Mark Romero 2

This is very true. Subtle parts of a high quality picture are getting lost especially once theaters go down the toilet, if that hasn't already happened. Maybe there will be a push by filmmakers to have TV automatically detect a video game from a movie and adjust the settings accordingly. 

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

I feel like I am wasting my time in the pursuit of nice looking, quality, well graded footage.
The majority of people that are in my social circle have no idea what a calibrated TV looks like. Most have the colour and contrast set to "Irradiate" and sit within 6 feet of their 60-85 inch TV's whilst they tan. The sharpness is set to "stun" exhibiting awful halos and because they sit so close you can practically define each pixel. And... because frame rates used by filmmakers are not smooth enough for TV manufacturers the TV's now interpolate a few extra frames between the original frames making for a "much smoother viewing experience". On Christmas day I was watching "Singing In The Rain" on a relatives 85 inch TV, it looked dreadful with the interpolated frames and over-sharpened image but when I pointed this out it didn't go down to well, so I kept quite for the rest of the day and suffered in silence as so many classic films were simply ruined.
I've tried to explain the problem to my friends and convince them that an adjustment is required but it falls on deaf ears, they simply don't care.
I have never seen one of my videos look remotely the way it was graded with my calibrated monitor on any TV owned by people within my circle or any of the customers that I visit within my profession.
I have to blame the TV manufacturers, but I also believe that the public is generally ignorant with regards calibration, either way a lot of painstaking creativity is currently going to waste.
If you made it this far, thank you, I feel better for the rant.
Cheers.

Warping with Ibis on wide angle lens is a problem. on the Jerusalema video i avoid this with zooming in to 20 mm.
without ibis the stabilisation on weebill s is very bad ( my crane 2 was much better )

Thank you for the compliment.
Yes, I do / did use IBIS on the Weebill S, but it is a bit complicated.
The first video (34 Vista Real), I used the full BODY IBIS, where all of the Axis are controlled by the IBIS of the S1. 
In the second video (38 Thunderbird) I instead used the Lens IS for the majority of the stabilization (I think it is three axis from the lens) and the body is handling the other Axis. 
Note that I am using the Canon 16-35 f/4 L which has lens stabilization, so you can set the S1 to let the lens do the majority of the stabilization. 
I did this for the second video (38 Thunderbird) because I noticed a lot more corner warping in the first video (34 Vista Real). I was told on facebook or some such place that by switching to lens IBIS I could reduce corner warping when shooting at 16mm on a gimbal.
So what I have found is using lens stabilization (primarily) with IBIS and then using stabilization in Resolve helps to get the smoothest motion for me.
I have tried using the Weebill S with IBIS turned off completely and it just isn't smooth enough, even with stabilization in Resolve.

Great footage to show dynamic range of S1. i have made real estate video only ones with an Osmo Pocket.
 
You use the weebill s with IBIS on ?
 

Same problem with WFM on the GH5, it is "too large", perhaps if I was able to turn up the transparency of the WFM box then it would be more tolerable to leave it up & on? 

Same setup as above, except with a DJI Phantom 3 Advanced for the drone footage:
 
 

S1 with Canon EF 16-35 f/4 L on MC-21, on a Zhiyun Weebill S. Shot in V-LOG 10-bit 4K 30p (slowed to a 24p timeline).
 
 

Last shoot with S1(all wide angle scenes) with Canon 16-35 2.8 on 20/4. Rest Sony A6500-6400, Mavic 2 pro.
Filmed in 3 hour, all in 1-2 takes 
and a more serius footage, in Vlog, need to complete with voiceover 
 

Why noone except MrSMW showing footage. It´s getting dull in a thread about a fantastic camera. Well here is some S1H showing off the potential of what you and me could achieve too with either a S5 or a S1. I have posted three own S1 vids, so lets keep em coming and let them being discussed as well. So, here it goes S1H showing off for her sisters S1 and S5. Monster cinema cameras unleashed.
 

If you mean being able to punch in while recording? If so, I am not sure. It isn't available on the S1, but only on the S1H as far as I know (and I am only 50% sure it is available on the S1H).

Will panasonix fix the focus magnifier glass while recording? And also include the possibility to decrease the sharpness more? Or are there any olpf filters coming?

That was what I was alluding to in regards to the hours of research. I have had every incompatibility imaginable; cases that blocked critical slots, power supplies missing the proper connector to power the video card, memory that was simply the wrong kind (and memory almost always is not returnable), CPU coolers that would not fit the motherboard, motherboard risers that got stripped while screwing them into the mounting board, BIOS's that refused to see the hard drive, BIOS's that refused to see the add in video card, RAID controllers that would do everything you could imagine except let you boot from any drives connected to them, etc. etc.  
To me adding storage, a video card, and NVME quad port card is a piece of cake compared to dealing with the rest of it. Even for non video editing computers, I no longer build any of them. I just get used enterprise class gear off of eBay. You can get great deals on high end used desktops at the 3yr mark on eBay because that's when many business leases end. And I'll take a 3yr old enterprise class desktop/laptop/networking equipment any day over brand new consumer grade hardware.
 
 
I actually know a photographer that still uses a 5DIII for photography and the best part is....its the only camera she has ever owned (7yrs)....and she has a single lens which she has never removed from the camera since the day she got it (Canon 50mm). She also has never owned a single flash and when we started talking gear she didn't know the difference between an EF mount lens and an RF mount. She is actually a well known photographer in my area and charges over $300/hr for sessions; AND she is booked for weeks straight. It all seemed crazy to me but she is very friendly, great with families and posing kids, and that is all she does.  She literally knows nothing about flashes, gear, diffusion, etc, and shoots 100% natural light, yet she has managed to become a successful photographer in my area; and for post processing she uses a single Lightroom preset which is her signature "look". Meeting her really reminded me that you can make nearly anything work these days and the gear is only a small piece of the big picture.

The other challenge that @herein2020 was avoiding was that of incompatibility.
My dad used to work for a large educational institution and ordered a custom built PC to replace their main file server, so naturally ordered the latest motherboard, CPU, RAM, RAID controller and drives.   Long story short, two months after getting it he still hadn't managed to get an OS to install correctly, and neither had the other people on the hundred-page thread talking about the incompatibility, in which multiple people verified that the manufacturers of various components were all blaming each other for the problem and no-one was working on a solution, so my dad did what everyone else in the thread did and gave up.  He was lucky enough to be able to lean on their wholesaler to take the equipment back with a full refund, but others weren't so lucky, and the thread continued for another year as various people swapped out parts for other models/brands to see what the best fully-functional system was.
Or you just buy something that someone else has already checked for you.
There's a reason that many serious software packages are only supported on certain OS versions and certain hardware configurations.  It's because their clients value reliability and full-featured service and support rather than getting a 12% improvement on performance.

You have hit upon the crux of the matter, lighting. We would all like a magic sensor (me included) that would lift shadows for 6 stops and lower highlights for 8 stops but really if you are in that situation, you should either light your main point of focus (not the whole scene if you do not have the means to do it) or you are possibly going for artistic, high contrast effect .  Don't get me wrong I have had similar thoughts but at the end of the day I think that the FF argument is a bit animal-farmish (FF good, aps bad). Masterpieces have been filmed with way lesser sensors than we have. It is in the nature of the age to rush through things I suppose. Sony has the best sensors for low light ( I have had them in my Fuji's for years now) and I bet that my X-t3 at 3200 iso  is cleaner or as clean  than the C70 with its ridiculous price tag. Day By day I am getting disillusioned by the frankestein rigs surrounding a DSLR in order to shoot. the c70 is the right idea at a very wrong price 🙂

Cinematography has never or will continue to rely on fullframe.  Fullframe helps with noise, and depth of field in tight spaces with wider lenses, but S35 still delivers great IQ when used well. 
I appreciate hybrid users will favour fullframe, its where many of the camera choices are based and popular for Photography, but if you're dedicated to video, S35 is still the preferred format option in camera choice.

Its kind of funny, the longer I typed the post the more I realized that I did build it after all. To me though truly building a system is picking out the motherboard, PS, memory, CPU, adding the CPU paste, inserting it into the socket, getting a case, fans, mounting the PS, etc. Plugging in hard drives and swapping some memory doesn't seem to rise quite to the level of building a PC. And half the "fun" of building a PC is researching all of the latest MB, CPU, Memory, PS combinations to figure out the best one for the money. I used to have systems that I didn't even bother putting on the side of the case because I was changing things so often.
I got really tired of proxies, when I'm importing footage I want to get started right away, waiting for proxies with every clip was just annoying beyond belief for me. And I know some people say just let it sit overnight, but I do most of my project organization in Windows Explorer, I only import clips I will use in the project so that wouldn't have worked for me either.

I think the Z4 was around $1600USD but it takes a lot of work to get it that low. HP charges ridiculous rates for their memory and addin NVME cards so I used a few tricks to end up with just the tower, CPU, memory and power supply, from there I sourced parts elsewhere, so I guess I did kind of still build it out.
- I always pick the Linux option when buying from HP so that I don't pay for Windows 10 since I already have a license
-I picked the cheapest SATA storage possible since I already had NVME sticks from my previous system
-I picked no add-in video card since I already had that
-No optical storage since I never use CDs or DVDs
-No keyboard or mouse
-The one thing I don't skimp on is the Power Supply, I got the 1000W version due to the video card and to power all of the internal storage
-etc etc, until it was almost barebones, I then called and managed to get a few more things removed and an additional discount over the phone. Many people don't know if you build a system on the Dell or HP website then save it, call them and ask for a discount then give them your build invoice a lot of times you can get up to 20% more off especially around the holidays, you can also get them to remove stuff you don't need like hard drives which the online system configurator won't let you do. You can also go to the outlet version of the online store and sometimes find good deals there on returns or canceled orders but when I got the Z4 it was too new to find any deals in the outlet store.
After getting the tower with 8GB of memory, no graphics, almost no storage, etc. I then got a 4 port NVME Dell PCIe controller card on eBay for $100.00 (HP wanted $1300.00 for only 2TB), 64GB of memory for $150 (HP wanted $1600.00!!), dual SSD drives, etc. I also got the RTX2080Ti used on NewEgg for around $700.00USD.
The main thing I've learned over the years is I don't want to deal with motherboards, picking out a tower, power supplies, and memory; these are usually the source of instability later on. HP's memory was so expensive that I went ahead and got that separate and even then I pulled the memory that it shipped with and used the part number to exactly match the vendor, bus speed, etc. online.

I think the total build to do it all over again today would be right around $3300.00USD.  I had a lot of the NVME and SSD storage from other systems, and the RTX3080 brand new is only $700 (if you can find one) which is better than my 2080Ti. I only buy/build a new system every 7-8yrs or so and so I saw it as a worthwhile investment. Since I use Davinci Resolve for video editing, I think my system is pretty much future proof, all I'll need to do is upgrade the video card again at some point once H.265 10bit 4.2.2 is supported on the chip. The system itself is rock solid stable, with enterprise class reliability which was my intent.
Another thing that a lot of people do not realize is how power can make their system unstable. I live in FL, the #1 place is the world for lightning strikes, so I have a line conditioner and two surge protectors between my system and the wall outlet. Slightly dirty power is the cause of so many system instability issues and people have no idea that's what's causing their problems; for a system that gets taxed like a video editing workstation I always recommend spending another $200USD or so for a good line conditioner and surge protector.
 
Yes, the CPU and video card is always the most expensive parts. I've never understood how motherboards can be so cheap; to my eyes they look way more expensive than the CPU let alone the video card. 

Maybe, the Z6 is not everyones priority here, but I'll leave my evolving observations here to whom it may concern:

- Surprisingly bulky and quite heavy, the weight is distributed towards the left side, which makes it outspokenly unbalanced and difficult to hold it with one hand over an extended period of time. Moreso with manual lenses & adapter.
- The hand grip is not not thought out designed. It's not 'high' enough for a normal sized hand. That is why you'll find a lot of used models where the coating is damaged next to the grip. It's because you find yourself clawing your fingernails into it.

Grip and weight distribution is MUCH better on the A7 or the NX1.

- Focus peaking works very well, esp. in the great EVF. However, there is no way to toggle it on and off with the press of a button. You are entitled to assign the focus peaking menu to a function button, but you'll have got through this menu every time then, which results in about four clicks to put it on or off. This is quite annoying.
- You can't use zebras while focus peaking is on.
- The on screen spirit level is placed in the center on the screen, with a huge fat black ring around it. You literally don't see anything else of the picture, when it's on.

There is a dedicated video mode on that camera, however:
- Exposure lock only works in stills mode, but not in video mode! There is - however - another way to lock exposure, which also works in video mode, by pressing and holding the jog dial (or a function) button. This might be convenient for stills, but not while filming
- The only way to set the shutter speed in video mode is "M", in all others, the camera choses 'something' that can't be altered.
- There is 24p but no 1/48

 

I wouldn't compare it to SLOG as its not a log curve. 

Though its a nice flat profile, designed for 8 bit unlike SLOG which doesn't really work with 8 bit IMHO. 

I think the Z6 is a fantastic buy for the money. 

The flat picture profile of the D750 was always very nice (although only 1080p and it didn't have any focus peaking or zebras). I would imagine the flat picture profile of the Z1 would be equally nice.
And the D750 was a great stills camera, so no doubt the Z1 is a great stills camera, too.
As for the 8-bit SLOG on the a7 III, some people think it is pretty good (or at least usable), some people hate it. 

One of the better/best ones out there...and most are awful. 
I’m going to give the -2 +3 a go next chance I get and see how that works out.

Don't know where you live and what you do all day, but I find myself either doom scrolling the news or hanging out on forums like this and developing a serious case of GAS. I suspect that I am not the only one doing so.
Plan on taking the S1 out tonight just to shoot some Christmas lights displays. I still have footage from LAST Christmas that I haven't edited together yet. Oh well...
Anyway, it gives me an excuse to spend time with the S1 and my Minolta MD 50mm f/2.

Thank you, Mark! Now German Schlager music counts on you as a loyal fan! 🙂 But beware, our classy song is rather in the tradition of the french "Chanson" and is not typical for the average modern Schlager.
Thanks you very much guys for your kind comments! I would love it, if people would share and discuss more of their work, exercises and tests. It would still get technical enough for the nerds among the Eoshd fans.:)
By the way, I almost forgot to mention, the other lens on the S1 was the beautiful Tokina 70-210 f3.5, a low price one touch push zoom, with super light weight, high resolving and with splendid character wide open, as you can see at 2.29min, where Stella, our female lead and singer, is pointing the gun to the outside of the frame from left to right. Merry Christmas again, dear friends! cheers