Mmmbeats

1 hour ago, newfoundmass said:

I'm guessing the recording limit is still necessary to prevent overheating?

More likely to be to do with tax laws I would have thought.

1 hour ago, IronFilm said:

2ndhand tungsten lights

So many people are getting rid of excellent film lights which used to be staples workhorses of the industry, because people are moving over to newer tech 

This in spades.  Super high quality - very cheap deals out there.   Just learn a bit about using them if you haven't before.

On 10/7/2019 at 2:16 PM, helium said:

Try substantially over-exposing BMPCC 4K footage (but shy of clipping), since that camera is party to this discussion.  Observe color and contrast-- as well as highlight roll-off, and the lack of adjustability of highlights.  How you concluded that it's "a non-destructive shifting of data" I don't know.  Sensors don't work that way.

I wondered how @helium 's comment on the S1H thread would fit in with this discussion.  I'm not trying to call them out by quoting this, just value the breadth of opinion (I'm still making mine up!). @helium

7 hours ago, User said:

 More spacial relationships. 

Kindly elaborate...

14 hours ago, deezid said:

Workflow Premiere

• Put GH5/S1H footage into Premiere
• Apply curve or lut or whatever you like in Lumetri

footage breaks apart, macro blocking and banding

Workflow Resolve

• Put GH5/S1H footage into Resolve
• Apply curve or lut or whatever you like

footage looks fantastic

• Apply even more corrections

footage still looks fantastic

 

All the complaints that have been made about the GH5 or S1H having banding issues were made by Premiere users like Wolfcrow or Cinema5D in the past. It is not a camera issue. Panasonic (and Fuji, Z-Cam and probably others using H264 and H265 in 10 bit) really should start putting out warnings about Premiere.

I appreciate the additional detail.  Do you have any links for the Cinema5D claims?  I couldn't find anything myself.

I think you @deezid should link to support your claim that Cinema5D identified the same problem as you.  All I can see is stuff about how native 10-bit GH5 files were not supported on release, nothing about the general processing environment.

Unless there's been a wider discussion of this, then there's not much to support your claim except your say so.  In which case you should elaborate on your workflow and methodology (perhaps in another thread as it's a bit of a derail).

I don't see how ETTR would affect highlight roll-off.  It's just a non-destructive shifting of data towards a different part of the curve. 

The Voigtlander MFT lenses are very popular, but I never hear anyone talk about their other lenses.

Which of their range can be adapted to EF mount cameras, and are they worthwhile lenses?  I'm looking for a characterful and elegant rendering.  

7 hours ago, Django said:

@Mmmbeats why is this thread titled FS7 when it's visibly about FS5?

Because I made a mistake with the title ?.  Though in my defence, you seem to be the only person (including myself up till now), who has spotted it. 

I've been sizing up a bunch of cinema cameras for a possible future purchase (all the usual suspects), including the FS7, but, yes, this query was about the FS5. 

I'm being lighthearted!  It's whatever gets the job done, eh? ?

This is like one of those back and forward fashion things, where everyone would once be eager to show how big and complex their rig was, now everyone wants to show how simple and barebones their setup is ?.

7 hours ago, thebrothersthre3 said:

Ah yeah you do need SDI, shogun Inferno will do 120fps 4k prores RAW

Yeah, but it's 7-inch.  This is the problem.  Those monitors (all of the compatible Atomos and Convergent Design products) are huge compared to the FS5 body and look like they will make handling a little awkward too.

Here's the camera with the Shogun Flame and the sun hood:

?

I'm leaning towards thinking that the Ninja V cannot process the RAW signal from the FS5 ii, even with the SDI module unfortunately.

Quick question, probably not worthy of a thread, but I couldn't find a home for it.

I know that the Ninja V can't record RAW from the FS5, but can it record a 4K 10-bit signal at all from the camera?  Either via HDMI or the SDI adaptor.

Is there any 5-inch recorder that would enable 4K 10-bit?  I know that for RAW you would have to step up to the larger recorders.

Cheers.

The new mark 2 Mix Pre's also have floating point I believe.  Any useful comparison between the two?

1 hour ago, nathlas said:

Has anyone notfied Panasonic for this ? 

If they haven't had an Apollo 13 operation running on this for the past 96 (or however many) hours, then they may as well start selling taffy (whatever taffy is).

2 minutes ago, OliKMIA said:

Yes, I can potentially try them all and return to amazon but It's always helpful to benefit from the community experience. No need to waste time on a specific model if everybody says it's bad. From my research and based and the previous recommendations, it looks like I can't really go wrong with these 3 mics: Audix SCX1/HC,  Audio-Technica AT4053b,  AKG CK93

The Audix seems to be a good option recommended by many. I'll probably compare the Audix and the AKG.

I was making a lame joke about 'feedback'.

You want feedback on them?  Place a linked output channel speaker within range of the pickup pattern, that should do the trick ?.

I'm here all week (unfortunately).

Matt Allard has given a pretty underwhelmed first impressions piece on Newshooter.  Yikes!

https://www.newsshooter.com/2019/09/09/panasonic-s1h-footage-first-impressions/

29 minutes ago, androidlad said:

On S1 and S1H, 4K pixel to pixel readout is the same as S35 mode, it's a 1.5x crop.

What's the difference between the two modes then? They seem to have different codec options, etc. 

Pixel / pixel should be around 2 x crop, right? Also perhaps a little noisy? 

I find Ex Tele Convert (crop mode) footage in the GHx range doesn't always cut well with full sensor footage. It's the noise grain and sharpness that dont always match well. 

I quite like the idea of shooting the 24 - 70 with the option of a bit more reach on the long end using the crop modes.

I reckon I would probably leave it on the S35 most of the time, using the FF readout for occasional bokehlicious shots. 

What are the likely quality differences going to be like shooting 4K at FF, S35, and pixel/pixel on this sensor? 

Noise? Moire? Sharpness? Anything else likely to be affected? 

How about punch-in focus magnification while shooting? Still not possible? 

Just to put to bed any 'in the room' solutions - there's a safety element at play here.  It's a no-go.  'Special location' was on point.  Apologies to be cryptic - project is not public yet.