PannySVHS

This is interesting, and is the video referenced by the previous one, and talks about the colour accuracy tests of the FP (at 15:00):
 

It is pretty damn easy to confuse the two I will admit that having been guilty on several occasions myself. But I can use the excuse of being old, that does wipe out a lot of guilt. 😄

Hehe, 6.16min all through 6.25min he mixed Mbytes per second up with Mbit per second, f.i. it should be 372 MB per second vs. 150 Mbit per second. 150 MB per second is wrong. 1 byte = 8 bits. So if the enthusiastic youtube presenter and cinematographer would know about that fact, he would be even more exited about "his" massive raw datarate compared to video codecs.🙂 @kye

Just got a broken Nikon ED AF-S Nikkor 28-70mm f2.8 D for €99 (The Bourne Lens) that was easy repair  😎 

True, I noticed that too but then checked a few numbers and he was right (on the ones I looked up anyway).  
I was half-tempted with this kind of setup too - 24-105/4 OIS lens for run-n-gun, although I would probably just add the EVF instead of monitor.  I would like something a bit faster than F4 though, to get a bit more background separation if I wanted it.
FF seems to have a bit of a gap when it comes to fast lenses with OIS...
I think this is actually a terrible analogy because it's really the other way around.
Most camera companies continue to re-release cameras that are larger than required (like when we had DSLRs with huge chasms inside for the mirror) and old sensors (just look at the Canon APSC lineup!).  The FP is a modern camera by comparison, with a modern body optimised for heat dissipation and a sensor optimised for image quality and a codec with the highest outright quality (uncompressed).
Here's an example of the size vs heat management involved...

It even makes the Sony FF cameras look large:

and finally, I haven't found the tests that Justin refers to in the video and verified, but he claims that the sensor is MORE accurate than other more expensive cameras.
I think the old=analog new=digital thinking is complete bollocks.  I think that it's more that the analog feel comes from a lack of digital distortions and artefacts, which is why an iPhone looks far more digital and awful than a cinema camera, despite both being 100% digital.

In this day and age, anybody who is having serious issues with the Tascam DR10CS in 2022, I'd recommend they just ditch it in the bin, as we've got so many other affordable and great options. It isn't like back then years ago when the Tascam was the only option!
Well, either that or:
JuicedLink, bullied by Zaxcom to exit completely the industry. 
Zoom H1 zombie rig, horrible no-budget setup not suitable for the purpose. 
Zaxcom, which you have to pay through the nose for. 

The thing that is hard for me is to buy the several real good quality lenses you need to actually have. These new phones have most of the lenses you need in them already. And there are some really good apps out for them available also.

Haven't watched yet, but the idea of a smartphone with its multiple cameras / focal lengths combined with high-quality codecs from third-party apps or Prores is certainly a compelling offering.
There are other issues with these of course, such as:
you'd want to use the most recent model for the best optics and sensors, but you'd also want to use the latest one as your actual phone, which means putting it on airplane mode while shooting or risking taking a call or messages while shooting phones aren't designed with enough battery to film hours of footage per day not that easy to rig up either, and if you use cases to protect them from drops then that can also introduce thermal issues (I've overheated phones before while shooting) I think phones are the ultimate suckers in the BS specs race though because they have the worst quality pixels because they're so small.  If you don't care about the 8K you still pay for it, both in price as well as quality as downsampling still leaves you with brittle images and poor DR.  If someone used a 4K sensor that had much larger pixels, or combined them via dual-gain architecture then you'd get a much better outcome.
This video clearly shows that the 8K smartphone sensor isn't actually getting more than about 2K in real resolution anyway after being compressed almost to death, so the only thing that the 8K sensor is making look good is the spec sheet, so going for quality over quantity is actually the only path that will yield higher quality results.
 

the reason for footage not to be seen is that it is in a section. I have been pointing that out several times for a good reason.
Footage on the main board has been widly discussed and learned from, regarding many aesthetic, dramaturgy related, lens nerdy, lighting aspects and anything you can think about. Wild, lifely, fun discussions.
So, put the footage in the main board in a way that it referrs to technical and aesthetical points of cinematography and cinema in general. Unfortunately we dont have much footage from ourselves there, nor projects, we can discuss.
The footage section has always been dried out. The footage on the main board has always been discussed lifely and with lotta enjoyment.
It´s not apparent. I seems apparent to you. If it was, I think I would have chosen a different approach. Something like, it is not easy to take criticism within colloborations when it is ones own passion project. Further I think, nothing would be doomed just by lack of criticism. It is necessary on getting the project forward on a general scale rather then shifting too much time towards online communication.
I think Andrews project is challenging. It is all in his hands and the team. Directing and doing cinematography as one person has plus and costs. Doing proof of concept is always cool. Doing testing is great fun and helpful, lighting, lenses, movements, locations... Finding the right crew, the right size as many people means also higher costs and communicational workload...
Also, making the project attractive for collaborators, and the communication around it, is an important part of the project.
Enjoy and lemme know if I can contribute @Andrew Reid
cheers, Marty

I have seen dozen examples of footage posts within threads leading to fuitful discussions. I myself posted couple times screenshots and videos with great communicaiton following. Points of discussion also depend on questions asked by the posters of footage. How you like it, what do you like in the lighting, let me tell you about the diy tricks, etc.

...and it's not April fool's ; )
Versatile enough... looks like pretty clear to me we have here a hell of a camera :- )

Well, this might help you out a bit for your movie Andrew.
 
 

And it´s alway amazing to see what´s done with funky 8bit hd photocams. It´s also an important decision between monochromatic and black and white. Unfortunately sometimes people I worked with don´t recognize that and go for bw right away. Even on no budget projects cinematographers and their know how and especially ART is not recognized by the directors. Anyway, here is an example of beautiful 8bit cinematopgraphy and 420 glory in monchromatisitc awesomeness.
 

Already said that it here, but repeating myself - this single video made my buy a GH2. 🙂

Awesome colors until today (except, maybe, the greenish skintones, a trademark for Panasonic until the GH5). Noisy by the current standards, but these colors...

That's a great! I'm happy for you. I've never had that camera, but I've watched a lot of footage. I usually never see them under 600 euros here and I've always said that if I really wanted a Blackmagic, I'd go for a used Pocket 4k as they only go for about 200 more. Like the GH2, the BMMPC camera is iconic. I end up hanging on to stuff like that because I'm a sucker for that stuff. I still have my 60 Euro special GH2 as a backup live-stream camera for my English classes.

That deal, dear Sir John, is of the rather splendid kind. 🙂 @John Matthews
I challenge that with 1080 60p RAW for under 251! Is it possible?
Yes, it is. I got a second BMMCC body with..., ahem, ahem... without anything else, not even charger nor battery, for 250 EUR, if seller is not a fraud though.

I always said, EOSHD library is a treasure chest. Forum family just didnt seem to hunt for it enough. Member posts are also gems to be treasured dearly.
Andrews interview with Lumix GH pieces is my favorite journalistic camera piece of 2022 so far! Had to watch the GH1 piece and GH2 anamorphic in Spreepark Berlin.
Thank you very much, Andrew. Great form, taste and article! @Andrew Reid Giving back some memories with the Spreepark piece!
@mercer Well said, Awesome! Great mojo of older and interesting tech is exactely the mojo and asset of this site!

Hehe. Andrew does an awesome interview with the Japanese head engineer and includes his masterful vignettes with the Lumix GH cameras.
I then rewatch two GH1 pieces and read into the vimeo comments for his masterful "Tokyo Storm". There I read a certain comment out of all the appreciative exited voices. I go to the commenters vimeo site and I discover this, filmed with HD camcorders cameras and the quasi 720p machine that the EOSD 700D is.
I zipp through the video, watch parts of it and hopefully will watch the whole film.
But check out from 18 to 20min. Awesome, simple, masterful, Tokyo Storm qualities from a Tokyo Storm admirerer.
Cheap cameras Black and White galore and glory. 19.50min- wow.
 

That deal, dear Sir John, is of the rather splendid kind. 🙂 @John Matthews
I challenge that with 1080 60p RAW for under 251! Is it possible?
Yes, it is. I got a second BMMCC body with..., ahem, ahem... without anything else, not even charger nor battery, for 250 EUR, if seller is not a fraud though.

I thought they added HLG video in version 1.6 ?
Has to be in Manual exposure, 10bit MOV format and the lowest ISO is capped to 320 according to the manual.
Maybe they hide it as an option if you are not in Manual and 10bit MOV ?
It wouldn't be the first time Panasonic have hidden a picture profile.....

 

Yeah, best to wait until (after) the summer. Prices will drop as soon as people can spend there money on other things...

Just got a GX880 (almost new) + Panasonic 20mm f/1.7 II (like new) + 7artisans 25 f/1.8 (also like new) for 200 Euros. I missed some of my Panasonic gear. I'm back now.

As the owner of a Canon 700D, I'd suggest that it would barely be 720p!
But it certainly is a nice example of what can be done with enough skill....

I always said, EOSHD library is a treasure chest. Forum family just didnt seem to hunt for it enough. Member posts are also gems to be treasured dearly.
Andrews interview with Lumix GH pieces is my favorite journalistic camera piece of 2022 so far! Had to watch the GH1 piece and GH2 anamorphic in Spreepark Berlin.
Thank you very much, Andrew. Great form, taste and article! @Andrew Reid Giving back some memories with the Spreepark piece!
@mercer Well said, Awesome! Great mojo of older and interesting tech is exactely the mojo and asset of this site!

I think perhaps a lot of the similarity aspect might be to do with there being so much more received/perceived wisdom about the best way to expose and colour footage etc now than there was a decade ago so a lot of people ploughing a very similar furrow.
Back then people were finding their own way and working within what they had in camera a lot more, particularly as the then £250K DaVinci colour correction suite had yet to be released as a free of charge piece of software, so there was a lot less fannying around in post.
At some stage, helpful advice and shared experience morphed into dogma and many people end up singing the same song.
An example of which would be a sizeable amount of Tokyo Rain Cinematic videos you'd find on YouTube now would have a substantial amount of slow motion in them as that is the common expected aesthetic. 
Also, life was a lot less shit ten years ago so there's that as well.