to shoot a feature on, and if they are they are NOT the main audience and buyer for these cameras. DSLR's are being bought buy one man bands, or as gimbal cameras, or for people to take photos/video (Weddings/concerts/music videos) All of those situations benefit from AF. Also these camera's do not exist in a vacuum, all the other brands now have decent video AF.

That codec is really hurting it. Especially in a scene like this. Had fun and pushing it around though.

Only you can know that, which one you would prefer. Having a great tripod is very important with the NX1 if shooting 4K. I will say if you don't own the 16-50 f2-2.8, GET IT, that lens is magic on the NX1. Very well stabilized, sharp, and excellent AF. Still miss using that lens to this day. I would recommend that over buying a gimbal for handheld work.

As other's have said, unless you HAVE to upgrade your camera or you need a lens to cover a range your missing concentrate on grip gear. Tripod, lighting, audio.

1) A reflector kit with diffuser/bounce. 2) Aperture 300D to simulate the sun.

Oh god if they give it 4K 60p but not 4K 24p that would be awful.

For me it's photography. I need a hybrid camera to have great AF for photography work. The S1 is NOT good enough for low light photography needs. For video it is far less important for me.