Jimmy G

Just so happened to to have the "cans" on my head when I clicked on your video...I truly love the audio landscape you created here. Also, I found the color choices for your world engaging. Thanks for sharing this here. :)

ok so in the spirit of eoshd togetherness I have decided to share this video to see what u guys think. maybe it will inspire zach ☺️
let me explain:
i made this short at the end of last year, but I never completed the edit/fx/etc 100%. Got busy with other stuff, and I was working up my gumption to come back to it with a fresh eye.
then my iMac broke, and I have a new ‘puter on the way, but I’m anticipating the nightmare of opening resolve and Siri saying ERROR: NO MEDIA FOUND, because my files, ALTHOUGH BACKED UP, are super disorganized, there might be a few things missing, but at the very least it’ll be a big pain in the ass to relink everything to get going on this again
aannnyyyway I always feel bad for posting literally zero videos but numerous dog pics and I was like Screw it, its not perfect, but here ya go.
this is not the best file, its the one I had in icloud, there could be a better render, etc etc, and its getting murdered by youtube compression, but my first reaction watching it after not messing with it for a few months was…. …Hey~! Its not too bad! ☺️ not bad for a first film i made all by myself! imagine if I had a crew, a budget… ?
so, if youd like to see, pls check it out, and if you have any helpful feedback that involves changing/adding things, that’s great, but I do NOT have access to the actors/locations any more and there is almost no chance of me shooting additional footage, so as long as suggestions don’t involve me spending any more money on this project, I’m all in ?
at best, I think this is a cool example of what one person can do with a 5d3 in 2019 with no budget, crew, or resources whatsoever... as indie as it gets lolol
 

One of my favorite reviewers, Gerald Undone, weighs in with a 17:44-long, fully chaptered take on the S1...
Panasonic S1 Review: LARGE and in CHARGE (S1 vs Sony a7 III vs GH5) - YouTube:
...finally, a fairly comprehensive AF test series covering the various Panasonic AF settings and how they translate to actual performance for both video and stills.
:)

A wedding videographer/photographer weighs in on working with the S1 for an actual client shoot (subjective, I know). Organic-looking video thoughts? How about skin tone performance?
Panasonic S1 - Real Wedding Shoot - I'm Blown Away - YouTube:
 

A wedding videographer/photographer weighs in on working with the S1 for an actual client shoot (subjective, I know). Organic-looking video thoughts? How about skin tone performance?
Panasonic S1 - Real Wedding Shoot - I'm Blown Away - YouTube:
 

I think this is the best footage I have seen from the GH5/GH5s.
 
Fujinon MK lenses
 
 

The best way to think about these things is in terms of colour spaces.
If you film in HLG then apply a LUT that is expecting HLG then the LUT will work as designed.  If you film in HLG and apply a LUT that is expecting VLog then it will not work as designed and the picture will go all strange.
You can use the Colour Space Transform or Input settings to change colour spaces if you like.
For example, you could film in HLG, transform to VLog using the GHa Pre LUT from @Sage, then apply a Colour Space Transform to go from VLog to LogC, then apply a film emulation LUT that is expecting LogC footage and the results will be fine (I've done exactly that).
I highly recommend Juan Melaras YT channel to understand how pros use Resolve - it's completely different to all the other YT colourists.  He's the only YouTuber that I've watched the videos over and over again, studying them to understand what he's doing and how it all works.
https://www.youtube.com/channel/UCqi6295cdFJI9VUPzIN4NXQ

Buy a camera that is "good enough" and learn to colour grade.
Seriously.  I used to be like you, but then I worked out what I wanted in an image and bought the right camera and lenses, and now when I hear that there's a new 12K RAW 16-bit pocket camera with built-in gimbal and AI drone I don't even care.  It happens that the camera I bought was a GH5, but if you have different needs then it will be a different camera.
The other part is learning to colour grade.  I was "done" with other cameras when I pulled the GH5 files into Resolve and it looked and felt like when the pros grade cinema camera footage - they pull in a shot and it looks flat because it's log, and then they push and pull it around almost mercilessly and it just does it and looks great, and the GH5 files did that too.  With all my previous cameras the file was fragile and would break given half a chance.
I'm not getting spectacular images out of the GH5 yet, but that's because I just need to learn to grade better.  I know the GH5 is great and it's about my ability to grade, not its limitations.  Specifically I think that's because it's 10-bit and the colour science doesn't have problems, so I know I can work with it.  Your results and preferences might be different, but when you're wishing you had something else it's because you're not happy with what you have.  There are always better cameras and we all wish we had an Alexa but many of us are satisfied even if the Alexa has a better image.

A wedding videographer/photographer weighs in on working with the S1 for an actual client shoot (subjective, I know). Organic-looking video thoughts? How about skin tone performance?
Panasonic S1 - Real Wedding Shoot - I'm Blown Away - YouTube:
 

A wedding videographer/photographer weighs in on working with the S1 for an actual client shoot (subjective, I know). Organic-looking video thoughts? How about skin tone performance?
Panasonic S1 - Real Wedding Shoot - I'm Blown Away - YouTube:
 

Up until very recently I've been a bit of an App-phobe preferring to do all of my work on my iMac. However, after dealing with the disappointing performance of my iPhone 8Plus's internal mics for making impromptu videos and audio clips I invested in a Shure MV-88 M/S Mic this past winter and was pleasantly surprised with not only the mic's performance (for in-phone movie audio, grabbing bird calls, Foley work, etc.), but also with using the Shure Motiv Audio and Video apps.
Based on that favorable experience I was amenable to see what more the "world of apps" might offer for my needs and interests. So, after running into online tutorials and testimonials and forum posts for LumaFusion (like BTM_Pix's link above) I decided to do some further homework on that app and see if it might be "for real" and whether it might just offer me some mobile help with my backlog of UHD/HD (FZ1000, a7S II, a6300) nature/wildlife footage. As a result I decided to be bold and I just picked up a closeout 2nd Gen 12.9" iPad Pro 512GB WiFi (B&H @ $749!) for the sole purpose of giving LumaFusion a go. I'm quite literally at the "opening the app for the first time and getting familiar with the layout" stage so I have no feedback to offer at this point.
But, what truly gave me the inspiration to "go bold" here was after hearing this podcast interview with Serenity Caldwell about her iPad review (starts at 11:21) and listening to her usage of numerous apps to create the montage of various forms of media content within the video...
Query #29: Made on iPad - Relay FM:
https://www.relay.fm/query/29
...and then checking out the video she created as referred to in that interview...
Serenity Caldwell’s 2018 iPad Review – MacStories:
https://www.macstories.net/linked/serenity-caldwells-2018-ipad-review/
2018 iPad review: Drawn on an iPad! And edited, composed, and designed... - YouTube:
...I'll be wanting to explore how to animate and storyboard in Keynote as she describes in that podcast!
Cool stuff for this "old dog" looking to learn a few new tricks.
(I am not affiliated with any persons or products linked above, posted for educational purposes only.)
:)
Jimmy G

The WD Wireless Pro is an interesting workaround (as is the Gnarbox but at greater cost) to get around the file stuff.
I've also come across a workaround today for the ProRes issue that could be uses with one of these so I might take the plunge after I've researched it a bit more.
 

I just started using a current gen 12.9" iPad Pro with Lumafusion for mobile video editing, Lightroom for stills, Switcher Studio for livestream-multicam broadcasts, Canva for on-screen supers and a few others for random tasks. Still trying to find other great photo and video apps. If Lumafusion adds proper color grading tools and I can figure out a better system for moving and storing files on the iPad, I can see it replacing my desktop for all of my quick turnaround work.
The one thing that keeps me tied to a real mac is the annoying file organization system of the iPad. Sometimes bringing in outside assets - like a music track from my desktop - can be an exercise in frustration it won't just let me create a bulk storage folder that i can dump everything in to. Though I'm still getting everything sorted, so I may be missing something obvious. But the Pro is incredibly fast, it cuts 4k stuff from the a73, GoPro and P4P with ease. As soon as I get all the workflow stuff sorted, my MBP is history.
Chris

I've used Teradek Live:Air to do multi-camera live broadcasts of press conferences, Lumafusion for really fast turnaround edit and upload of pre-game build up pieces and PicturePro for in game photo editing and transmission.
Live:Air is feature rich but relies on IP based encoding to get the video signals in so can end up being expensive and complicated for more than a couple of cameras. Another bonus to the LS300 is it has the encoder built in but for everything else you need separate ones although you can use the iPad's own internal camera too. 
Lumafusion isn't just the best editing app on the iPad (even Apple are using it in their promos now!) but its actually my favourite editing app full stop because of how fast and intuitive it is to use. The new update gives you XML export so you can move the project and finesse it on FCPX etc if you want but it is still missing ProRes which is going to be a limiting factor for me sooner rather than later.
PicturePro is basically a complete end to end photo journalism app for live editorial that you can ingest, caption and transmit from and was actually responsible for the fastest shutter press to newspaper website publication time that I have ever had. There was a bit of an incident outside of a stadium and because I had my iPad in my bag I was able to get the pictures of it away and published before everyone else had had a chance to get back to their laptops in the press room  Unfortunately, it seriously blotted its copybook one day when it filed an entire batch of blank images ( which is a complete no no for live editorial work) so I couldn't risk using it after that. 

well guys its 2019, so according to tim cook you shouldve all abandoned your useless desktops by now
amazingly, i am using my first gen ipad pro for actual work for the first time ever – meaning, in my mind, that im spending TONS of time on it. 8hrs a day, which God knows ive never done before
im using Procreate, an AWESOME app for drawing and art stuff with Apple Pencil™©®
the adobe cc apps continue to absolutely suck. the long promised ipad photoshop is coming "soon"... well my book will be done by then. so. 
what i wanna know is, WHO here is using an ipad or other mobile device/tablet for actual WORK of any kind? video, photo, design/etc...?
anybody?
and if so recommend me some apps ?

yes, i have used sandisk 95mb/s and up to 4k50p 150 mb all resolution work
Some shots i have made in rush( i was with my son and you must allways look him and not the cam)
standard profil with light correction in post. 1 shot i slowed down from 25p so is stuttering
 
 

Looks very nice to me.

Better (?) selection for the "organic" topic at hand...
test_color grade_s1b on Vimeo:
 
:)

Shooting the G9 with their 100-400mm has revolutionized my outdoor nature wildlife shooting. I can now take with me the equivalent of my Canon or Sony croppers and my Sigma 300-800mm with large carbon fiber tripod and gimbal head all in a handheld package with Dual-IS, making my trekking more weight-manageable and allowing me to travel more stealthily and being ready to shoot in a moments notice.
The missing "killer app" here is putting a Super35 CMOS sensor into the Panny M43 mount bodies like BM and JVC have already. Send me a prototype to field test and check out Panny folks!
:)

The light is the same, but the intensity (concentration) is different. You do not see any difference in DOF. Think of it this way, normal sunlight will not catch a newspaper on fire, but concentrate it with a magnifying glass and that same normal sunlight will cause the paper to burn. For the camera sensor it is getting more light than it normally would, because the concentration is higher. End result is you can work at lower ISOs, but you gain no DOF advantage. 
This is not theory... I see this whenever I use my SpeedBoosters.

well guys, ive always been "pro net neutrality", but i really hadnt done my research until now, and guess what? i cant find any anti-net neutrality arguments that arent (a) total horseshit or (b) a blowjob for the cable companies
"conservatives" are for neutrality as far as i can see in real life... everyone seems to be, unless your name is comcast. do ANY normal people oppose net neutrality???
then i found out about this: WTF – MILLIONS OF FAKE COMMENTS?!? https://www.usatoday.com/story/tech/2017/12/06/fake-names-and-c-used-fcc-internet-regulation-debate-public-comments-includes-usa-today-tech-columni/923576001/
is this just a case of the government being bought and paid for? or is there something deeper here about freedom?
the whole thing seriously makes me want to puke. it sickens me. nevermind the fact that the few high speed providers in the US have a virtual monopoly already
who disagrees? why? lets suss it out!
p.s. i voted

This bloke shows how he bought a mid-tier 2017 iMac, pulled the screen off then replaced the CPU with an Intel i7, added an SSD and 64GB RAM to apparently achieve faster performance than any other 2017 iMac. Perhaps this is the type of hybrid Hackintosh that makes most sense for the DIY handyman.

Just keep in mind the 2017 iMac 27 i7 is twice as fast as a 2016 MBP or 2015 iMac 27 ONLY on *some* things -- specifically transcoding H264 to ProRes proxy. Considering that's a very time-consuming part of many H264 4k workflows, that's really useful. It's also limited to FCPX; the performance difference varies with each software.
The 2017 iMac 27 i7 is also about 2x as fast (vs a 2015 iMac i7 or a 2016 MBP i7) on the GPU-oriented BruceX benchmark, but this is also a narrow task. On other GPU-heavy or mixed CPU/GPU tasks like Neat Video, it's usefully faster but not 2x faster.
On a few H264 long GOP 4k codecs I tested, the 2017 iMac 27 i7 seems marginally fast enough to edit single-camera 4k material without transcoding (on FCPX), which is a big improvement from the 2015 iMac 27 i7 or 2016 top-spec MBP. However multicam still requires transcoding to proxy, and if you want to really blitz through the material, then proxy still helps.
If you now or will ever use ProRes or DNxHD acquisition, this picture totally changes. It then becomes less CPU intensive but much more I/O intensive. You usually don't need to transcode in those cases but the data volume and I/O rates increase by 6x, 8x or more.
 

I have a 2013 iMac 27 with 3TB FD, a 2015 top-spec iMac 27 with 1TB SSD,  2015 and 2016 top-spec MBP 15s and am testing a 12-core nMP with D700s. This is FCPX 4k documentary editing where the primary codecs are some variant of H264.
Even though FCPX is very efficient, in general H264 4k requires transcoding to proxy for smooth, fluid editing and skimming -- even on a top-spec 12-core nMP. If you have a top-spec MBP, iMac or Mac Pro, smaller 4k H264 projects can be done using the camera-native codec, but multicam can be laggy and frustrating. The Mac Pro is especially handicapped on H264 since the Xeon CPU does not have Quick Sync. In my tests, transcoding 4k H264 to ProRes proxy on a 12-core Mac Pro is nearly twice as slow as a 2015 top-spec iMac 27. For short projects with lower shooting ratios it's not an issue but for larger projects with high shooting ratios it's a major problem.
We've got ProRes HDMI recorders but strapping on a bunch of 4k recorders is expensive and operationally more complex in a field documentary situation. That would eliminate the transcoding and editing performance problems but would exacerbate the data wrangling task by about 8x. This is especially difficult for multi-day field shoots where the data must be offloaded and backed up.
However in part the viability of editing camera-native 4k depends on your preferences. If you do mainly single-cam work, and use modest shooting ratios so you don't need to skim and keyword a ton of material, and don't mind a bit of lag during edit, a top-spec iMac 27 is probably OK for H264 4k. 
Re effects, those can either be CPU-bound or GPU-bound, or a combination of both. Some like Neat Video allow you to configure the split between CPU and GPU. But in general effects use a lot of GPU, and like encode/decode, are slowed down by 4k since it's 4x the data per frame as 1080p. 
Re Fusion Drive vs SSD, for a while I had both 2013 and 2015 iMac 27s on my desk, one with 3TB FD and the other 1TB SSD. I tested a few small cases with all media on the boot drive, and really couldn't see much FCPX real-world performance difference. You are usually waiting on CPU or GPU. However if you transcode to ProRes, I/O rates skyrocket, making it more likely to hit an I/O constraint.
Fusion Drive is pretty good but ideally you don't want media on the boot drive. SSD is fast enough to put media there but it's not big enough. Fusion Drive is big enough but may not be fast enough, thus the dilemma. A 3TB FD is actually a pretty good solution for small scale 1080p video editing, but 4k (even H264) chews through space rapidly. Also, performance will degrade on any spinning drive (even FD) as it fills up. Thus you don't really have 3TB at full performance, but need to maintain considerable slack space. In general we often under-estimate our storage needs, so end up using external storage even for "smaller" projects. If this is your likely destiny, why not use an SSD iMac which is at least a bit faster at a few things like booting? Just don't spend your entire budget on an SSD machine then use a slow, cheap bus-powered USB drive.
If I was getting an 2017 iMac 27 for H264 4k editing, it would be a high-spec version, e.g, 4.2Ghz i7, 32GB RAM, 580 GPU, and probably 1TB SSD. Re the iMac Pro, what little we know indicates the base model will be considerably faster than the top-spec iMac 27 -- it has double the cores (albeit at slower clock rate) and roughly double the GPU performance. However unless Apple pulls a miracle out of their hat and upgrades FCPX to use AMD's VCE coding engine, the iMac Pro will not have Quick Sync, so it will be handicapped just like the current Mac Pro for that workflow. Apple is limited by what Intel provides but this is an increasingly critical situation for productions using H264 or H265 acquisition codecs and high shooting ratios.