Adept

Dommage que Fuji n'est pas choisi le modèle modulable du GFX à DUBAÏ.
Cordialement
jmarc

Shot on EM1x, looks very very nice.  They used 17mm 1.2 and 25mm 1.2 with segments on the 12-100f4 and 300mm f4 according to the comments.  Love the handheld tracking shot using a wheelbarrow at the end.
 

Fun test made by Ted Harder on the Panasonic GH5 and GH5s Group on Facebook - https://www.facebook.com/groups/pansonicgh5/permalink/2299318990367796/
It seems that Natural with +4 HUE has the most accurate skin tones..
 
More tests and the full post linked above.
 

Spotted this last night on Curb Your Enthusiasm. A GH5s being used as a prop deposition camera. It’s in a cage which makes me think this is an actual production tool. Maybe a crash cam or second unit. Pretty cool. 

I believe I've had a chance to own one of many rebranded versions of this Tokina - Vivitar 19-35 mm f/3.5 - 4.5 Series 1.
And I must admit it's one of the lenses I regret selling.
Build quality was horrible, handling was cumbersome.
But, man, the images coming out of it were gorgeous (at least to my eyes, hahaha).
Here are some photos I took with it and a7 III:




(FYI, the B&W photo depicts Gdańsk Town Hall, whereas the last two show Malbork Castle).
 
As a matter of fact, right now I'm eyeing another copy of it and most likely I'll end up buying it.

I was looking for some 50mm stuff in my test library and found this.
Looks like I did the promo shot for the testing but for the life of me I can't find the test images themselves so I'm presuming I never actually did it !
I could do though if anyone is interested.

Post and talk about what you find.
Sometimes you can get a real deal, especially on the c-mount stuff under £500.
The Cooke look for me beats everything else. Everything.
 

The thread is sleeping, so I thought about sharing updates after having used the S1 for a month (and the newly announced firmware updates are a good occasion for that !).
So I used the S1 during a 1 month arctic journey across northern Swedish mountains and Norway in last September/October. I only took the S1, for photo and video, and brought with me the 24-105 f4 kit lens and the Sigma 14-24 2.8 dg dn (the new one, designed for mirrorless) which I brought 3 weeks before I left home.
I wanted to film (not doing time lapse) the northern lights, but we were not very lucky with the intensity of lady aurora, despite one or two explosions in the sky, and the f2.8 aperture of the sigma was not enough. I will soon sell the Sigma and buy a 20 1.4 Sigma art, and maybe wait for the newly announced pana 16-35 f4... (or a used canon 16-35 f4).
I was a bit frustrated with longer reach need, because, when I bought the S1, I thought the ex.tele converter worked the same as on Sony (clear zoom if I remember) and on the GH5 and G9. So I did not bring any tele for this trip (despite still having at home a Canon 200 f2.8 L ii prime at that time), hoping to film with the 24-105 at 105mm in apsc mode + exteleconv. Some days before leaving home, I discovered that it does not work in 4k… So on 1 or 2 occasions, to film wildlife or distant landscape, I used 1080, and pixel/pixel mode. I checked the results at home on my computer, and the results are really really awful eheh ! APSC mode is, on the other hand, really good ; so, in the end, I had a little reach on some occasions.
I really love the range of the 24-105, and find it very useful. Fot this kind of trip, it is perfect ; maybe the newly announced (yeah, so much "newly announced" today !) Sigma art 24-70 f2.8 dg dn will be better, I'll keep a close eye on it. The Sigma 14-24 f28 dg dn is a wonderful lens for photos, sharp enough for me in the corner, light etc. But the inability to put a vari nd on it was useless for video. I bought it for nighttime auroras filming, but a 20 1.4 + a wide zoom that takes filters will serve me better.
I encountered minor bugs  : occasionally, when I pressed the review button to check my images, it said "no valid pictures on card". Had to turn off the camera and I could access again my images. I had 1 or 2 freezes (really less than my fujis that used to freeze very very often) too. Ah, and the camera is slooooooooow to operate. Drives me crazy when in a rush !
All in all, it worked very well, even during snow storms and -10°C temperatures, and was covered with ice and used under rain with no problems. The handling and controls are phenomenal, especially in shitty conditions.
So far, I only reviewed my footage on my computer since I came back home, and I barely touched the camera again (little time) but I managed to play with some clips. The Vlog shots are gorgeous... really ! I tried to play with them with filmconvert nitrate and varicam profile (I need to try the """newly announced""" ? S1 profiles), and with the varicam luts supplied by panasonic, and I love everything about it : colors, look... I think i prefer the result I obtain by applying Resolve's color space transform to the vlog clip, and then tweaking it to taste. I am still learning and, thus, is a horrible color corrector, but with minor stuff applied, I obtain a really pleasing result.  I also filmed a lot with Cine-d and HLG. The former seems to be very good, and the latter... I still did not figure out how to treat it in Resolve eheh. I wish I had more time to learn the camera prior to departure, because I played with the flat profile last week-end, and I really like it too. One thing I instantly noticed is the iso capabilities : amazing !
I sadly found some missed focus shots while reviewing my clips. More than I wanted... I mainly used MF, but with a lot of "AF first then switch to MF", and maybe the struggling AF in low contrast scene + not always easy to check the focus peaking in bad weather conditions + my poor fillmmaking skills are to blame.
On the still side, not a lot of things to say : wonderful high iso performance, very flexible files... everything you want from a modern 24mp sensor. A great machine for my use : landscape, documentary, astro photo...

Sorry for the very unprofessional review ahah, hope some of you will find something useful. I attach just for the fun an image I took inside the tent, after a short night (I still have to post process my photos). Don't pay attention to the "clean" appearance of the camera... I was always wiping it, as it was often covered with snow and rain ? 

I will sell my Sigma 14-24 2.8 and, in the future, I will slowly build  a kit with a wide angle prime, lenses like the samyang 135 f2, takumar 50 1.4, and maybe the coming panasonic S lenses...
But for now, I will add the smallrig cage for the S1 + a cheap 5.5" monitor, and I think about buying a Panasonic G9 + pana leica 200 f2.8 + tc (unbelievable sales + cashback right now) . It will allow me to "deport" the long reach video and photo use to this setup.

@omega1978 sorry, I promised you to take sample images with the sigma 14-24, but I did not find time to do it before leaving. Did you put your hands on it ??

A good deal on an open box one came up so I snaffled it.
Before I am officially bankrupt and have to sell EOSHD to Cinema5D, at least I get to shoot some medium format 4K
Here is the plan...
I got a bit frustrated waiting for the X-H2, with the will-it-won't-it exist situation.
I have the X-T3, X-Pro 3, X-H1, X-Pro 2, all really are too similar. Why do I have 4? I don't know. I am an addict and need help.
I'll sell all those and GFX 50S, which depreciated in price like a bastard. Going to sell it for about £2800, which at least goes toward funding the GFX 100.
It's a terrible time to buy a new camera. So much on the horizon. But it's all full frame or APS-C. Yes the EOS R5, 1D X III, X-H2 if we ever see one, A7S III will be on my radar and will definitely shoot with them and review them on EOSHD... But they're not medium format! Do I need another similar camera to the ones I already have? Or sell em all and get something truly special...
The look is different on the GFX 100 and it is a unique in the world one of a kind camera in 2020. Ok, the amazing 4K image may trickle down to a lower priced 50R II or something like that... But before that happens I will make sure I get out quick because I do not want to end up with a GFX 100 that is worth £3k on eBay.
Until then, I'll enjoy the wonder that is the GFX 100 and wait to see if the EOS R5 is all its cracked up to be. Will the 8K be any good? Will it shoot 10bit? Will it have RAW? Or are we in for a disappointment? The GFX 100 is certainty of high-end video features and 10bit with superb Fuji colours, and it's here right now.
Fast apertures and full frame lenses on medium format are a real pleasure too... I love the look and it's never been seen before a mirrorless medium format camera arrived. Those swirly edges remained a mystery.
And yes... I need help!

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Having fun with a lighting test, thought it showed off the rendering pretty well. Nikon 24-70 2.8G at 24mm on a Nikon Z6. Shot in nlog, graded with ACES.

Crazy as it sounds, that's a possibility. My main concern there is bit depth density; SLog would probably not be the focus. The GH5S is next around the corner

Some of the best times was milk runs in my Ferrari. It’s only down the street but it only takes 6 seconds to go from 0-60. 

Just give us the GH5S sensor with IBIS and PDAF and we are happy 😋

If Blackmagic can license from Apple their codec for a $1000 Pocket camera... Why can't Panasonic license it on a $3999 S1H?
The S1H is tarnished by the H.264 label on the box.
We need both options. ProRes is forever associated with filmmaking, it is a proper editing codec.
H.264 is a flexible but CPU intensive codec, and I'm grateful for it when I need smaller file sizes but it should never have become the one and only Default option in mirrorless cameras like the A7S, GH5 or S1H.
As for Raw, to delegate such an important feature to exclusive Atomos hardware is a complete joke.
It's like Canon delegating out autofocus to a start-up who provide it through specialist channels as a module.
Would pro stills photographers put up with JPEG only? No. We have had a lot of patience as filmmakers with no RAW codec.
Also RED should recognise that REDcode would be better off as an industry standard in all cameras and not an exclusive to their cameras only. I think they'd make a lot more profit if they did that and it'd be good for us as well, a win win.
Thank you, trying out a few options which are more 'cinematic'... The current logo was done in a rush in 2011 after Canon asked me to change it or get sued.
Changing just the forum avatar allows me to see how clear it is when viewed as a small icon.
For the final design which logo works best for you guys out of these two?
Candidate 1

 
Candidate 2

The great thing is, Speed Booster GH5S outperforms the 6K EF Pocket in low light as well.
Unless you can get one of Luca's rather nice Magic Boosters.
Who's for a GH5/GH5S Shooter's Guide?

That's how I shoot all the time, grabbing a quick shot then running to catch up.  Or getting shots of the family while they're doing their thing.  For me the strengths of the GH5 really help with that.  IBIS for walking while shooting (trying to simultaneously do the ninja walk and also not walk into a pole or anything) or for standing and grabbing a faux tripod shot.  The 10-bit for being able to significantly push the image due to no control of lighting and little to no time to work the scene.  Etc...    My other approach is just to get volume, as not only does it mean you get lucky more often, but the practice increases your hit rate too.
Here's some random GH5 shots from filming at the speed of life...

Good to see such loyalty round here. So many Panasonic users ?
Maybe I should concentrate on more GH5 coverage.
I have been more focussed on the full frame cameras since a few years ago now.
GH5S and GH5 deserve more articles.

I run a channel on YouTube and I have first-hand info on some of the larger channels (1M subs) and what they can bring in. Based on data that’s publicly accessible, Potato Jet could be doing quite well financially with his current views. (I hope he is, I always enjoy his stuff.) It all depends on his fill rate and CPM for those 2.5M monthly views. If those are anything like mine, he’s probably making $10,000 to $18,000 in straight Adsense revenue. He also does brand deals, so I expect he’s clearing as much as $20k if he’s lucky. But if his fill rate and CPM are low it might be just scraping around $10k. Not much for that LA lifestyle, lol. 
Note that a lot of the opinion and drama channels have bigger issues with copyright strikes and demonetization and their CPM can potentially be way worse  than channels that focus on brand-friendly niches like cameras or cars (Potato and myself.) So when trying to figure income for shows like Spill, Drew Goodin or Philip DeFranco you cant use the same math. Their CPM is likely to be significantly lower, but because of their size, the brand deals are more lucrative. 
update: I just watched the video above where Potato shows his revenue on a video (I calculated at $3CPM if 100% fill) and that is ridiculously bad with that level of engagement. Like, so bad, I don’t believe it. So either the camera category is far worse than I expected (unlikely since its a popular category) or that particular video is monetized at the bare minimum and he cherry picked it to use as an example. 

No worries - many others say it that way and mean it.  
I mean what I say about not getting too attached to resolution too.  We go to huge lengths to implement the 180 shutter rule, which takes our 8MP image (4K) or 2MP image (1080) and makes absolutely sure that whatever is moving is blurry as hell in almost every frame.  Then we complain that the lens isn't tack sharp on a 50MP sensor at 1/10000s exposures.
I find it strange that stills photographers are busy emulating the best still shooters, and we're into video but instead of following high-end cinematographers we follow the best stills photographers instead.
Have a look at this post I made in the cine lenses thread again and see what the pillars of our profession (not a different but similar profession) have to say about lenses:
What I take from these comments (combined with the various other tests that I've seen on these lenses) is that people want resolution but not too much of it.  They want contrast but not too much of it.  
I think there's a huge disconnect between how a lens measures and how it looks, so that when we see measurements of a certain lens we screw up our noses, but when we watch TV or movies shot with that same lens at the same settings we don't have the same reaction at all.

DON'T COMPARE LENSES WITH DIFFERENT MAXIMUM APERTURES ON THEIR "WIDE OPEN" RESOLUTION!!!!   You wouldn't compare a 50mm F0.95 at F0.95 with a 50mm F3.5 at F3.5 would you?  The f3.5 lens would kill the faster one, but that's just ridiculous.
Lenses sharpen up when you stop them down, and the Voigtlanders sharpen up very well when stopped down.
Lenstip is the only site that has measured both in a way we can compare, and you'll note that the Voigt is behind the Leica on sharpness but not too much when you actually compare them at the same apertures - here's the Voigt:

and the Leica:

The Leica is sharper, but it depends on what you're looking for in a lens.  For example, here is a comparison between the Voigtlander 42.5mm f0.95 at F1.4 (RHS curves) and the Samyang Xeen 50mm T1.5 (LHS curves).  


The Xeen resolution is abysmal, yet it's on B&H for USD$1795 and those who shoot with it found it fine, and it didn't seem to really be that bad in tests...
The Xeen at T1.5:

and at T4:

It sharpens up sure, but you're hardly looking at the first image and crying about how it's so terrible and unusable.
We have to stop thinking like internet stills photographers who seem to only talk about sharpness, and start to learn from practicing cinematographers who love the softness of vintage primes and older lenses.
@midloch I'd say go for the 10.5mm because you've said you like the less clinical look of your 17.5mm, and the 10.5mm lens should be the same.  Also, 10.5mm is slightly wider.
I have the Voigt 17.5mm and 42.5mm lenses and went with the 7.5mm Laowa F2 lens because I wanted the extra width, but otherwise would have gone with the 10.5mm  

Yes, but so are most lenses.  
You have to be very careful with these things - there is a fundamental flaw with lens tests.  We tend to test lenses at 5.6, 2.8, and wide-open.  This is a trap because there are many lenses that are wide-open at f1.7 (for example) and that lens is sharper wide-open than the Voigtlander is wide-open, but here's the thing, that's comparing one lens at f1.7 and the other at f0.95 so it's not a fair test.  The Voigtlander is sharper when it's at f1.7 than the other lens is, but no half-baked lens test will tell you that.  You have to be sure that you're not comparing apples with oranges.
Here are some charts to show you what I mean..
Voigtlander 42.5mm


So, you can see that by f2.8 it sharpens right up.
For comparison, here's a Zeiss CP.2 at T2.1 - the Voigtlander is sharper across most of the frame when it's at F1.4 than the Zeiss at T2.1, and these lenses are radically more expensive.

Here's the Samyang Xeen cine lens, with it's absolutely terrible performance wide-open at T1.5.......

and here is a Zeiss Super Speed, one of the classic cine lenses (a set of them sells for over $100K) with it's very poor, but hugely desirable, softness wide open...

These comparisons aren't exactly fair considering that these other lenses are full-frame, but to dismiss a lens based on softness wide open is just stupid when you understand that most lenses are soft wide open, and also take into account how much faster the Voigtlander is.
So let's compare the MFT competition too...
Here's the Voigtlander at F1.4 and F2.8 for comparison:

This is the Panaleica getting crushed wide-open:

This Olympus is about on par with the Voigt at f1.8

This is the Panasonic not really beating the Voigt:

This Olympus PRO lens not really looking quite so PRO in comparison to the Voigt:

And the Panaleica f1.2 also failing to beat the Voigt:

So basically:
The Voigt is sharper wide-open than many of the classic / industry standard FF cine lenses The Voigt is of similar or better sharpness as the competing MFT lenses when they're wide open, and it opens up further, so you can use it stopped down or you can open it up further to get more light in Many of the people that like things like the Zeiss Super Speeds actually like the softness of the lens wide-open because it's like having two different lenses - vintage when open and more modern when stopped down, so the softness of the Voigtlander is actually a desirable thing for some.
Now, is the Voigt perfect?  No.  They're expensive, they have a colour cast when wide open, I've heard they're not built to be repaired and they're only MFT so who knows if they're a good long-term investment.  Are they the sharpest lenses available?  No - the Veydras are much better performers at equivalent apertures.  But should we cast them aside because they're soft wide open?  No.

It must've been really taxing on the whole production team, wow.
 
This BTS definitely comes to my mind:
 
Though, truth be told, I enjoy more watching some small BTSes on Vimeo. Simply because they are not AAA titles, which have all the money and resources in the world.
Here is one of my favorites (still, it's one of the fancy ones - burning down houses? being able to cast ~100 extras?)
 

I had crane m2 and returned it.  It was extremely difficult to balance (even iPhone pro and gx85), because of its small arms. Subsequently, I purchased Ronin SC and have no problems with balancing.
 

Shot this mini doc while on vacation in Mauritius. It's about those who work behind the scenes to uphold the illusion of paradise.
Shot on GH5s, it was intended as a camera test as I wanted to see how 60p and V log play. So it's shot on either 4k 8bit or FHD 10bi at 60pt. In both cases, V log bands quite horribly even in 10 bit FHD. Unfortunately, being on vacation I didn't use an external monitor so I couldn't see the banding until I got it on my computer. I hope this is something Panasonic can fix, at least in 10bit (no excuse). I love Vlog in 10bit 4k non 60p. But I'll probably have to experiment with HGL settings which is a drag because I prefer Vlog overall and I'd hate to have to mix the two settings for a sequence. 

Also, I shot it with Olympus 12-40 2.8 and 40-150 2.8. Love both of these lenses as the manual focus is excellent. I used a monopod for the 40-150 and handheld for the 12-40. Coming from a film background, I don't miss the IS. A little camera shake doesn't kill me, especially for a doc. It was my first time using the 40-150. This lens is superb and worth every penny. But it's not a handheld lens. It has the reach of a 70-200 in FF and that extra 40 over the Panasonic 35-100 makes a huge difference. Also being able to switch to true manual (no fly by wire) is worth it. 
Here's the link. Enjoy.
https://www.youtube.com/watch?time_continue=3&v=9O0cuTdsl8A