Jump to content


  • Posts

  • Joined

  • Last visited

Posts posted by BjornT

  1. On 7/3/2021 at 8:14 PM, HockeyFan12 said:

    I still prefer the colors from the C100 (with external recorder)/C300/F3 (with external recorder) to most cameras today. Preferred the C300 Mk 1 to the Mk2 and F3 to F5, but later updates fixed the F5 imo.

    I also like the grainier softer look of sub-4K cameras. ūüėē

    But I think that's mostly personal taste...

    Today P4k/P6k/S1/fp seem like winners.... but S1 does have a magenta cast on skin.

    EVA1 I think is underrated and has better color, but a hard sell given how cheap an S1 or S5 is.

    S1/S5/S1H does all have a magenta cast in VLOG to varying degree but if grading in Resolve for example then it's easy to dial out. Alexa LOG C has always a had a green cast for example so not only Panasonic that has a color cast. You can also easily fix it in camera by just adding 9 points of green (or a bit less depending on taste) to each kelvin setting and then save it in custom modes and then you don't have to dial it out in post. In the end I would say magenta cast is a non issue. Two biggest issues except autofocus is moire (on S1/S5) and rolling shutter in full frame mode. Both could be better but in general I am just blown away by how good a camera it is for the money.



  2. On 4/6/2021 at 6:58 PM, HockeyFan12 said:

    Has anyone noticed a shift in color? The S5 footage seems a bit less magenta (in a good way) than S1 footage. Has Panasonic matched the S5 with the new 2.0 firmware update?

    I did a quick test yesterday and the S5 is still a little bit brighter and less magenta (both cams on latest firmwares, same settings and same lens with the clips being taken less than 60 seconds apart). However I feel the S1 was maybe a little bit less magenta than last time I did this so maybe they bridged the gap a little. In resolve if you take the offset up one step from 25 to 26 and add 2 points of green with the tint control (on the S1) then it was almost a perfect match so not much work needed to match at least. Another way to take care of it in camera would be to add some green in the kelvin settings and that pretty much takes care of the magenta bias as well.

  3. No I have not done a custom WB and I never do as I always punch in the kelvin I want so in this case I put both cameras to 5600k manually and they dont match obviously. But maybe you are right and if I do custom WB for each they might match but still means setting same kelvins on both cameras won't match for future shoots which is what I would expect when same sensor.

  4. Both are on latest FW (the december one) and both set to same f stop, 640 iso, 180 degree shutter and 5600K.

    It is not the lens but the cameras. Here are pics with same lens taken less than a minute apart. S5 definitely less magenta (which I prefer but not for matching). S5 is also just a tad brighter. All fixable in post fairly easily but annoying nonetheless.

    The pic that has the cage around the camera is the S1 and the other is the S5




  5. Anyone on here using S1 and S5 together as A and B cam? Pics below had identical camera settings and grade (the tighter shot is the S5 with the Lumix 85mm 1.8 and the wider shot the S1 with the lumix pro 24-70 2.8 at 70mm). Both are shot in Vlog and running latest firmware.

    S5 is bluer and a tad brighter overall. I know lens makes a bit of difference but am quite surprised to see such differences considering it is supposedly the same sensor. One can make them match fairly easily in post at least but curious to hear if other people on this forum have noticed as I find very little online.



  6. 16 hours ago, herein2020 said:

    I guess I like the "digital" look then because to me that looked terrible¬†ūüôā. But that's just my opinion. I'm not the type that enjoys trying to emulate the past; now I do think the camcorder look is also terrible and to me camcorders look too digital; but I will take a modern cinema camera with a good lens / diffuser combination combined with a cinematic color grade any day over the "film look" if this video is an example of what that means.

    Film like digital has many looks and this one obviously went for a super16mm look. But one can easily turn off grain, halation and blur and just get the colors with that powergrade. I think grading under a print emulation lut like many pro colorists do helps a lot though to get to something that feels "cinematic" https://juanmelara.com.au

  7. 10 minutes ago, zerocool22 said:

    Last time I checked youtube did not like film grain thoug, it made it all mushy or blocky. On vimeo it was 1000 times better. But havent uploaded any grain footage to youtube since a year or 2 so maybe they fixed it. 

    The grain is not as good as on vimeo this is true but if the video is displayed in 4K on youtube it can display grain without it becoming a mushy mess. 


  8. The S5 is a great camera and if you want to give it a look that is less digital then I would say add a diffusion filter to the lens like a black promist and color grade in Resolve if you are not doing it already. Since the camera has no AA filter you can then add some gaussian blur to soften the image further in post. There are many great film emulations out there now for purchase that will help you get a filmic look. Juan Melara's Kodak FM 2393 Powergrade, Tom Bolles Cineprint 16 Powergrade and the Dehancer resolve plugin are all great tools at different price points. Color grading is more important than camera choice and you can definitely see differences no matter where it is displayed. Now that youtube displays in 4K on an iPhone film grain looks a lot nicer on phones as well.

  9. On 12/31/2020 at 2:10 PM, kye said:

    I definitely agree with the sentiment "the least moves wins", although I would refine that considerably.

    I used to find myself basically fighting the footage, unable to get the footage to look even half-way decent.  This was because my skill level was basically zero at that point.  As I gradually learned, I started being able to make a few good adjustments before the 'tweaking' started doing more harm than good.  Now, I think of it as a skill-level thing - the more skill you have the more adjustments you can make before you're making it worse and not better.

    My new workflow is now to apply a look (Kodak 2393 LUT with some blurring/texture as shown above is my current favourite but I'm adjusting and optimising over time) and then to WB, adjust levels, and do any localised corrections required, but all underneath the look.  The secondaries are normally Hue-v-Hue / Hue-v-Lum / Hue-v-Sat but I will also do local adjustments if required.  These are often to match shots rather than significantly push things around.  I'm often doing things like darkening / desaturating distracting objects in the background or doing a large and soft power-window to brighten the subject.  

    I regard this as being quite minimal, considering that the 2393 is by far the largest adjustment in the grade and it was created by people far above my skill level, so I'm still responsible for the minority of the grade.  With my control surface I'm able to rip through an edit only spending a short amount of time per shot, by only making a few relatively repeatable adjustments.

    I love the texture of film and always try to get some aspect of into all of my projects. I think the camera matters less these days as almost all the dslrs out there can give you a filmic image if one bothers to learn resolve and a bit of color grading. I used the GH5 for years and one can get beautiful images from that camera. Adding an OLPF effect in post with some blur helps getting that digital sharpness down that many DSLR sensors have. There are also so many good resources out there now for getting a filmic look without much work. Juan Melara's Kodak 2393 FM Powergrade is great for getting filmic colors and if you want halation, grain and colors that are as close to film as possible I think Dehancer has that down, very impressive plugin. Also Tom Bolles is releasing Cineprint 16 powergrade for sale soon (video below was shot on GH5). and VFX artist Miguel Santana has Spectra coming out next year and they both look great. Learning some color grading and buying the powergrades/plugins of those that truly understand film emulation will give you better results than buying a blackmagic pocket 4K and slapping their standard lut on. Once you tailor your grade a bit to your camera just save it as a powergrade to use on future projects and then it is as easy as adding a lut to get a good starting point on any project.


  10. Shot on the S1 with a 1/8 black pro mist (side interview shot is GH5) and some 16mm grain added in.

    Heavily graded but if you have a bit of color grading knowledge then the S5/S1/S1H is a big step up from GH5 (not to mention low light capabilities). I think the v-log on the S series has a more organic quality than any of Sony, Canon's, Fuji's current offerings (less sharpening).

    Just bought the S5 as a 2nd camera so look forward to testing that out.


  11. On 8/17/2020 at 8:51 PM, no_connection said:

    Since red is a primary color you only have 1/4 the area taken up by a receptor surrounded by a large black border. Same for the GH5, you probably just have to find the right distance.

    Could you elaborate? Not sure I I understand. I thought I was getting moire due to texture and fabric of the t-shirt. But are you saying it has to do with lighting and the color of the t-shirt?

    Jim Jones, It was shot in 4K in FF.

  12. Thanks for the answers guys.


    I shot a few of my shirts today at home and did see moire on some of them too... Will be able to work around it hopefully on shoots but shot them with GH5 as well and no moire and that does not have an OLPF filter either which is why I am little bit bit disappointed it exhibits this... That said it is amazing otherwise.

  13. Hi everyone,

    Last week I shot an interview on the S1 (in vlog, internal) and the subject is wearing a red t-shirt and there is moire on it (check top right of his shirt). I know that camera the dont have an OLPF filter and this could happen but pretty surprised as I have had zero issues so far filming stuff with much more complicated patterns and also the GH5 that was used as B-cam on the side has no moire at all. Bit disappointed that a normal red t-shirt would have moire in this sort of situation.

    I wonder if people had some theories to why I got moire in this case? Might have something to do with the blue light in combination with the red t-shirt? (falcon eyes 818)

    Also any tips on how to reduce it in Resolve would be most welcome:)

    you can see a clip of it here https://f.io/dWW5vOgC


    Screenshot 2020-08-16 at 22.09.19.png


  14. @deezid.

    Been a S1 user for some time and my friend just bought the S1H so using that soon a bit too and just wondered if you could let me know which codec/resolutions you shoot with most of the time and what you think provides the best quality internally? I know vlog with sharpness to -1 is the way to go but just curious if some modes have better/less quality than others or any issues you have noticed with any of them (h264, vs h265 etc) so many options compared to the S1!

    Also I know people out there are on about canon and sony etc but the image quality in Vlog on the S1 and the dynamic range etc have blown me away using it.



  15. Looking to find out a few things and was hoping some people on here might have some answers.

    I personally own a GH5 and I am about to start a full time job where I am buying video equipment.

    I am looking at getting the S1 with the sigma 24-70 2.8 zoom lens.

    I was wondering how often people encounter moire with this camera?

    Also curious about battery life and how many batteries you recommend for a days shooting.

    Anyone tried this combo with a ronin-S?

    Anything else you think I should keep in mind then let me know. Intend on getting the vlog firmware update for it and shoot in V-Log most of the time.

  16. On 1/4/2020 at 9:57 PM, androidlad said:

    Are you referring to the flagging of color matrix? With the LUT fix I believe it resolves the issue consistently across all NLEs that misinterpret the flag.

    No limitation on framerate, it goes up to 4K/DCI 60P and FHD/2K 120P.

    Where can one find this LUT that fixes HLG flagging?

  17. 9 hours ago, kye said:

    The first half looked good.  Pity it's on Vimeo and is therefore unwatchable :( 

    Here is the YouTube link;)  Doesn’t hold grain and details as well as Vimeo though.


    23 hours ago, Video Hummus said:

    Very well done Bjorn. I loved the establishing shot with the hole in the fabric and the scar. Great message too. So glad Ted wasn't more seriously injured or killed. Sometimes the worst events in our lives are the cause of the most transformative change. Was it shot all handheld?

    Thanks!  Really Appreciate the comment. Some shots are handheld but most of it was on a Monopod.

  18. 2 minutes ago, newfoundmass said:

    The Minolta is a lovely, lovely lens. Those Rokkor lenses are among my favorites. 

    Wide open it's a little soft. Still useable, I think, but it really shines starting at around f2 and is tack sharp at f4. It has lower contrast than modern lenses but that's not too unusual for vintage lenses and I often find that I prefer the look. Plus you can easily "fix" that in post. My biggest complaint with these Minolta lenses is the flaring. You'll wanna get a lens hood for outside shoots for that. The build quality is great, the focus ring is smooth. Just a really, really good lens.

    Haven't used the 7artisans but I've heard decent things about those lenses when factoring in the price. I'd be surprised though if it matched up with the Minolta.

    Bought the minolta on Ebay last night;)

  19. I am looking to buy to a fast manual 55-60mm lens in that 100-200 euro range for mft mount to use with my GH5.

    Currently looking at the Minolta Rokkor 58mm 1.4 MCII and 7artisans 55mm 1.4.

    Anyone have experience with these lenses on a mft sensor or advice on others worth checking out?

  20. 13 hours ago, kye said:

    @BjornT was kind enough to share a grade he did using Filmconvert and Lumetri.

    Here's his final grade:

    1st Cut.00_00_09_23.Still005.jpg

    and my manual grade:

    Kye try #1_1.3.1.jpg

    These are the adjustments:

    First node is WB

    Second Node is this Luma Curve:


    Third node is Hue vs Hue:


    Fourth is a YUV channel mixer with a key to only apply it to blue:


    This is the main 'look' of the grade, and remember that although the snip above says RGB, that the node is in YUV colour space.  If you're looking for cool looks then a channel mixer in YUV mode is where it's at!

    Fifth node bumps up the Luminance and Saturation of the yellows (in the trees) via Hue vs Sat and Hue vs Lum curves.

    Sixth is a key on the skin colours that shifts the yellows slightly towards pink (with a Hue vs Hue curve) and also raises the brightness a little (with a Hue vs Lum curve).

    This was an interesting exercise and I primarily did it by having the two shots on top of each other with a Difference blending mode, and looking at the resulting image with the Waveform view, and also having the two shots next to each other on the timeline.  I'd go back and forth between the two shots and look at what the main issue was, then go into the Difference mode view and play with the controls trying to make the waveform go as low as possible (low waveform = smaller difference between the images).

    I tried a number of things in curves where you'd end up with a curve that would look like a rollercoaster and that would tell you that something was going on with what you were adjusting, but that this type of curve wasn't the answer, so I went down a few of those rabbit-holes and trashed the node and tried something differently.

    Anyway, that might be useful for someone.


    Great work. I look forward to when they release nitrate for Resolve and hopefully Juan Melara does a video on it.

  • Create New...