kye

I guess mileage varies depending on how you look at the footage. What I see in it is: pretty heavy grade done but footage looks consistent and hues look right, including skin-tones this indicates that the sensor and profile behave well in the grade and don't get pulled around in unnatural ways - this is a lot less common than you'd imagine and many of the grades I've done end up making different tonal or colour regions of the footage don't look coherent with each other.. saturated edges look fine this is very difficult because doing a strong subtractive saturation operation is very challenging as it stretches tones apart significantly based on their hue. this is especially difficult on edges where if you have an edge of a coloured object against a neutral object then in the space of a few pixels you go from saturation being low to being high, now this wouldn't normally be a challenge because maybe they're at a similar luma level but after the subtractive saturation operation the saturated pixel is now significantly more saturated but more importantly its also now dramatically darker. this will ruthlessly reveal compression artefacts on edges, and is the primary reason that I have to go B&W and blur the absolute crap out of any footage I shoot on the cheap action cameras etc for cheap camera challenges greens look good shots like the dog at 0:54 show deep saturated greens in the foliage in the background, which have clearly been significantly altered. in real life the graduations in greens amongst footage like this are very subtle, and yet the colours in the video look dense and the opposite of stretched low-quality footage, they have a density that is reminiscent of the things that the 5D with ML does very well (but I'm not saying this is at that same level - this video isn't enough to judge that) anyone who has declared war on yellow-ish greens like I have and tried to grade them back into looking lush (or even just not dead-looking) will know the whole thing exists on a knife edge. the fact that you're cooling the shadows and warming the highlights (which this grade does quite considerably) also stretches the greens too shots look to have usable DR in outside scenes in full-sun on surfaces that would be blindingly-white there is an effortlessness to the colours when you look at film there is an effortless coherence to the whole thing, like it was always going to be this way that it would be silly for it to be any other way - the colours in film look like this was their destiny - you don't question it. this coherence is incredibly rare for digital and especially smaller sensors when not given enough light, so although the outside sunshine pics are great, it's the inside shots with the deep shadows that show off a coherency into the lower registers of the tonal ranges. the colours don't cheapen, they don't thin, they don't shift, or become glaring or dull, etc. etc. Hollywood colourists can work low-level miracles, but will be the first to tell you that if the footage is lacking then there's a limit to what they can do - more would be asking for high-level miracles! Either this footage is good and the colourist was a super-star, but considering this is a YT video, I'm leaning on it being a good-to-very-good grade on top of very capable footage. The more I colour grade my own footage, the more I see when I look into the footage of others.

Not a clue. Seems odd to criticise a video if it doesn't answer every question you ever had about something! 😂😂😂 But, it's ok, comparisons are coming.

Panasonic must be pretty confident about the LogC implementation. They got this guy to shoot a film with ARRI as A-cam (Mini LF) and GH7 as B-cam, and also specifically told him to try and break it (which he failed at, despite it being kicked into a brick wall and falling onto a concrete floor from shoulder height - twice - as well as taking other knocks). and the short film itself:

Some stunning footage at the start of this one...

but only one at a time.

Nice. It also takes the weight of the rig, which is awesome too, especially if you're rocking a C300!

I also like the approach that @mercer told me of putting camera on a monopod and putting the 'foot' of the monopod into a tapemeasure holder (like a little cup basically) mounted to your belt. All the benefits of a monopod, but completely portable and much less visible to by-standers etc.

Good thing you weren't in the game pre-COVID - Iceland was the top destination and there aren't enough warm coats in the world to make that place a hazard-free zone!

You forgot the S9! The other thing to consider is that Panasonic makes a product strategy decision and then 5 years later that decision resulted in a camera that doesn't align with what consumers and competitors did in the 5 years in-between, but consumers are like "last week we all decided that X was most important and now Panasonic releases this without it? are they even listening?!?!"

Nah, I just meant staying extra time. Maybe they travel enough and so time abroad doesn't matter much to them, but I just figure that if you're planning on shooting half-a-dozen videos about cameras and lenses and accessories and then Panasonic says they'll fly you to Japan and back, maybe you ask them to delay your return flight by a week and for the cost of a hotel for a week you film the outside parts of your other videos in somewhere interesting rather than that same spot you keep going back to for video after video, plus you get a week of the worlds best ramen and sushi instead of your local whatever.

37 mins minimum. The days of 2s clips when accidentally double-pressing the record button are finally over!

Next release ... GX85mkii with GH7 sensor and LogC!

More finished work..

Maybe they stayed in Japan after the event?

Because it's RAW. So, it's only recording the RAW data of an area of the sensor 4096 pixels wide, which is a lot less than the sensor which is 5728 pixels wide.

Real footage...

I told you to keep that between us!

This is always my challenge. I have a project that I use for colour grading practice and testing that has two main sections, one with private images that are absolutely full of skintones, and the other section for images I can post publicly that scarcely has any because people don't want to be posted publicly.

He said not to quote him on it...

Or more to the point, any data show that leather shoes helps to win Oscar more or easier than fabric or faux-leather? If we're going to talk about what matters, at least let's start asking the right questions.

Now the challenge of deciding between them....

MFT is dead!

Sample S9 footage... guy made his own custom LUT and loaded it into the camera and footage wasn't graded in post. Linked to timestamp:

4K G2 with Angenieux... Obviously you'd have to crop into the image in post, but you'd still have heaps of pixels.

Well, at some point the sheer size of the FF sensor becomes an issue when fitting it into a smaller body, and maybe that's the limit we've reached. Not only is the sensor larger, but the IBIS must be more powerful because of the extra weight as well as thermal considerations from the extra power demands, which of course require a larger battery. There's a reason the iPhone camera can be so small: