SMGJohn

Yeah, we really thought about doing that old fashioned "Continental" accent, but the director wanted more of a modern delivery once she saw what we were getting during rehearsal.
Thanks for the positive feedabck on the dolly moves.  Not a lot of folks mention that.  Kinda wish I'd gone even more aggressive with it in hindsight, but that's all part of the fun.

Let us all not waste any time with getting into unfriendly arguments. Why feed a negative vibe with another person, feeding it to eachother! There is plenty opportunity to not to get involved in using unkind words. There are plenty of kind and interesting people communicating on this forum. Please, everyone, let´s all keep our act together.
Citing Steve Yedlin, is a good start imho.
Hey, don´t make me test myself to film a blank wall with my S1. 🙂 So I am very grateful for findings and fantastic insights along the way.
 

Actually that would be interesting to test out, the Panny S5 is also rated by Netflix as approved camera because it meets their HDR requirements, but I have not seen much documentation regarding how you are suppose to dial in that HDR specs with the S5.
Sadly I live in eternal darkness right now until February so I cannot go out try to shoot some HDR content but it would be interesting to test out, not sure a bright spot light and dark enough shadow would do it justice.
Also it be interesting if anyone are editing these clips on broadcast monitors specced for HDR content as Vincent points out, monitors do produce artefacting displaying HDR content way above its own game. 
I know for a fact my OLED display that can do 1000 nits actually struggles severely with darker areas displaying green blobs in places for some reasons when watching HDR content.

First part I wholeheartedly agree. We should all contribute much more to a respectful interaction! Really!
Second part I don´t agree with. The artefact is one which was immanent in the GH5 as well, shooting VLog-L in 4K 10bit 422, 150Mbit LongGop. It occured on skin f.i., larger homogenous areas of pink blotches. So it might not be a problem specific to 10bit 420 h265 with 200Mbit for open gate on the S1 but of the UHD 422 flavours as well. Would be interesting to know, if the artefacts appear in 10bit 422 UHD as well on the S1 if shooting for either SDR or HDR.

Wow, never seen such toxicity on this forum before, I think the OP is having some massive delusions trying to cram magic into a limited codec format that just wont happen and claiming everyone pointing it out are wrong LOL
HDR only looks good when your monitor/TV can achieve HDR-800+ otherwise its pointless, OLED really struggle to hit those 1000 nits requirements for perfect HDR.
 
I also suggest watching some video from this guy who is a professional TV and monitor calibrator who actually has a clue what he is on about when it comes to HDR viewer experience.
https://youtu.be/XPzM3NDGuSc
https://youtu.be/D83SXcguwBU
 
 
 

I that case I have no interest in a conversation with you, I really don’t care about those kind of ridiculous technical obsessions. I know how to light and frame and do - you know - cinematography work.
 
To anyone interested in why HDR is a waste of time - go read this very informative Twitter thread.
 
 

My last advice to you, I promise:
sell your camera and write a book on how to alienate people. You sad little man. 

Have you maybe considered that maybe people aren’t trolling you and are trying to give you helpful advice? I can maybe understand that you dont like my nor AF’s tone, but consider the points raised in this thread:
- i asked you why you needed to grade in hdr, and this was a genuine question. I dont know anyone in my professional environment who does this, and i am curious. What would a broader gamut help you achieve that you cant with 709?
- you’ve explained that you want to shoot open gate out of preference, but you dont actually have a justifiable reason, other than using some cheap theoretical anamorphic lens that would give another theoretical result. you can still shoot 4:3 by cropping the sensor and you will get the extra color information you need. 4:2:2 will give you the bare minimum for working with video imo.
- can you actually explain why you think using a smaller format is inherently worse? Because in your case it would genuinely only give you better results. Have you realised your sensor cropped to 16:9 is already too big for most anamorphic lenses made throughout history already? i attached some screenshots to more clearly illustrate my point.
- by responding this way to criticism, falling for cheap marketing gimmicks (hdr, full frame, cheap anamorphics, open gate, netflix approval, etc.), not understanding that any 4:2:0 codec is worth nobody’s effort, and then not having a particularly good looking test image to show your point, it kind of makes it easy to assume that you’re not very sure of what you’re doing. i agree with Alexis Fontana here, I think you should start refocusing on the things that actually matter in the field of making moving images.
genuinely man, good luck.
 
 
 
 

Never seen such bad video from these guys before, well maybe 10 years ago LOL but wow, thats terrible, GH4 produced better looking images than this OM-1, user error?? Or just bad codec and CFA implementation? 

Amazing work, maybe a bit less jitter next time and actors should be more theatrical in their performance and scream their lines as was the norm in the 1930s, their microphones were shoddy which is why people spoke so loud in old movies LOL
Loved the old timey dolly movements though and those classic zoom in.

Here's a gift from and to EOSHD.  It's been a journey these past 10 years.  Me and mine have bopped in and out of here over the years.
We would like to share our old-fashioned American Christmas film.  It takes place on Christmas Eve, so I guess today's an appropriate time to share it!  This film wouldn't have been made without EOSHD and everyone's wisdom helping us grow technically, especially with advice regarding M43 cams.
If you like classic Hollywood movies, let us know what you think about our attempt at making a 1930's style film.
Happy Christmas!
 

Merry Christmas to the whole EOSHD Forum crew!
i shot this little christmas film on the blackmagic pocket 6K pro with the Sigma 16-35 and the laowa probe. As it borrowed all the Lego models, the camera (thanks to Impossiple Filmproduction in Hamburg) the probe it was a whole lot of production time. Also it took quite long to set the whole thing up. Of course i wanted to tell little stories with the lego figures, but time became tooooo tight and it took me several attempts to find a lighting situation that would work. Of course the scene would have also been much greater if i had more of the practical lamps.I looked for small lights around the house and now there is a variety of lamps inside the houses.  You can fiddle around with the lighting for ages! i definitelely had the feeling i had to stop when i was just getting started. This might also be a fun thing to just shoot on an iphone.. Hopefully next year...
And of  course i would be happy if you would show the film to your children, share it and like and comment and follow my channel on youtube...
 
And to show the improvement i am also putting in the first LIL chilltrain Christmas movie from two years ago.
 

Just a guy, reading the same rumour sites as everyone else, but then decides to make a video about it with catchy thumbnail (expressive face, bold colours) and suppressing a healthy dose of scepsis, hoping to gain some traffic. He's not the only one using that technique.

https://www.43rumors.com/the-panasonic-s5ii-might-got-leaked-and-it-will-use-a-completely-new-af-system/
 

Yes, this is true, and it's obvious from my profile on Upwork. I'm taking current situation into account but I'm trying to find someone who doesn't care.

IBIS + OIS are always better than some digital motion sensor which always ruins the image in one way or another with artefacting, there just no way around this, maybe in the year 2050 we will have AI capable of reconstructing an image perfectly.
There some wobble on the S5 with a wide angle lens, but if you have a wide angle lens with OIS/OSS should the wobble issues not be removed? Considering Panasonic uses the same method as Sony for IBIS + OIS, the sensor only does X - Y axis with roll and lens does pitch and yaw.

 
Canon IBIS is pretty mediocre, I would say Sony newer cameras does a better job with IBIS + digital IS in video mode than Canon does, Canon have the same issues as Olympus and Fuji in that they are solely made for photography use, they all seem to suffer when you start panning or doing walks they go all over the place, whereas Panasonic and later Sony cameras seem to really refined their IBIS for video, Sony A7IV does not suffer from these panning issues.
 
Honestly, Canon is just making excuses with R5C, it should have IBIS LOL, you could always just make it lock itself in place like some cameras do when you do not use it however there is an argument for not using IBIS, it makes the camera 100g lighter, it makes the camera a lot more sturdy, IBIS systems break REALLY easily on impact, but if Canon worried about breaking and the sensor floating around when the IBIS is not in use, I do not understand why they could not just invent in a locking system that locks it in centre.

I've started seriously with photography and video with m4/3. As the opposite of the majority here, I'm no professional photographer or filmmaker. Probably could be classified as "enthusiast".

I like to make movies and stills on my trips, love to film or photograph live concerts, even made some videos for some friend's bands. m4/3 was perfect for me - VERY small lenses, does not attract any attention from people when using them on trips, always been dismissed by security at concert's doors (only happened one time, with the GH2, that looked like a DSLR...), and could carry all the lenses that I needed in a messenger bag.

In my last trip, before covid, had a GX85 with the 12-32 pancake zoom, the Panasonic 42,5 f/1.7, the Panasonic 45-175 and a Rokinon 12mm f/2. Never got in a situation during the trip that I needed other lenses.

To be kind of invisible on trips and concert, I had a primary rule: never use a body that looked like a "professional" DSLR. For this reason, "rangefinder" bodies are my preferred, most people even mistake them as film cameras. Had the GX7, GX85 and GX9; and midrange Olympus silver bodies for the same reason: E-M10 MK I and III, E-M5 MKII. No more GHs after the GH2, or E-M1s.

Then I sensed the tide - m43 probably would become a niche format. Full video for Panasonic, wildlife and adventure for OM Digital. The horrendous G100, the E-M10 MK IV and E-P7(which was already developed before the spinoff) were the last discreet m4/3 cameras - and I see no signs of them returning. And yes, I think that the future of the format is in danger - OM Digital must sell to keep afloat, and Panasonic could pull a Samsung in any moment.

Lenses, same thing. With the exception of the (amazing, in my opinion) Panasonic 9mm f/1.7, almost only Olympus PROs and the Panasonic f/1.7 duo. Big lenses, APS-C size or bigger when you brings equivalency on the equation (and I, contrary to most people, looks on equivalency most about low light that depth of field).

Coupled with the fact that here in Brazil Panasonic and Olympus never sold their cameras officially, and the prices are very high, I started looking to APS-C. Easy choice: APS-C was already left to dust by Sony (albeit the newer primes are good, the bodies still sucks), Nikon and Canon did not have options at the time (EOS-M was out of question, and the Nikon and Canon APS-Cs mirrorless came after and still have very few lenses), and I gone to Fuji. 

Fuji is much better then m4/3? Compared to my previous kits, kind of. But not always.

First: weight. The retro cult of Fuji lovers despises anything that is plastic, hence the lenses are kind of heavy compared to my previous ones, but not using equivalency. The 18-55 f/2.8-4 is AMAZING compared to the smaller m4/3 zooms; never thought that the m43 zooms that I had were bad, but this one is another league; ok, I could have the Oly 12-40 f/2.8, but it is larger, heavier and pricier. The 55-200 is VERY good too.

The "Nocticrons" are lovely. Tiny, sharp, have the 35 and the 50, probably will get the full set. Are the "Olympus 45mm f/1.8" of the system.

But to make the same equivalent travel set of my last trip will be heavier. Would like to see some "Nocticron zooms", f/4 or even f/4-5.6 - the Sigma 18-50 f/2.8 is an example, will get one as soon Sigma releases a X version.

Another problem on Fuji is IBIS. I have the only "discreet" body that have it, the X-S10. If the X-E4 had IBIS, would had bought it on pre-order, but...purists won. And would have 2 interfaces, PSAM and retro-dials, have a little bit of preference for PSAM (works better with custom positions), but no problem with retro ones, just wants consistency.

Fuji is better for me now, in comparison, because of two factors:

- PDAF all across the line - for single AF...m4/3 is better, a tiny fraction but a noticiable one. Could be the larger DOF, but in S-AF it was a little faster and confident. But for moving subjects (almost never used C-AF before, but now I have a little daughter...), MUCH better. Good rate for stills, and for movies, more than good enough. Ok, I never had a PDAF m4/3 camera, because only the E-M1s and the E-M5 MK III had it, but this week I filmed my daughter going back and forth on a swing, with very good AF, a thing that was impossible from my previous cameras.

- Possibility to pull in focus DURING recording, withour recording the enlarged image - is a thing that I've always wanted when filming concerts, and in the m43, only was implemented now, on the GH6...now that I have it, could not go back.

Worst problems?
- The IBIS is kind of bad for vídeo. Looks like the same algorythm is used for stills and video, very jumpy on vídeo. Not a deal breaker, but even my GX85 was better. And from the samples that I saw, were not fixed in the both the X-H2 models.
- No tracking on video. And the face detection have a serious problem - works VERY well when you have only one person on the frame, but put two or more people and the system goes crazy, jumping from face to face. You should have an option to lock on a specific face, or have tracking.

Sold a lot of my m4/3 stuff already, kept the GH2 and the E-P1 (for sentimental reasons and low value nowadays), will keep the 12-32 pancake and the 45mm f/1.8. And I have to confess that the OM-5 look like an almost perfect camera for me - good PDAF (juding by the OM-1 performance), small and not "DSLRish" body, good enough video, and that amazing IBIS.

But will not have focus pull assistance during video, no smaller and lighter revised zooms on sight, and the future of the format still a danger.

Can't get enough job these days, so my skills may be useful here. I can do green screen keying, cleanups/object replacement, tracking, basic 3d modelling and stuff around such topics. Nothing fancy, I am not a world wide acknowledged cg artist but have some skills and experience. Here is my eclectic reel - https://disk.yandex.ru/i/V9USqVPwl0DDOg (it's accessible in Georgia so I assume it's accessible in other countries, too).
Rules are:
1. You give me one shot/clip at a time, I do it for free.
2. I get the right to publish it here, on my youtube channel and use the resulting clip and the creation process as demonstration of skills and self promotion to other people and organizations.
3. You can use the result of my work as you wish until it contradicts term no.2. Or at least inform me about the change of situation.
Of course there may be clips I won't be able to do, and I'll do my best to point it out right at the start. Also I'm still trying to earn for life, there may be a delay before I can do your clip (and I'll tell you about it). So if you have a complicated case in burning ASAP situation it may be better to contact an established CG facility on commercial basis.
In general I'm trying to build up portfolio and maybe get in touch with new customers but at the moment I just don't want to get rusty. Ask questions if any. Chat on the topic (CG/VFX) is also welcomed in this thread.

I'm beginning to think we've tricked ourselves into believing something great might happen when it's probably going to be another get together where a Panny rep says "we know the AF isn't up to much but we are looking into it. would you like some more sushi internet guy?"

Hi everyone,
I've decided to make all of the music on my site free for commercial use as well as noncommercial. Just please credit me properly as detailed on my homepage.
If you decide to use one or more of my pieces, a donation would be greatly appreciated...any amount you can swing would be helpful.
As always, thanks for your feedback and I hope you find something you can use.
Eric

I am starting to think it might be a variation of their DJI LiDAR Range Finder system for RS3 but will work via the hotshoe of Panasonic cameras enabling a system interface to focus electronically using the LiDAR attachment. 
We wont know until next week, likely Wednesday or Tuesday.
I think a lot of us are getting super excited though, I been contemplating going back to APS-C for autofocus and lighter lenses but having LiDAR AF system that plugs on the S5 would be dream come true for run and gun.

DJI does offer that with tracking and face detection on their RS3 gimbal and the 3rd generation LiDAR sensor.
They said they would make a handle so you could use it without the gimbal.

DJI does offer that with tracking and face detection on their RS3 gimbal and the 3rd generation LiDAR sensor.
They said they would make a handle so you could use it without the gimbal.

Hoping for a hotshoe enabled LiDAR system for multiple current cameras. I’d probably get it if it’s amazing. Otherwise, I’ll just stick with serviceable DFD AF.

It'd be asinine to fly a bunch of auto focus obsessed YouTubers across the world to release another contrast AF camera, right? Then again this is Panasonic, so who knows?!