mercer

Interesting. Where do I find the CDNG IDT in Resolve?

I wish I knew when the 1080p/4K ProRes is coming? I'm interested in the GH6, but ONLY for the ProRes. I'm getting a new computer soon, so the 6K would be okay, but it's overkill for my needs.

I've always been a fan of CineLikeD. It felt like a designed version of ProLost Flat as opposed to just optimal settings to get a flattish profile. I have a BMMCC as a pseudo second camera (which I never really use) for its ProRes capabilities (FCPX user) so I wondered if it would be worth selling the micro to put that money toward a GH6... I'm still really happy with my 5D3, so I probably won't. Haha. Anyway, just curious. Thanks.

This was mentioned earlier, but I forget the actual numbers... what are the ISOs for DR Boost in CineLikeD? Also, is the ProRes a variable bitrate? And if so, will the picture profile affect the bitrate? Would vLog have less bitrate, because it's flatter, than a Rec709 profile like CineLikeD... or is variable bitrate affected more by motion?

Thanks Panny. The 35mm is a great lens and it's decently priced. Of course, I think Canon recently discontinued it, so the used ones seemed to have went up in price a bit, but you can sometimes find a refurbished one on the Canon site for a reasonable price and a warranty. Canon USM lenses are a mixture of mechanical and electrical, so the focus ring will keep spinning around externally, but if you pay attention to your focus, you can feel the hard stop internally. So... it kinda has hard stops. My other actor is still around... I think he was holding a reflector in one of those shots and he's in the Grim Reaper costume in the other. If you're dying to see some shots of him... Here he is in a test I was doing with the older Sigma 50mm 1.4... such a great lens... with one of the worse focus rings I've ever used...

I shot a short film yesterday and used the Canon 35mm f/2 for a few shots. What a great utility prime with IS. Here are a few shots with a quick LUT thrown on. The film may end up being in B&W.

Also, this idea seems personal, so I wouldn't recommend taking too many ideas from others this early on. Only you know the story you want to tell. The beginning and the ending are the two most important parts of any screenplay. They feed off one another. You should know your ending before you even start writing page one.

Read The Nutshell Technique. It's a simple structure that will keep Heath, your theme and your plot coexisting throughout the story.

On some level, you're probably right. Slowing down and finding the shot based on what you want to communicate will yield better results. Even in this video, Andrew's use of Dutch Angles superimposes a different feel of the city. It's like every puddle has a story to tell. With that, I still feel like there is something missing from these newer cameras. With all of their advancements in color depth and resolution, the images look more brittle and similar. Obviously, there are exceptions... and maybe I'm just being nostalgic.

Thanks for posting this. @Andrew Reid I really enjoy your older work. Before you sell off the site, it could be fun to see you revisit some of these classic cameras. For a site based on gear and tech and how they merge to create a craftsman's tool, one intangible variable, often overlooked is mojo and it oozes from some of these older cameras. I don't know what has changed over the past 10 years, but these newer cameras seem to lack it. On a side note, I came to your site for your reviews and stayed due to these videos that accompanied them. Thanks and good luck with your future endeavors.

As much as I agree with the statement that if it looks good, it is good, I must question the point of shooting with an S1H if you're not using vLog? You're probably losing at least a stop of dynamic range. So it's very possible you're getting around 10.5 stops. You may as well shoot with a Canon or Sony and get excellent AF. Why make life difficult when there's money involved. The bride couldn't care less about the cool waveform feature.

Yeah, I like f/2.8-f/4 on FF. I'll shoot f/2 if there isn't a lot of movement to get some separation. Weirdly, I'm really interested to see how the 3K raw S16 crop mode looks.

Yeah if I could justify this kind of purchase, or had any understanding of acquiring videography jobs, I would buy one in a heartbeat.

Good find @Emanuel that Augusto short film looks gorgeous.

Shoot sLog3 in Monochrome, it's pretty amazing.

Sorry, I probably should have been clearer with my comment. My point was that as much as I like the output from the S1H, it seems that the FX3/a7siii are highly capable of creating amazing images, especially with that Cinetone profile, so if you really like the AF, I wouldn't necessarily say that the S1H has a highly superior image.

I've been a big fan of the S1H since it's release (I've never used one) but in those Slashcam comparison frames @kye posted on the GH6 thread, the S1H was my least favorite, by a lot, and I thought the FX3 was in the top 3 after the Komodo and Canoj R3. Obviously, it isn't a "scientific" comparison, but it's a comparison nonetheless. I assume the FX3 footage was in the Cinetone profile and I liked the look a lot.

@Jimmy G I understand your desire for raw files, once I started shooting raw on my 5Diii, 5 years ago, I was hooked and every new camera release since, although tempting with their new features, always seemed lacking. 14bit Raw is very addictive. Since this is a thread on the GH6, I won't waste too much space pushing other cameras, especially since the ProRes HQ files should be pretty juicy, but since you also mentioned macro shooting, I figured I'd mention it... have you seen this 5Diii macro video posted on the Footage forum by Zero Landscape? Since you mentioned owning a 5D at some point, I figured it was worth mentioning. On another note, since you're already invested in the L-mount, why not be on the lookout for a used Sigma FP for some uncompressed internal 12bit 1080p raw, or 4K raw with a small and unobtrusive SSD? Anyway, sorry for the detour... GH6.

If you're looking for color accuracy, you'd probably be better off looking at a Sony camera and use one of their picture profiles. Their neutral profile always seemed pretty accurate and allowed a little wiggle room to adjust contrast and saturation to taste. Or maybe grab a camcorder. I feel a lot of people would be better off with a camcorder for video than mucking around with Log profiles in photo cameras.

Somehow, or another, my YT feed ended up with some F3 videos on it and I was surprised to see how well the F3 uprezzes to 4K. This is the camera that just keeps on giving.

Yeah the site is annoying now, but the videos still look better than YouTube. FYI, you can refresh the screen instead of logging in and it will allow you to watch them. What annoys me the most is when you look at a users videos, they don't list them from newest to oldest and they don't tell you the upload date unless you click on it.

I wasn't really either. I'm excited they're including ProRes, but I'm not an early adopter. Originally, I really liked the ProRes footage in that "The Storm" video but after a second watch on Vimeo, I must say I was a bit discouraged by the texture of the skin. It looks very plastic, which leads me to believe that Panasonic is doing more internal processing to the files than I would have liked. But it's way too early to tell. To be honest, I may be a never adopter. Something like the Sigma FP suits me better, and I still dislike a Micro 4/3 camera that costs more than $2000... in fact I don't really like one that costs more than $1500. But that is what it is, I suppose. I think that ProRes is that headline grabbing feature. This is a professional acquisition codec used in Hollywood films/TV. This is a big deal. I understand that people on this site are often swayed by maths and that when you crunch the numbers, other codecs seem more or just as efficient, but I think there are other aspects, like motion cadence, image thickness, etc... that isn't being considered. Sure, a stop of dynamic range can be a big deal, once you get over 12+ stops. Without significantly lighting your interiors, or blocking scenes near the window, you won't get an "evenly" exposed interior shot with 11.5 stops. But I understand what you're saying. I suppose, but I'm still a little suspect, especially since they're using full vLog now.

Could be wrong, but I thought the DR was the same between Raw and ProRes... of course the 12bit raw gives the perception of more DR with the added color depth. Either way, it was impressive what they did. Even the ProResHQ looked amazing. You could set your WB to 4400 and still fix it in post without any issues. No disrespect to anyone on the forum... but I don't understand people's disregard for ProRes as an acquisition codec. But I think mjpeg looks better than h.264... so what do I know.

The dynamic range boost mode is ISO 800+ in CineLikeD, right?

I guess that depends... If the GH6 didn't have ProRes, I would yawn at this release. But I acknowledge that some of the updates could be useful to some people. But without a doubt, the ProRes propels the GH6 into next level territory... especially with the updated IBIS. I'm hoping the future ProRes updates will offer the 48p/60p in 1080p/4K but since I don't really shoot too much slow motion, it's not that big of a deal. The bump in dynamic range is minimal... what... about a stop and it's still under 12 stops. I'll take any extra they want to give, but that's not so great to go crazy over. Actually, I know there are limitations to what m4/3 can do, but how did BM get 13 stops on the OG Pocket, 9 years ago, but Panasonic can't seem to break 11.5 stops, even with the Go-Go-Gadget-Boost mode and full vLog?