webrunner5

Indeed, this seemed simply not doable just a few years ago...
 

Just popped out down the beach and discovered that fashionably late isn't a thing with sunsets.  Good thing I'm not fashionable enough to have been that late, but also not early enough either.
Here are some ungraded frame grabs from the GX85 and Olympus 15mm F8 pancake lens, which fits nicely in the jeans pocket.  @webrunner5 I seem to remember you were keen on this lens?
It sure is sharp and relatively distortion free...  it's just not, well, fast!  
These are 4k grabs, so click on them to see the full quality.





I don't know what ISO the GX85 was at, but the images don't look too bad for F8 and after sunset.

Not sure where to put this but this does seem to fill a need for all the damn stuff you have to carry with you all in one place. Doesn't solve every scenario but it would help.
 

Message received...  I will start creating videos with flowers in them immediately!

Now you are talking cats in flower beds, ehh maybe not. That would be a negative. Hmm no more cat shots or flowers, just trees and good looking women. 

Hey be nice I like cats. Bring them on. Plus it does show how sharp a lens or camera combo is. They have super fine hair along the lines of a rabbit. And there is an amazing variety of them. Beautiful and skillful animals.

Not sure where to put this but this does seem to fill a need for all the damn stuff you have to carry with you all in one place. Doesn't solve every scenario but it would help.
 

Now you are talking cats in flower beds, ehh maybe not. That would be a negative. Hmm no more cat shots or flowers, just trees and good looking women. 

LOL Almost the same can be written for flowers too...! : D

Hey be nice I like cats. Bring them on. Plus it does show how sharp a lens or camera combo is. They have super fine hair along the lines of a rabbit. And there is an amazing variety of them. Beautiful and skillful animals.

24 frames a second was determined back in the 1920's maybe even teens as the slowest you could hand crank a film movie camera and make it not look jerky, any faster you were eating up too much film. It was all about the money, just like everything is now.

In the US there is a 12 month grace period.  You can file after something's been on the market, the patent has a filing date in 2008, but a 'priority date' in 2007.  If nothing else you have time to prove that your product is viable before going through the pain and expense of a patent.  
 
RED's patent is designated with a "U" preceding the number which stands for 'utility' vs a 'design' patent.  Utility patents give their owners broad protection over the use of a new and useful process and they are allowed to invent on top of existing technology which counts as 'prior art.'  They disclosed a lot of prior art too referencing other video cameras on the market and stills.  
Visually lossless compressed raw is certainly not an unpatentable 'abstract idea' to me either because you do have options in camera to choose the amount of compression.  The camera is acting on the data physically compressing it in camera.
I think the problem is that RED chose to patent it in the first place, as opposed to other companies in the past getting together to form a standards group like JPEG.  JPEG is also based on patents too I believe, the companies that helped form it have allowed it to exist outside of patented IP.  

Sent you PM : ) but it's very nice and fits fine to this forum to see practical movie products coming from these devices we all love other than the customary flowers and cats... LOL :- )

Ah I see, that must be pretty fun when going around in these nice places haha (non ho capito se qui si può scrivere in Italiano o no ma per non rischiare ti rispondo in Inglese)

This is the trailer of my first feature movie (mockumentary/comedy/drama) that I finished last month, not high budget and completely indie, I was the director but also the dop and camera operator + everything else techincal, then 2 writers (one of them is also the main actor) and another guy who composed the entire score for the feature. It was really fun to make, it's an hour long. Me and the two writers are currently aiming for some festivals (but it seems very hard to choose which) and also looking for some ways to show it around, we did 2  "closed doors" projections in local cinemas and we have one more on the 9th of this month! It was entirely shot on the Lumix S1.

Ogni tanto si, a Roma, in Portogallo in questo momento (sono Portoghese) quando non in UK : ) Bellissima piccola opera, vado a vedere il resto...
What exactly is this one? :- )
 

Exactly my experience as well, even with the Ronin RS2 where the rear servo motor is not blocking the screen, I still need tilt flip screens for complex gimbal movements such as low shots where the rear arms and servo motors would block the rear of the camera and crane movements where the final camera angle is overhead. 
Also, I find holding the camera much more stable and you can get the camera closer to your body when holding handheld if the screen is off to the side instead of between you and the camera. 
Also, my V-Mount battery goes directly behind the camera body for all long form content, without a flip screen the battery would have to sit farther back throwing off the balance of the rig, and last but not least, sometimes you need to twist and turn the screen until you find an angle where the sun is not glaring off of it.
But hey, to each their own. the good news is there's currently something for everyone. @MrSMW I will admit, there are times where I feel too many people are moving around too much or too close to the camera to feel comfortable with flipping it out, in those cases I just keep it flat against the rear of the camera. I would imagine at weddings with kids (and towards the end of the night drunks) it would be a little nerve wracking to have that screen flipped out.
Below is an example of my long form setup; parts of the screen would be very difficult to access if it did not flip out to the side. I was having trouble with my adapter plate in the picture below but usually the camera is nearly flush against the V-Mount battery which is the proper balance for the rig. Outdoors the glare from the sun is usually a good reason to flip it out and twist it in different directions.
 

....and a 1.5 crop on the Sony A7iv too...  I literally underlined and bolded it.
In terms of dealing with crops I'm totally with you, the last thing I want is for the fps to modify my entire lens collection.  I'd genuinely be interested in the Komodo if it wasn't for the horrific cropping it does.  I like to own the exact focal lengths I know that I like to use and so because I'm not buying the whole set I can buy really nice copies of those models - something that a series of crops just throws out the window.
But, like I've said, it seems like almost every manufacturer does it.

Very well done, I like the style. I would not have guessed the camera setup. Proof that skill trumps gear.

Hey All, here's a quick character intro for a project that I'm aiming to direct this year. Shot on the Blackmagic Pocket Cinema Camera 4K with SLR Magic 1.33x Anamorphic Lens Adapter. Base color grade via a BMPCC 4K to Arri Rec709 conversion LUT that I created and have been testing. Might release if there's interest.
Blackmagic LUTs byBoz™ are available to download here: https://blackmagic-luts.yolasite.com/
There's a specific "imperfect" anamorphic look that I'm going for. Haven't quite found it yet, but overall I think the combo works really well. 
Thoughts?
 

The first of many more little edits - thanks to my latest film-making purchase....

Just a an update. RED still haven't shown up at my door. I did started locking up in the evening and hiding the camera in the safe houses. I started checking if I'm being followed.
On this side of sanity (hopefully), I finally shot some material. Clients I often collaborate with suggested that we try playing with format of the visual research and use moving picture. It's usually stills photographic work. Since the whole job was more of a exploration case study I decided I may as well push and shoot RAW.
I have mostly XQD cards and SD cards. XQD was able to record about 7 seconds of 8K at 50p before interrupting. Slight disappointment (but there was a twist later on). So I went and bought CFast B cards. San Disk were easiest to get quickly, 128GB holds 5 min 40 seconds at 8K60p and RAW quality NORMAL. I went with SDR and Nikon FLAT, used waveform and kept ISO at 64, partially because I carry the habit from the stills and partially to keep aperture values reasonable. I only played with the footage a bit on the flight back. In Resolve 17 on Mac (you have to run the app under Rosetta, so affecting the performance) it edits without issues on 16 inch M1 MAX. I've been out of serious video for more than 12 years so tweaking it is going to be a bit of challenge but also why I really tried to get it right in the camera. The picture didn't break when I pushed it hard in Resolve.
The camera's ergonomics are great for photography. For filming - I'm not used to stills cameras. I feel it basically needs to be rigged to get the best of what it offers. Monitoring is good, it has a mode where the LCD shows everything an assistant would need. Speaking of, the viewfinder on Z9 is the best I used on mirrorless camera. My workdays are sometimes 13, 14 hours and the eye strain can get too much (I'm squinting at you GFX 100s). I can't comment on the autofocus for video as all of the lenses I used were manual focus.
What might be the most interesting part for me is that camera runs really cold. I don't know what kind of processing TICORaw uses but the whole focus on low hardware requirements they've brought from their broadcasting background seems to be paying back. While the first part of the job was at 18 to 20 degrees Celsius and low humidity, the second one was at high 30s and low 40s with very  high humidity. The camera just kept going.
The card surprise that happened at the end was that I tried 8K normal quality RAW at 24 and 25 and XQD card recorded without issue for minutes on, full capacity, without problems.
This material can't be shared but if someone wants, I can shoot short and specific tests and send over the RAW footage. Maybe skin tones, cadence and highlight/shadows but not longer than 15 seconds each. Which brings me to the main problem of the RAW. You need a data wrangler and increased budgets for storage.

Hello everyone, I am a filmmaker from Italy, I am new here but I've avidly read this thread when I was about to purchase my S1 about a year ago, since then I shot some client work with it and a full feature film, I am pretty new in all of this but I really really REALLY like the results this camera gives, I like them so much that I went and purchased a second camera, the Lumix S5. 

I have some works of mine on my vimeo which are all shot on the Lumix S1 handheld, not highbudget stuff but you might enjoy or critique some, would appreciate that 🙂 I'll leave here an example but you can find more on my vimeo profile.
 

Now... I have a question, does anyone have any kind of workflow for treating BRAW coming out from this camera? I bought a VA 12g and I would like to try to get into that workflow. Thanks!

Emanual you should have bought this rig instead of that Insta360 ONE RS 1. What a cheap skate.
 
 

Nice shots but.....
Title of video : I Got Arrested in Rome - What Every EU Drone Pilot Needs to Know before flying
1st line of description : I Want to tell you my story on how I got almost arrested in Rome twice even with a drone permit.
Join us next week for my video "I Got Arrested in Madrid" where I detail precisely how I absolutely, positively didn't get arrested in Madrid either. 
The stupid thing about the shamelessly clickbait title is that it is actually an informative video that didn't require it.