Lux Shots

There is a shit ton of noise in ProRes RAW! I did a shoot in the daytime and I had to run it through Neat Video for a few fucking days because it was for a corporate client that had been spoiled by the S1H noise free image. That was the first, and maybe the last time I use ProRes RAW on corporate work.

There is a feature on the S1/S1H/S5 that you can determine which setting carry over from video to photo. This does exactly what you need it to do!
 

You won't be disappointed!
It sits nicely alongside my S1H in person and on the timeline.
But I gotta say, I had a friend send me some BRAW from the S1H, and I think I may start cheating on ProRes RAW! 😄

Full Disclosure: Besides being a camera enthusiast and working camera dude (I get paid weekly by my corporate clients in the photo and video realms), my day job is as a Sr. Software Engineer.
To put things simply, a patent usually has a particular claim that is novel. The spell out in excruciating detail exactly how their technology achieves that claim. They also try and make the claim as broad as possible, to try and cover any and all possible uses and implementations.  A quick look here will make you utterly sick with how broad and catch all many of the RED patents seem to be. But a quick look at this patent in particular, and you can see the claim, and how they accomplish what they do, and why it is novel, and that being visually lossless compression of a RAW motion video RAW of at least 23 frames per second.
Of course there may be some ways to get around this. Just know that if you do try, you will most definitely have REDs lawyers knocking at your door. If they shut down Apple, they probably can shut down any company.
As an aside, legal at my company really dissuades us from even looking at patents, as their is stiffer penalties if a company knowingly infringes on a patent, as opposed to creating a technology naturally that may violate a patent. 

There is a feature on the S1/S1H/S5 that you can determine which setting carry over from video to photo. This does exactly what you need it to do!
 

I don't remember what angle the S1H was set to for that particular shot. I have long since trashed the original files as this was my second and last music video, as the only thing that pisses me off more than a bridal diva is a creative diva who can't get 10,000 free soundcloud streams  😁. It may be okay for some to make a $1000 in a day, but I make that in a few hours for corporate work with dedicated creative directors and set creators setting up the look just the way they desire. All I have to do is create pristine video and sound. With indie music videos, you need to do everything.

I think I wouldn't have a problem using ISO-10000 with H.264 with my S1 or S1H. I once pushed to ISO-16000, but that needed post noise reduction, and I wish I would have just jacked up internal noise reduction instead of having to clean up a 20 min of reception speeches in post.

The slo-mo purple fringing thing is because I pushed slo-mo in post to match the beat. It was a creative decision that was not planned in the pre-production. The video was shot with two lenses. The Panasonic 24-105 f/4 (fantastic lens!) and the Canon 50mm f/1.8. The Canon was not initially planned to be used as the night scenes were meant to be lit, but it became a safety concern with the wet snow, so we only used a battery LED Fresnel on the last shot.
If you look at the scene from 1:30, you can clearly see the image degrades at 1:36, which you have correctly noted! This is the best example of an identical scene, identical lighting, with just a change in aperture to account for the fps increase. The seemingly longer lens is mostly from the 4K 60p S35 crop.

I also forgot the the last shot of the video, which reminded me that anywhere there was a slo-mo shot, the camera is switched to 4K 60p H.265 4:2:0 S35 instead of 4K 23.976p H.264 4:2:2 FF.
Good eye Jimmy!

Link is valid for 72 hours, and the file size is 700MB. Music video has a NSFW due to language.

Link is valid for 72 hours, and the file size is 700MB. Music video has a NSFW due to language.

The other link is trash. Best to download the file instead of playing it, as my upload bandwidth is severely limited. Let's see if you can tell where the quality takes a dump, and that is where I went from shooting from H.264 to H.265.
https://www.myqnapcloud.com/smartshare/6g774717np2m262q22u220y2_6CkDTsX
Password: NOLIES
 

The other link is trash. Best to download the file instead of playing it, as my upload bandwidth is severely limited. Let's see if you can tell where the quality takes a dump, and that is where I went from shooting from H.264 to H.265.
https://www.myqnapcloud.com/smartshare/6g774717np2m262q22u220y2_6CkDTsX
Password: NOLIES
 

Everyone has always known the S5/S1/S1H take the full sensor and down-sample to 4K. The S1R is the only one of the bunch that does line skipping. That different feel from 4K is because it is recorded in H.264 while the 5.9K is in H.265. The only source I have is the over year old dpreview.com review articles on the S1 and S1R, and that I own the S1 and S1H.
And yes, my S1H has a fan.
4K is not noisier in my test. What you are seeing is more captured detail because the H.265 codec has a much softer image and is only 4:2:0 instead of the H.264 4:2:2. 
I recorded a music video for a client that had a mixture of 4K 24p H.264 and 4K 60p H.265 captures. I though I missed a focus pull or that something was wrong with my S1H when I looked at the clips side by side in the edit. The 4K 60p is so much softer, but if the whole video was shot in H.265, I might have missed it.

Oh yea, and the biggest thing is actually the abillity to shoot 10-bit in 4k 50 fps / 60fps. Albeit 4:2:0, still a thousand times better than 8-bit. It makes shooting in v-log feasible.

Just imagine if Atomos release a new Ninja Star for ProRes Raw - or BMD do something similar for Braw. I'd buy one, or both in an instant.

Yeah, I think that is a hard pass for me right now. Media is cheap (1 TB WD Blue SSD cost $100), and the Ninja V is cheaper than the BM Assist, not to mention the need for a USB-C hard drive feels janky as hell. For the life of me, I don't know why they didn't simply add M2 slots at best or the old reliable 2.5 " SSD drives.

Anyone know how BRAW support is in Premiere Pro?

My Panny 24-105 f/4 stays glued to my S1H at least 90% of the time for video work. I also have the Sigma 35 f/1.4 and the lens is killer sharp, and a great full body photo lens, but it's speed is wasted on the video side because of the horrid autofocus not being good enough, even at f/8. I also have the Panny 20-60 that I kept when I sold my S5. It's a nice compact lens that gives me just enough to keep me from having to pull out my adapted (and optically bad) Sigma 12-24 f/3.5-5.6. 

Like everyone else here, the 28-70 checks a lot of boxes, but is not wide or long enough, though it's the perfect compromise from a speed perspective. I'd love a 24-105 f/2.8 to keep me at around ISO-6500 instead of the under exposed ISO-10000 I'm running now for reception video work, but there goes my wrist and my back running this on my gimbal. I may try and grab a used Sigma 24-70 f/2.8 for stills and manual video work, if I can find one around $750. Before I sold my S5, I used it on an adapted Canon 80-200 f/2.8 in manual focus mode for stills for weddings, and I'm definitely not looking forward to shooting this beastly lens on my S1 while the S1H rocks the 24-105, just too much damn weight!

This is a great topic!
I had a bride to be die of COVID, so I had to give a full refund for that poor guy. I had 8 friends and one family member die and a dozen or so associates.  I got one of my vaccination shots with another in a few weeks. COVID is a full bitch.

The whole year I shot five weddings instead of the 25 I usually shoot. Most didn't want to splurge on video, so I went back to offering $500 wedding stills in people's backyards since everything else was shut down. The worst thing is, I live in Ohio, and the majority of my clients are in Pennsylvania, and the two states imposed a travel band between each other. So I would have to get a COVID-19 test to travel to P.A. and quarantine when I arrived back to Ohio, even though it was only 45-60 min away.
I was blessed to do several corporate jobs for my biggest client, and that kept the income on the year flat, with much less stress than any wedding work. Problem is, that is one big client making up 70% of my income. That ain't the best from a diversification standpoint.
 

The Nicest 709 lut seems pretty accurate in most cases, though I prefer the GHAlex luts. 

I have been submitting footage to a client using the standard V-Log LUT from my S1H, and they complained about too much magenta hue. I thought it was because I was boosting saturation too much (and maybe that did boost the red hues too much), but switching over to using the Nicest-709 LUT took care of all their complaints.

Once you get into the Adobe Ecosystem, it's hard to leave. Whether it's for application specific plug-ins, like noise reduction or it's seamless integration with Audition and After Effects, switching is a bitch. At least I don't have the ability to do it, without a large time investment which runs against said productivity gains.

Hello!

I exclusively use Premiere Pro and run with 32GB of Ram with a Ryzen 1700X with the Vega Frontier Edition 16GB Video Card, and I edit 5.9K H.265 from my S1H, albeit at the minimum reduced resolution. The performance is not optimal, as there are tons of dropped frames, but I also edit video straight off of my NAS drive over a 10GB SPF+ connection. If I copy a project locally onto my SATA drive, performance improves quite a bit. I also get a big performance boost if I have only 4K 60p footage.
Here is a screenshot of my typical sequence, which I consider moderate complexity.
I would have thrown in a 5900X or 5950X by now, but my motherboard doesn't currently support it 😞.

Take a swig every time Hugh says "compelling".
Joking, I like the fella and his channel and I watched this last night and didn't notice if he used the word at all.
I know some have mentioned the relatively 'low res' viewfinder, but if this thing just had decent AF, it would be 10x more popular and kill everything else at it's price point.
It's compelling enough for me anyway and I'd be intrigued how good (or bad) this lens is with the S5 because for the best result so far (with any Panny), it needs native.
I think I'd at least give it a chance over the 24-105 on it's way to me other than for the fact it's a bit short for my needs and I'd need another lens to go with it...and swapping...and needing at the same time and...there's always a compromise somewhere.
 

Sigma 28-70 f2.8 + Panasonic S5 makes for a crazy compact yet powerful combo! Yes, MFT is still smaller, but not by much?
 

Probably not but I did some math(s) and worked out if I got one, I could work with 2 bodies instead of 3 as I normally/now used to.
Most of the day (weddings), I only need 2 at most but there are a couple of critical times when as a prime user, I need multiple focal lengths and that is where this 24-105 is going to be used, - shooting either '36mm' or '157.5mm' in 4k 50p. I'm looking at it as reasonably fast twin prime lens but needing only one body.
I might end up using it for more, maybe even all day but I'll have to test it.
I've only got a couple of lenses right now but comparing the 20-60mm @ f3.5 to the 85mm @ f1.8 in low light, there's a huge difference. Obviously. Just over 2 stops between f1.8 and f4 and that's the difference between shooting 1600 or 6400. Again, obviously.
But this little Sigma was on my radar and still might be an option paired with the 105mm f2.8
Depends on how the rest of this year goes as right now, I'm only spending based on minimal need and funds left over from previous kit sale.

If you ever decide to do any product photography (or product video) you will like the 24-105 f/4 a lot.