Mark Romero 2

Hmmm... If you expand the track height for the audio track and then make sure you are showing waveforms for audio, does looking at where the audio peaks (on the waveforms on the audio track) at least give you a head start on finding where the audio is clipping?

I'm not sure I understand, but if you are in the color page, you could open the parade and that would show the wavefroms for the individual channels (R, G, and B). But I am not familiar with final cut so maybe I misunderstand what you want to achieve in Resolve. https://www.youtube.com/watch?v=Mbcat-2J9oM

And that's a good perspective.

Sorry to hear about this, Andrew. Thank you for the heads up. I have a couple of Sony cameras I will probably / possibly be selling so I find your warning to be quite timely for me. Hope things go well with ebay and with the home move.

Here's an Autofocus Tip that I totally didn't realize... Apparently you are supposed to "confirm" AF tracking using the joystick or touch screen. (OK, maybe not PERFECT but looks better than usual.) Hmmm... maybe I SHOULD read the manual for expensive pieces of equipment...

All my friends thought I was crazy that I found Maggie Chung (张曼玉) much more beautiful that Joey Wong (王祖賢). "She looks so typical," they would say. But when I told them I liked the "Girl Next Door" look, they all understood.

Unfortunately, the V-LOG L of the GH5 / GH5S cameras is not the actual full V-LOG that the color space transform (CST) was designed to work with in resolve. You might be better off using a Technical LUT to convert the footage to REC 709 in Resolve.

Casey Faris had a recent interview with Daria Fissoun going over the HDR panel that might be interesting for people who are unfamiliar with it.

The 4K on the S5 is the same as the 4K on the S1, as far as I can tell. I am surprised at 150Mbs h.264 how "pushable" the files are in post. Also, I have zero issues with shooting at ISO 4000 in 4K and delivering in 1080p. Whatever noise is in there isn't really a problem and the dynamic range is still quite good.

Back button focus works great on the S5 and S1. I set the AF switch to MF, and leave the AF switch ON for my Canon EF 16-35 f/4 L. Hitting the AF on button then focuses the lens. I have it set up so that rotating the focus ring on the lens then brings up picture-in-picture for fine tuning focus. No idea about sigma lenses and linear manual focus.

Funny story... At its release, the S5 was a MORE CAPABLE video camera than the S1. But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5. My S5 is my everyday work camera (for stills and video). I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting.

Funny story... At its release, the S5 was a MORE CAPABLE video camera than the S1. But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5. My S5 is my everyday work camera (for stills and video). I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting.

You can??? For some reason I always thought it was hevc. Live and learn, I guess.

Hi and Welcome. I am most familiar with shooting in V-LOG on the S5 (and S1 cameras). They have dual native ISO. You should be able to look for this setting. It may not be too helpful with your ND filter situation, but it might be. Generally, from what I have seen, you want to shoot at the native ISO for that profile, or go maybe two stops past it, then go to the High gain ISO In V-LOG terms (as that is what I am most familiar with) shoot at ISO 640, on up to about 1600. After that, shoot at the High gain ISO of 4000 (and stop down the aperture). I shoot outdoor in V-LOG quite a bit but normally have to stop down to about f/8 or f/11 when I use my 3-stop hoya ND filter (I am not real thrilled with that filter... distinct blue / magenta color shift). If you don't want to shoot in V-LOG outdoors, you can shoot in HLG. However, I think it uses the h.265 (hevc) codec and some computers really struggle with it. But probably the easiest way is to shoot outdoors with Flat picture profile and the saturation, contrast and sharpness turned down if you want to lightly grade in post.

Panasonic full frame cameras have this for sure, and I suspect the GH5 has this, too, but don't want to swear by it. Plus the Panasonic full frame cameras have something like 12 custom memory profiles you can set up the way you want.

Well... the GH5 is still a very viable camera. It's kind of hard to see where they are going to go from here without some serious redesign, on their part and on Sony's part (since I believe that Panasonic is still dependent on Sony sensors for their cameras). Is there an m43 sensor out that allows for 4K 120fps readout speeds? If so, is it cost prohibitive? How about dual gain optimized tech, like the sensor in the Canon C70? That could give m43 sensors another stop or two of dynamic range. And everyone would love improved autofocus. But would the current m43 lenses be capable of exploiting a new autofocus system if it were released in a GH6? Maybe there are design limitations in the current lenses that prevent them from benefiting from phase-detect AF. And since a full frame Panasonic S5 sells for less than $2000 now (maybe just a temporary sale price), at what price can Panasonic sell a whole lot of GH6 cameras at? Anyway, I don't know. Now sure what Panasonic will do. Although I get the feeling they will do SOMETHING interesting.

Oh yeah, forgot to mention... There was some sample 8K video of cherry blossoms and bees posted on youtube the other day. I tried to watch it on my 2560 X 1440 monitor. So even after pressing pause, and allowing the video to load halfway first before pressing play again, the video just stuttered along. My computer isn't that much of a potato: i7-6700, 24GB RAM, RTX 2060 Super with 8GB VRAM, win 10 on a SSD.

Well... I would do that... but I am too busy saving up for the new Sony 50mm f/1.2 so I can take some epic footage of my cat...

You are correct, sir. In another test, another youtuber showed a lot of non-photographers lots of photos, some with a very shallow depth of field, and some with "normal" depth of field, and overwhelmingly the people preferred the photos with MORE depth of field over the photos with shallow depth of field. So there we have it. 6K and 8K Resolution??? Overrated. Straight out of camera colors??? Overrated. Super shallow depth of field (aka, Cinematic Look)??? Overrated. Oh, and then there is the video by Jordan Drake where he says he has been "living in denial" or something like that because he shot a video and purposely didn't use the 180-degree shutter rule, and no one seemed to notice. (Everyone seemed to notice instead their use of gee-whiz transitions and jump cuts.)

You are right. I don't remember going to see a lot of movies shot on an Alexa and saying, "wow, those skin tones look green," unless there was a scene under fluorescent lighting where things are SUPPOSED to have a green tint. But your larger point that there is a BIG difference between what you get SOOC and what the footage looks like in the hands of a pro colorist is absolutely spot on. I guess these kinds of tests have a point; if you are not going to be doing some serious color grading, then certain cameras are going to be better for your production than others. Just don't compare SOOC with what can be done with the footage in the hands of a competent colorist.

So it looks like Tom Antos and friends had a revised test, and the cameras favored the most by viewers were... The FX3 and FX6 So either the new Sony cameras have sparkling fresh colors, or so much for the myth of color science.

For the Tom Antos tests, I had my prefered list as pretty similar to what everyone else had (except switch around alexa and Red) 1) Ursa Mini Pro 2) BMPCC 6K 3) Red 4) Arri Mind you, I was looking primarily at skin tones. Maybe I am losing my mind, but the Arri skin tones just looked so green in that test.

Thanks so much!!! I am partial to the look of Minolta MD and Takuma lenses myself.

Yeah, not meaning to pile on to @MicahMahaffey but my S5 gets about 2 hours of batter life. My S1 can get close to 3 though...

Video looks great. Let us in on what lenses you used, please.