John Matthews

It's worth pointing out that the thermals might be the dominant factor here, considering that laptops will throttle down on their performance in order to manage overheating, so a few extra fans in the laptop can make more difference than which model of CPU / GPU you buy!

I've heard that the 12K files are very usable in terms of performance, but it will likely depend on what mode you're shooting in.  Most people aren't using the 12K at 12K - they're using it at 4K or 8K.
Regardless, Resolve has an incredible array of functionality to improve performance and enable real-time editing and even colour correction on lesser hardware.  This is a good overview:
 

Ha!  Look at Tiffen putting all their info on there for a lens shade!!  Talk about padding your part.  How funny!
Could the lens be a 15-150mm T3.1?


 

CP16. 
Cinema Products brand…who were also making this new gadget called a Steadicam that’s about to be 50 years old.  
It was a common news film camera.  They also had mag film where the sound was recorded directly onto a mag stripe on the film itself.  It wasn’t as good as the open reel recorder of course.  
 
I used one on my first short movie.  It feels very cheap and lightweight but it was a staple.  

It's definitely an Angenieux lens. Here are more shots and there's a Tiffen lens shade with writing on it. Only Angenieux has zooms machined like that. I found some better shots:


I'm fairly sure it's a "version" of the Angenieux 12-120mm, but I cannot guarantee it.
 

It's definitely an Angenieux lens. Here are more shots and there's a Tiffen lens shade with writing on it. Only Angenieux has zooms machined like that. I found some better shots:


I'm fairly sure it's a "version" of the Angenieux 12-120mm, but I cannot guarantee it.
 

I think that if you can possibly manage it, it's best to provide the simplification yourself rather than through external means.   This gives you flexibility in the odd example you need it, and doesn't lock you in over time.
The basic principle I recommend is to separate R&D activities from production.  Specifically, would recommend doing a test on the various ways you can do something, or tackle some problem, and the options for your workflow, evaluate the experience and results, then pick one and then treat it like that's your limitation.
I'm about to do one of those cycles again, where I've had a bunch of new information and now need to consolidate it into a workflow that I can just use and get on with it.
Similarly, I also recommend doing that with the shooting modes, as has happened here:
I find that simple answers come when you understand a topic fully.  If your answers to simple questions aren't simple answers then you don't understand things well enough.  I call it "the simplicity on the other side of complexity" because you have to work through the complexity to get to the simplicity.
In terms of my shooting modes I shoot 8-bit 4K IPB 709 because that's the best mode the GX85 has, and camera size is more important to me than the codec or colour space.  If I could choose any mode I wanted I'd be shooting 10-bit (or 12-bit!) 3K ALL-I HLG 200Mbps h264, this is because:
10-bit or 12-bit gives lots of room in post for stretching things around etc and it just "feels nice" 3K because I only edit on a 1080p timeline but having 3K would downscale some of the compression artefacts in post rather than have all the downscaling happening in-camera (and if I zoom in post it gives a bit more extension - mind you you can zoom to about 150% invisibly if you add appropriate levels of sharpening) ALL-I because I want the editing experience to be like butter HLG because I want a LOG profile that is (mostly) supported be colour management so I can easily change exposure and WB in post photometrically without strange tints appearing, and not just a straight LOG profile because I want the shadows and saturation to be stronger in the SOOC files so there is a stronger signal to compression noise ratio 200Mbps h264 because ALL-I files need about double the bitrate compared to IPB, and also I'd prefer h264 because it's easier on the hardware at the moment but h265 would be fine too (remembering that 3K has about half the total pixels at 4K) The philosophy here is basically that capturing the best content comes first, and the best editing experience comes next, then followed by the easiest colour grading experience, then the best image quality after that.  This is because the quality of the final edit is impacted by these factors in that order of importance.

He’s the only man who doesn’t hate the sound of his own voice 😉 

It's only "Standard" with a 1.09 crop or "High" with a 1.43 crop. There's no adjustment for the behavior, thank god. There are already so many things to adjust on this camera that trying to figure out the perfect stabilization to use on a given shot would be like trying to figure out which picture profile setting on a Sony camera works best- paralysis by analysis. I'm trying to simplify these days as it shouldn't be that hard... I might even go back to iMovie, seriously!

...and is that a Nagra IV open-reel tape recorder the sound op is using?

I did a similar 1080p to 4k comparison with 10-bit 50p HEVC files from my OM-1 very recently (as a check after I'd updated the FW to the latest 1.6 version). 1080p is nominally 40Mbps and 4k is 150Mbps.
With the 1080p upscaled to 4k (using the FFMPEG zscale 'spline36' filter), at normal viewing distance on a 55" native 4k OLED TV I could tell them apart (as I know what to look for) but it's not easy. A normal viewer wouldn't notice. I've done the same comparisons in the past with files from my G9 with the same result.
As a consequence of this, most often I record in 1080p 10-bit and save 75% of the storage space, unless there is a reason to want maximum resolution/quality e.g. it's an 'unrepeatable' major trip or event, to allow for re-framing or extraction of 4k stills. For the last one (which is handy for wildlife), I often record at 4k 24/25/30p 10-bit as that is sharper on the OM-1 than 4k 50/60p, but use 1/100 shutter speed to reduce motion blur while being reasonably usable as video footage as well.

Actually, what am I blathering about?!
The only time I need the EIS is for tracking the couple, outdoors, once, maybe twice.
Doh. Absolute none issue. I'll simply put it on a function button!
I'd normally be tracking at '42mm' and it will be '58mm'. I'll just increase the distance between myself and the subject by a couple of feet et voila.
Move on, nothing to see here 🤪

The internet says CP-16 - maybe Auricon.

Saw this film last night and I was wondering if anyone knew the make of the camera and lens used. They actually showed quite a lot about the workings of a film crew in the broadcast industry. I'm not quite sure it was realistic, but it seemed believable to me, except for the use of lights in some of the shots.



 

Well if that is the case, it’s maybe a little too extreme even for me…but maybe not…
My 28-70 will become a 58- (classic focal length!) 145mm (a focal length that has probably never existed, but who cares).
Outdoors, no problem.
Indoors, hmm…
The 18-50 crop lens is going to become more like a 37-104mm which might be better.
Or there’s always 6k 30p open gate with just the EIS crop but max 80% slow mo which might work…
I’ll have to play…

AFAIK, the GPU in the 'Ice Lake' CPUs has hardware decoding for up to 10-bit 4:2:0 HEVC i.e. 'Main 10' profile, assuming you have a Retina MacBook Air - https://en.wikipedia.org/wiki/MacBook_Air_(Intel-based)#Retina_(2018–2020)
Any higher HEVC profile e.g. 10-bit 4:2:2 has to use software decoding on those machines.
Not surprised.
I often upload stuff to YouTube as 4k 50p using HEVC at 15-30 Mbps (using 'constant quality factor' encoding). I used to use higher bitrates, but decided it wasn't worth the extra storage space/upload time. HEVC is generally a very efficient (quality versus bitrate) compression codec.

I have mine set up really simply using C1, C2, C3...but then I am a simple guy 😜
C1 = 4k 50p, Log, WB 5500, auto ISO (+ 2-5 or 6-9 VND inc. 1/8th mist) IBIS + EIS (my 'outdoor daytime setting)
C2 = 4k 50p, Log, WB 4500, auto ISO (+ 2-5 VND inc. 1/8th mist) IBIS + EIS (my 'indoor daytime setting)
C3 = 4k 50p, Flat, WB 3500, auto ISO (+ 1/8th mist) IBIS + EIS (my 'near to or after dark setting)
For the couple of occasions I briefly stick my S5ii on a tripod which is a couple of times at every job, I do not bother switching off the stabilisation as I'd probably only forget to turn it on again.
The above just works for my run & gun workflow with this unit (Sigma 28-70mm f2.8 glued to it and in S35 mode, equiv to 42-105mm which is a perfect focal length to me) as I do not move in an out of these scenarios, but typically transition from one to another.
The only thing I am not sure of is if enabling the EIS adds a further crop to the 4k 50p 1.5x?
If it does, I might switch to the Sigma 18-50mm f2.8 for my 'C3' setting as the '42mm'+ of the bigger (but still compact) zoom might be a but tight for some of my needs.
Unless anyone knows, I guess I will have to download the firmware and find out for myself...

Definitely - it's why I like the way Olympus/OMDS IBIS operates on the OM-1 & E-M1 iii. When I use proDAD Mercalli for stabilisation in post I usually choose the 'Glide Cam' option, which gives a floatier feel with lower warping artefacts (and less cropping) than the default 'Universal Cam' setting.

My feeling is that H quality would be better than the lowest available bitrate in the camera (20mbps H.264 8bit) as it's 12mbps H.265 AND 10bit. I think the compression is about the same but with more color information. I haven't really tried the M quality- the compression seems massive in that though. It would probably depend on the scene. The quality of the H Proxy really looks quite acceptable. The L quality was a huge step down though. I'll need to try the M setting tomorrow.
Concerning the EOIS at the wide lenses and vlogging style videos, it seems rather unnatural (as the video above indicated). Sure, it the background looks stable, but the subject seems to bounce around everywhere like a pinball. I think it's probably better as a traditional gimbal replacement where the camera's a little further from the subject and the operator is carefully walking. I have the Panasonic 70-300mm lens and it has great Dual IS 2. I haven't really noticed an improvement to already one of the most stable setups on the market. In face, I'd say the EOIS interferes with the OIS of the lens. Again, I need more testing.

You'd have to try it, as there are a number of factors that impact the drive speed required for editing, the distance between key-frames being a pretty critical one.
If they've done a good job then it could work off a cheaper drive.  Of course, if you're anything like me then you've got an older SSD that's too small spare, so with the reduced file sizes then you could put them on an older drive and work from there.

Update is live:
https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/ff/dl/s5m2x.html

Here's another video on the firmware that should be coming out within the next few hours:
 

M43 must come up with capable small bodies- PDAF and 4k 60fps. Instead, we've got very capable FF-sized bodies. I've still got some decent lenses for the system, but my patience is running thin as used M43 gear keeps going up (the opposite effect of what you'd think, but the need for small systems has skyrocketed).
I'm very curious to see what the new S5ii firmware does. Sure, it still has some limitations with regard to FF 60fps, but it makes up for it in other ways, especially tools.
I don't think Panasonic was expecting so many options for L mount APS-C. Sigma is going to start taking some market share from M43 IMO.

...and another one (I quite like his style, plus he's a Panasonic micro43 and Sony user as well):
 

Long since killed 4/3 for me.
Well compared with the G9 and OM-1 anyway.
S5ii vs G9 in the same body? Other than the longest of lenses, or unless you were heavily invested in a huge range of 4/3 glass, why would you?
And the OM-1, I love it for its build and handling and even how it looks, but if I had to pick just one to work with, photo, video or hybrid, again, for me at least, it’s a no-brainer, S5ii.
The teeny tiny bodies and lenses, for discrete use, fair enough but for work, nah.
I still don’t much care for it for stills though which is why I have moved to Nikon for that.
Same sensor in the Zf and Z6ii and I prefer both, in different ways, for stills and the result I am getting out of them is  near identical (as in as good or better but not quantifiably) but the Nikon user experience is better.
The Zf is the snappier but less ergonomically good than the S5ii but the  Z6ii with or without battery grip is nicer to use than the Lumix.
What I want is the guts of the Zf in the Z6ii body and that will probably be the Z6iii within the next couple of months.
If so, I am done and will have the perfect pair for my work; the S5ii for video and Z6iii for stills because I will trade the Zf and Z6ii for a single Z6iii.
If I had to rate them for use case, I’d say that the S5ii is more like a 65% video focused MILC and the Z6iii the opposite and around 35% video.
The Zf somewhere more like 50% because it’s highly capable for both video and stills but it’s issue is always going to be it is not a great lens platform and is really only suitable for small primes. I currently have the Tamron 28-75mm f2.8 on it and the results are great and it’s not an ergonomic nightmare, but a DSLR style body is much better to work with.
But back on the S5ii, it was already my first choice for video (alongside the S1H which I prefer actually in EVERY regard except AF and that is why I had to make the S5ii my primary and not the S1H) and there were only two things I held against it:
1. The shutter button sound and feel. Tinny and not great next to the S1H and that killed it for me for stills use. Moving to Nikon solved that.
2. I use it with a Smallrig cage, side handle and Rode Micro. Try that on a gimbal 🤪 The latest firmware upgrade takes it from being ‘OK’ without a gimbal to ‘absolutely perfect for my needs without a gimbal’.
What else is there in this class right now?
Sony A7iv? Arguably better for stills but not as good for video.
Nikon Z6ii? Equal for stills but not as good for video.
Canon R6ii? Some will prefer its full frame 4k 60p but otherwise I don’t think it’s quite as complete a camera as the S5ii. And if you were already in the system, no reason to change. 
The Z6iii will be the next interesting one I am sure, at least equalling the S5ii for video and stills but taking the overall experience to the next level. I think…