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Mark Romero 2

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  1. Depending on your needs / circumstances, you MIGHT consider an S1 as a second FF cam instead of another S5. You can find used S1 cameras for not much difference compared to a used S5. The S1 main benefits are the unlimited 4K 10-bit and 6K 30fps internal at 10-bit 4:2:0. The 6K is limited to 15-minutes, I am pretty sure. You will need to get the filmmakers upgrade ($200) On the S5, there is something similar, in the confusingly named 6K photo mode (which is really 5K video but with photographic EXIF data instead of video EXIF data???) I haven't messed around with it a lot but I think it is ok. The S1 has a nicer (tilt-up only) screen and better EVF and is great on sticks (I have wonky eyesight so I really appreciate the better LCD / EVF / Focus Peaking of the S1). Also for handheld I like the S1 better than the S5 (better IBIS, heavier body = less micro-jitters for me), but much prefer the S5 over the S1 when shooting on a gimbal (on my Weebill S). Anyway, food for thought. They both do suffer from some moire / aliasing. And, of course, Panasonic autofocus.
  2. I know what you mean about that, since I worry about the youth of today as well. But then every once in a while I realize that kids are a lot smarter than I am.
  3. Watching this video made me feel old. Very old.
  4. I agree with @webrunner5 that aps-c cameras for sony are kind of at a dead end (at least until the whole supply situation clears up, which should be around 2035 or so, if we are lucky). I have been waiting for a Sony aps-c mirrorless camera with 10-bit video since about four years ago. I got so tired of waiting I got the Panasonic S1 and S5 instead.
  5. I think I might have just been airing my frustration in general with some of the limitations in codecs in general (on all mirrorless camera brands), and also the overuse of the term "cinematic" by youtubers with a GH6 (or a RED or an Alexa). I guess to me one of the big factors in making something look "filmic" or "cinematic" is how the highlights roll off, especially on the face. I can live with reduced dynamic range and blown highlights, just much prefer blown highlights that don't have that halo of supersaturated color around them. Of course, as you alluded, a lot of that is how well the operator sets exposure (on the face). But I know with my Sony cameras, if I used any profile OTHER than S-LOG 2, I would get nasty super saturated colors when luminesce values get near clipping. (It is slightly better on the S1 / S5 as far as I have experienced, but I almost ALWAYS use V-LOG on the S1 / S5 so I can't really say for sure that the NON v-log codecs are better than the Sony ones in this regard). I am still totally thinking of getting a GH6. I could sell my Oly E-M1 MK II and my three sony aps-c cameras to help offset the cost a bit. But the thing is, E-M1 MK II just works. I don't ask a lot of it (just 8-bit natural profile at 30fps) using the 14-42mm kit zoom lens and it gets the job done. It's the perfect PhD camera (Press Here, Dummy!) I think if I got the GH6 I would spend too much time overcomplicating things :)
  6. Not sure what picture profile they were using but I really dislike the highlight roll off in many of the shots. I am going to guess that it was probably CineD 2 or something other than V-LOG, which from my experience on the S5 and S1, has better roll off . Not saying I could do better than the videographer who shot this. Just saying that with a lot of cameras this has been one thing that bugs me (probably more than it bugs a lot of other videographers).
  7. The thing that's painful is that the AF is so nice on my Panasonic S1 and S5 is SO NICE... when it actually works!!! The fact that the lenses like the 24-105 f/4 have minimal focus breathing and pseudo-parfocal ability* just makes it even more frustrating. I don't use / need autofocus that much currently, but would like the ability to rely on it in the future for more run-and-gun shooting.
  8. Yes, as in a walk to your nearest electronics store to buy a new drone 😉 Planning is everything.
  9. On the other hand, just as I can make any expensive guitar sound bad, I can also make any beautiful beach look like a trash dump. I'm an expert in ugly. 😞
  10. The Mini and the nano are designed to come in at under 250 grams weight so that they can avoid certain FAA regulations (possibly other regulations in other countries, too). Hence, the need for small EVERYTHING on them.
  11. Mark Romero 2

    Olympus OM-1

    Yup. At to me, it is a shame that in the E-M1 MK II, Olympus didn't include DCI 4K at 23.98fps, only at 24fps (maybe at 30fps too, can't remember). As for the OM-1, why don't they allow 10-bit video in the other picture profiles besides OM LOG and HLG??? And as far as I understand it, All-I is only available in FHD??? It seems that all UHD and DCI 4K is only Long GOP 😞
  12. Huh??? I was 90% sure that the S1R can shoot HLG.
  13. Huh... hadn't noticed that, but I have only shot a couple of clips in a couple of projects in 6K internally on the S1 (never shot an S1H... don't know if there is any difference if they are both shot in Long GOP). I will have to try it out. Probably just my fading eyesight that makes me not notice.
  14. All I'm saying is that I had my son second shoot a classical music trio (two violins and a cello) on the E-M1 II while I was shooting it on my S1 and we were both panning between the musicians or tilting up from the instruments to their faces to their hands, and while the Oly might miss focus once or twice for a fraction of a second here or there, with the S1, I ended up having to use manual focus because there were so many times where either it focused on the background (50 feet away), or it just focused on air somewhere between the subject and I. There were times when a white box would show up around the performer's face, demonstrating that the camera recognized there was a face in the frame, but it still decided to focus on an oak tree far off in the distance. Now, manual focus on the S1 isn't TOO particularly difficult, but it is a BIG camera and heavy, so shooting handheld and having to pull focus manually resulted in shaky footage, as my aging hands aren't particularly smooth on a good day, and by take five, I was pretty tired. I guess I am going to end up getting a native 20-60mm lens and use my S5 on my Weebill S so that I can use the built-in control wheel on the Weebill S to hopefully manual focus without having too shaky footage. Not looking forward to it though because while the S5 is MUCH lighter than the S1, the LCD screen isn't as good and the focus peaking isn't as good either. Oh, and shooting that classical music trio reminded me how much I dislike Sony 8-bit colors (I had my a6500 as my D cam... if I had used it for only close up shots of the instruments it might have been ok, but I can't seem to get any decent skin tones out of it. Don't know how Deadcode does it).
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