Owlgreen

😂 Jesus fucking Christ! Correct me if I'm wrong, but you have never even shot with this camera! 
What the fuck is with this gear-shaming, chroma-shaming, gamut shaming? 
You come across as a giant asshole.
I'm doing an experiment. I want to shoot open gate V-Log 6k on the S1 and I want to grade in ACES for PQ output. It has nothing to do with professional standards. You have no experience with the specifics of this premise, so your supposed advice offers nothing!
If I want to shoot full frame 16:9, I can and will shoot the fp.
Why not just jump into every thread and tell people to shoot an Alexa? Then they will be serious! 
Unfuckingreal.

Do me a favor and read the whole thread back. 
I asked a technical question specific to one specific mode of one specific camera.
Many people offer pertinent, useful information. I am very thankful to them, and they've helped me to mitigate the issue.
You and one other guy, both of whom have never shot with the camera, come in and offer no pertinent, useful information whatsoever. You just say a bunch of condescending shit, call me uninformed and unserious, brag awkwardly, and say I shouldn't use the camera in the specific mode I am interested in. 
I never asked if I should or shouldn't use the camera or that mode. I don't care what what you or anyone else thinks on that question. 
I like lots of cameras for different reasons. They all have their own peculiarities and charms. 
I think 8-bit cameras can be great.
I think the PXL2000 is gorgeous.
I love Super-8.
I adore the F35.
The GFX100 looks like a blast to shoot with.
The S1/S1H have a ~36x24mm mode. This is unusual and interesting. Charming. I want to be able to use it from time to time. Not for everything, but sometimes. 
You and the other guy made a big deal out of the colorsampling in that mode being 4:2:0 rather than 4:2:2. That only a fool would shoot something with 420 chroma. The 422 modes in this camera are 4k. That means a 6k 420 file has more color samples than any of the 422 modes. 
But that doesn't matter. You came in with zero pertinent information and zero respect, so I gave you none back. 
I asked a technical question and you and the other guy responded with patronizing opinions. AKA bullshit.
Your opinions are worthless to me, so keep them to yourself. 
To everyone else reading this, thank you for your advice and input. For a long time I've felt this board was a special place. One where massive egos don't dominate the way they often do in motion picture contexts, but rather information, knowledge and curiosity does. I still feel this way. 
 

😂 
I don't suffer fools.

I meant to write, "Neither is anyone forcing you to butt into threads you have no knowledge about."
 
My apologies, I missed the memo that since you don't have a way to view HDR then none of us should talk about it. Must be nice to have the universe revolve around yourself.

Again with the gear shaming! Can you read the name of this website? No one is forcing you to shoot video with a photo camera. My god, only peasants do that! Why are even here, since you think you are too good for this place? Neither is anyone forcing you to butt into threads you have knowledge about. Thanks for nothing Mr. Very Serious Cinematographer person! 👍

😂 Jesus fucking Christ! Correct me if I'm wrong, but you have never even shot with this camera! 
What the fuck is with this gear-shaming, chroma-shaming, gamut shaming? 
You come across as a giant asshole.
I'm doing an experiment. I want to shoot open gate V-Log 6k on the S1 and I want to grade in ACES for PQ output. It has nothing to do with professional standards. You have no experience with the specifics of this premise, so your supposed advice offers nothing!
If I want to shoot full frame 16:9, I can and will shoot the fp.
Why not just jump into every thread and tell people to shoot an Alexa? Then they will be serious! 
Unfuckingreal.

👍 Cool story, bro. 
When did this place get so full of unhelpful trolls?
WTF?

At the risk of feeding the troll, the S1 and S1H share the same 200mb/s 6k 420 10-bit long-GOP V-Log mode. The only difference is the AA filter on the S1H. S1H is "Netflix approved" for anamorphic shooting using the aforementioned open gate mode. Netflix requires all "Netflix Originals" content to be delivered as a Dolby Vision IMF packages. So theoretically the S1H is being used in this interframe 420 mode to produce HDR content for Netflix, and the S1 has effectively the same imaging capability. This tells me they must have figured out a color correction workflow which yields decent looking results. I want to know what part I'm missing. 

Thanks for the incredibly helpful response, buddy! You probably get invited to a lot of parties!

My guy, I'm sure your mother is very proud of you. Sadly, she didn't teach you any manners. 
You have contributed nothing to this thread. Have you ever even shot with this camera? Based on your completely generic suggestions, I suspect not. Your condescenion is unwarranted. Please leave.

HDR is great!
Rec709 has very limited dynamic range. HDR gives you the dynamic range that these newer sensors with log gammas can capture. What is the point of having 14 stops of dynamic range if you can only see 5-6 stops?
Most newer TVs are capable of displaying HDR video, most top-end cell phones do so as well (on OLED screens!). Anyone who does not have a device that can display HDR video is simply using old or cheap equipment.  If you are serious about video, you need to step up (and it is not expensive).
And many of not all of original serials or movies produced by Prime Video, Netflix or AppleTV+ are HDR.
Anyone who claims they do not know anyone professionally shooting film or video who delivers in HDR is just telling us he or she is in the second, third, or fourth tier of professionals. Which is an odd place for snobs to inhabit.
Producing HDR video is hard, but it is worth it.

😂 Jesus fucking Christ! Correct me if I'm wrong, but you have never even shot with this camera! 
What the fuck is with this gear-shaming, chroma-shaming, gamut shaming? 
You come across as a giant asshole.
I'm doing an experiment. I want to shoot open gate V-Log 6k on the S1 and I want to grade in ACES for PQ output. It has nothing to do with professional standards. You have no experience with the specifics of this premise, so your supposed advice offers nothing!
If I want to shoot full frame 16:9, I can and will shoot the fp.
Why not just jump into every thread and tell people to shoot an Alexa? Then they will be serious! 
Unfuckingreal.

Thanks, Mercer.
I've tested the internal 422 codecs and the color banding is there as well. Shooting ISO 4000 instead of 640 hides the issue in noise to a pretty acceptable degree. 

Thanks, Mercer.
I've tested the internal 422 codecs and the color banding is there as well. Shooting ISO 4000 instead of 640 hides the issue in noise to a pretty acceptable degree. 

Well done, this looks really good. Can you tell us about some of the technical details? What lenses at what focal lengths and apertures did you shoot, and what ISOs and compression settings did you use? Thanks.

You need frame accurate sync, none of the a7 bodies support that. 
  
 
You're playing with fire if you don't have a TC box for each game. You don't want to rely upon the camera itself getting TC right! Nope. 
 
Some people go with wireless timecode, fed from a master clock. (such as the Timecode Systems :wave that I've got, which feeds to the TCS Ltd USOs over the :blink network) But it is more normal you'd jam sync each at the start of the day to the Master, and let them run. 

I shoot on both Canon & Sony systems. It's a tough call and does come down to personal preference. 
I favour Canon for camera ergonomics, UI, AF (both in stills & video), colours (especially skin tones).
Lens wise, I find EF glass has more mojo (I just love my 35mm F1.4 L & 50mm F1.2 L). But I also love my Zeiss Batis primes that are more compact. RF has some amazing glass also, and even the affordable STM line is really good (I think I'll go for the 24mm & 85mm STM next). Lenses is really what ties you to a system so don't underestimate that aspect!
Now specifically when comparing A7S3 to R5, well R5 does have 45MP stills, 8K, oversampled 4K & internal RAW.
A7S3 has non oversampled 4K, only 12MP stills & a lot of NR at high ISO.. but better DR & less RS. 
The lowlight used to be where A7S series killed it but that's not the case with A7S3 since it is in fact a 48MP quad bayer sensor. Also the 1:1 4K doesn't allow super35 crop or focus breathing compensation. Bummer.
4K120p I dunno, it looks great on the R5 but haven't A/B it with A7S3. 
I think with 1.6 R5 wins on overall specs but if you really need that extra DR, super low RS & better 4K120p then it might tilt you over. Both I think are mirrorless workhorses.
Sony colours have become much much better than in previous generations but I still find myself spending way more time in Resolve adjusting footage than with Canon where I pretty much can just slap a custom LUT and it looks simply amazing. Especially skin tones. To me this is a MAJOR advantage for Canon.

The S5 and S1 are fantastic for everything other than AF compared to Canon and Sony. So it depends on your priorities.

I've owned both over the last two years and the Sony wins for me due to the consistency across frame rates (Canon image line skips when in higher frame rates), the full sized HDMI and its better battery life. I don't particularly love Sony colours in general but the A7SIII image is really flexible and has loads of dynamic range. I wouldn't necessarily choose to shoot the Sony for narrative work but for the corporate work I generally do it is really capable and has been rock solid so far. 
I choose the A7SIII over the FX3 mainly due to the EVF, I recently bought an FX3 handle for cheap on Ebay and use it on the A7SIII when needed. You can buy an adapter from small rig and it works well.
 

I find the 4:3 5k mode of the S1r very attractive. It seems that is uses a 21.5mm x 16mm crop of the sensor. The few clips I've seen on YouTube look good. Am I correct that the S1r doesn't have V-log? Does this mean the dynamic range in video mode is limited relative to the S1 and S5? I wonder if there's any benefit to using an external recorder with the S1r. Do you use the HLG gamma with the S1r? I think I'll try to go into a used camera shop and shoot a couple of tests comparing the S1 and S1r.

I'm seriously impressed.

I highly recommed to any S1 owner to shell out the 200USD for the VLog update. It also includes the great 150mbit 422 10bit 4K modes, 100mbit 10bit HD modes plus 4K 60p 10bit in S35mode, also full sensor open gate true 6K mode.
The photomode has less resolution than the full sensor open gate mode, something between FF and S35. So go ahead and treat yourself with the best and obligatory update for your camera, making it a true indy cinema camera powerhouse and music video dream camera! Without the update S1 does not offer 422 nor its awesome codecs nor modes, which mentioned above, open gate included. cheers

Thanks for the information. Braw would be much easy for me to deal with. Shame the VA12Gs never seem to be heavily discounted, unlike the Ninja V. Ninja V also seems to support raw recording on a far wider array of cameras. 

I'm in need of an external monitor for my fp, so I'm considering to pay a bit more and get a Ninja V or Video Assist 12G. I use Davinci Resolve exclusively now, so should this alone rule out the Ninja V for me? Is there any practical workflow to convert ProRes Raw to some other form to use in Resolve? What about the non-raw codecs in these recorders? Is it possible to record from the fp in ProRes 422 HQ and still maintain roughly the same headroom and legroom of the cDNG files? Thanks for your help.

Jesus Christ this looks pretty legit. A fucking musical, color me impressed. Are you fluent in Japanese? How long have you been involved in the project? What was the ballpark of the budget? My guess would be 100 million. Yen, that is.
Just based on the trailer, I'd have to say I'm not in love with the color grade. But I'm a moody guy. I like my movies to be a little bit on the darker side. Literally darker. Did you experiment with any film grain simulations? On the recent Dune they went so far as to do a 35mm print out from their Alexa source material, which they then rescanned in order to get the slightly softer, grainier look they were after.
Again, congratulations on your monumentous achievement of producing a feature length musical in 2022. They are rare birds these days.