Video Hummus

36 minutes ago, newfoundmass said:

They're saying is an L-Mount cine camera ?

Yeah, if it's a S1 video only camera I would be worried about MFT moving forward. I think they might do a GH6 and charge a premium for it but beyond that...it's full frame hype machine...until medium format video comes along...then large format. Can't wait to watch youtube videos at f0.85 FF equivalent ?

This is out of the blue. Why would they wait to release a cine focused S1 full frame camera? I could see them offering a EVA2 Full frame L-mount, but that isn't in the LUMIX brand neither is the Varicam.

And is Sony launching the A7SIII and Panasonic had this camera on standby to compete?

1 hour ago, BTM_Pix said:

The thing that amused me about this was these sites doing an official timed launch announcement for the release of a rumour.

I'm surprised they didn't live stream it.

Yeah the rumor sites sells itself to camera brands, I imagine, as free marketing for inside tidbits groomed for release.

There is no perfect camera but you have to give credit to Panasonic for offering so much in an affordable form factor that is the GH5 workhorse.

Baby MFT EVA with weather sealing, beefed up GH5S sensor, internal ND, and XLR input.

3 minutes ago, newfoundmass said:

Lumix would seem to indicate M43, no? 

I would think so. Unless they are broadening the LUMIX brand with this new camera.

They would do well to give us a GH5S firmware update too. It’s basically a cine-focused camera. 

Now that I think of it, the GH5S was either a test run for something like I described above or just a one off market filling niche product. If they release a mini EVA without some love for GH5S I’ll be feeling kinda mad.

1 hour ago, DBounce said:

Leica ?

How dare you.

Do many people by $2000 cameras off Amazon. I never have.

2 hours ago, kye said:

And whatever you don't crop you're downscaling, which improves the real resolution.  

8K will be great from this perspective too.  Think of it - you'll be able to get real 4K!

Man, this is why 8K is appealing to me but I don’t want to think what I need to edit 8K footage. CFast and express cards better drop in price a lot in the next 4 years.

Even H265 10bit 8K is pretty hefty and most people will want to shoot in ProRes RAW. 

Honestly—the way we consume media—mostly YouTube or Vimeo with highly compressed h264 or h265 streams on mobile devices, 4K with a 1080p deliverable is still plenty good. 

I’m going to pass on this version. Give me the same thing with a 1” sensor and I’m all over it. 

40 minutes ago, kye said:

I disagree.  In the case of the gyro stabilisation, what you want is for the distinctive pixels in one frame to be as close as possible to their location in the last frame.  It's a frame matching problem.

I’m pretty positive that is not how it works with moving pictures (or, video) It’s a horizon and framing problem. You want to keep the horizon and angular velocities from changing as much as possible. You don’t have to look at the image data. That’s how stabilizer tank cannon platforms work. Anybody remember the famous leopard tank demonstration with the flask of beer on the end of the barrel?

of course doing this process off camera with a faster cpu and multiple passes is going to yield better results. I invite Olympus or whomever to standardized some file format for it and software to take advantage of it.

what your are suggesting in post can easily be done with dedicated hardware in camera and in real-time, which is still better than having to do it in post. 

40 minutes ago, kye said:

Plus, think about how well IBIS works on a 16mm lens - pretty darn well.  Think about how well it works on a 400mm lens - less well.  Stabilisation in post is just fine at 1000mm  

Yeah that’s basic physics. The farther your focal magnification the more amplified movements become. OIS and EIS can help in both situations.

The camera industry would do well to incorporate some features from the action camera market. There is a physical limit to how small a gimbal can be. 

40 minutes ago, kye said:

In image analysis based stabilisation, the computer looks for distinctive pixels in each frame, works out the movement, then works out how to change frame 2 to better match frame 1, knowing the overall direction of movement from frame 1 to frame 1000.  This method is about matching frames by analysing the frames directly.

That is interpolating acceleration and gyro data from the image. Which will always be worse than actually reading and using that data in real-time or in post from dedicated hardware.

43 minutes ago, Anaconda_ said:

Like this? Skip to like 3 minutes for a great preview of exactly what it's doing to stabilise. 

 

3 hours ago, kye said:

Yeah, this is a perfect example of what I’m talking about. Now, put the hardware in camera and have dedicated CPU correct the image in real-time and you have your gimbal footage without a gimbal. Also works in low light because you aren’t relying on image data.

It is by-far the better method. And what’s is stopping you to do more post stabilization after the fact as well?

2 hours ago, kye said:

Yes it's great to have stabilised footage coming straight from the camera, but stabilisation in post has the advantage because the camera can't predict the future but plugins or Resolve sure can.

Actually, I believe having EIS done in-camera when the camera has a gyroscope and accelerometers allows those sensors data to inform the electronic stabilization. That’s the only reason HyperSmooth and Rock Steady do such a good job.

I also think it’s somethingOlympus and Panasonic need to offer in their next cameras. Having sensor stabilized and then advanced sensor EIS on top can get you gimbal performance without the bulk.

It is a fundamentally better method because it would be like having to guess the speed of your car without having an speedometer versus actually having a speedometer. Measuring will always be more precise than interpolating.

8 hours ago, Mokara said:

She is not being a mad queen, what she is doing is perfectly logical in a medieval ruler mindset. It may not be palatable to modern sensibilities, but rulers in that sort of world were more like mafia bosses than modern state leaders, and you need to think about them from that point of view.  For Daenerys it would have been important to stamp her authority on the situation once it was clear that she had won, since there were competing claims to the throne. She would have wanted to make it VERY clear to anyone who had thoughts of opposing her, or supporting someone else for throne, that SHE was in charge and any opposition would be crushed without mercy. For that a show of force was necessary. In medieval society, kindness and mercy by rulers, especially when they were conquering new territory, was weakness. Making an example of Kings Landing was the correct move to cement her power. No one would dare oppose her after that. Medieval rulers did not look to be loved, they looked for absolute obedience no matter what. Fear, used judiciously, was the tool they used to maintain power, not love.

What the show writers did with her was the correct overall plot line. What was wrong about it was presenting it as an emotional response, when it should have been a more deliberate display of power for the sake of displaying power. This is what ruling is in an absolute monarchy.

But she has done that in the past without burning entire cities and killing thousands of innocents in what was essential demolition porn with the C4 explosive buff Drogon suddenly received.

My biggest gripe is how lazy and sloppy they have been with basic continuity, basic character arcs, and history EVEN INSIDE THEIR OWN SHOW. It’s almost like they forgot what they even wrote in Seasons 1-7.

I have no problem with Dany slipping into madness and killing everyone. I do have problem with the utter lazy, sloppy, convenient writing they did to just get it done. This season was so in effective in getting me to actually care what happens to the characters (something they did so well in past seasons) that it just comes off as almost malicious ineptitude. Especially around the Night King, Jamie, Jon, Dany, the power of the Dragons, and Euron. Oh, Euron!

Euron is perhaps the most weakly, misrepresented character to ever be created. He exists solely to save D&Ds lacks of skill in wiring something compelling, makes sense, and has emotional impact.

”Man, how do we write this to make sense and resonate with the audience.”

”I don’t know man”

”Lets just have Euron teleport in, go all OP, and then peace out cause it’s to hard for us to write something compelling”.

”Awesome Idea!”

Hopefully their work becomes a lesson on NOT what to do in writing stories.

26 minutes ago, Kisaha said:

Last episode was a mess too. 

Holy hell it was. I only watched to marvel at the rolling train wreck the writers have accomplished. I don’t care about the ending because it’s vapid and stupid. The spectacle is how bad they messed up. It’s not the story.

18 hours ago, buggz said:

You can also use HLG without a LUT, which I do.

As I have never use Vlog, I can't say how hard or easier it is to grade, etc.

Though, I have no problems using it Resolve.

Captured from another forum:

"Yes, HLG is available with 6K anamorphic mode.
In another note, besides Paul's excellent HLG LUT, you can also use HLG natively with Resolve 14 for Rec 709 delivery:
- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space
In this way I am getting quite similar results - I haven't compared color accuracy, etc, but in general both look georgeous.
Paul's LUT has the advantage that it can be used when the project is not color managed in this way, so you can mix and match footage"

 

This is nice to know. I’ve been using resolve more and more. I prefer this over the transform LUT.

Guess the drone market is slowing down. Why on earth would they want to get into the action camera market, especially with these rumored specs?

Last GoPro I bought was a Hero 3 Black. Was never impressed with the footage. You seriously need to be jumping out of a airplane or doing a 360 degree backflip triple reverse spine bend on a rocket powered arm chair for the footage to look good. The hero 7 changed some of that. 

I’m pretty sure Panasonic engineers have said HLG squeezes out a half stop more of dynamic range over V-LogL. I know HLG is not made to be a log capture profile but with something like the leeming lut that does a transform to Rec.709 you can have a solid base to work with and get some pretty impressive results out of HLG.

Wow, so I've finally caught up with the latest season. The show has completely lost its edge. The latest episode felt like a Marvel movie spin off written by first year film and art students. I remember the first 3 seasons as being mesmerizing, engaging television. You cared about the characters and kinda dreaded watching the next episode for fear of what could happen. The intrigue and the suspense was soooo soo good.

We started to see the problem in season 7 but season 8 is complete garbage. They took an extra year to write this trash? This should be a text book example of how not to do a critically acclaimed book adaptation before the book series is done. After they left the pages of the books behind the show has plummeted in imagination and view experience.

Season 8 gets a 5/10 from me and EP4 a 2/10 Lazy television award. Who was the night king again? Ah who cares. We only spent the last 7 SEASONS building a story about his looming threat and then...LOL!

The details make this story special and engaging. Not just the marvel action scenes.

I’ll take 4K simply for the ability to re-frame, correct horizons, image stabilize, keyframe crops and zooms and panning motions in post any day of the week. Storage requirements for 4K aren’t terrible, especially if you have some kind of archive the only the best and delete the rest workflow. Hanging onto every scarp or footage indefinitely is wasteful. 

58 minutes ago, webrunner5 said:

If you are just going for the best output for video I don't see how you can beat a PK4 for the money. If you want to take photos, shoot at a faster pace, well it probably is not a good option. I believe it would be a Huge upgrade output wise to your GH4.

Yeah, the P4K is a beast. Depends if you want ProRes and BRAW internal recording or need a weather sealed body and autofocus.

I use continuous autofocus with the GH5S during certain situations with good results.

I think if you don’t need weather sealing then the P4K is a better buy because it offers more features for the price. Panasonic needs to show the GH5S some love.

But...those are crop sensor cameras...it can't be true. I don't accept it. Full frame...

Probably not that different from the raw footage of filming from the matrix. A lot of green screens and bare bones shots in that that are filled in with VFX in post.

Seems like a stylistic choice mixed with a budget choice? The long dark and everything. Maybe practically it was to dark but thematically it did it’s job.

if anything it raises the awareness of calibrating ones tv for the people who care enough to tackle the issue. 

19 hours ago, Towd said:

I've been toying with an investment in that lens, the 100-400mm, or the fixed 200mm, so I'd love to hear more about your experience with it long term.  The 50-200mm definitely seems the most practical while the fixed 200mm is probably the least.

I consider the fixed 200 f2.8 even more of a specialized lens than the 50-200. I don’t have any hands on time with the 100-400 but I think that one only makes sense for people who enjoy shooting a lot of wildlife.

Where I’ve been impressed with this lens is the excellent built in OIS. Fast autofocus in video. It’s supremely sharp through the range. But what really makes it worth the price tag is the aperture has a gentle curve to f4 on the long end only reaching it at 150mm. It can get away with being a pretty decent portrait lens at 50mm and f2.8 in a pinch. The bokeh is pleasing and not nervous at all (something the Olympus 40-150 has IMHO).

Build quality is excellent. The lens hood is the only plastic that comes with it, which I don’t mind a bit. Less likely to bend or be dented in my bag.

It has a very excellent telephoto range versus compact size. Really the only downside so far has been the price. If you don’t need it now, I’m sure the price will go down a bit more. It’s an excellent lens all around and a great telephoto for my GH5S with the OIS. I think it perfectly maxes out the balance of size, weight, aperture, and focal length that m43 gives us. Any bigger and it would be silly on m43. But don’t get be wrong, it’s still insanely compact for a 400mm FF equivalent. It slides in my cargo pants pocket.

 I’m looking forward to shooting some fly fishing this summer.

9 minutes ago, ade towell said:

I get it for use on a gimbal but am not a fan, they're so overused and mechanical looking they kind of bug me these days. Ha sorry am going to be 50 in a few weeks, can you tell... 

Yes, I agree. But a good ol’ fashion glidecam benefits from it too.

1 hour ago, Michi said:

I think this is the first time I agree with Mr Reid on 99 percent of what he writes.

Especially in regards to the codec. Why isn’t ProRes an option on any of the japanese sub 15000$-Cameras? What is holding them back? Nobody is spending 3 times more only for a better codec. And with BMD you have it in Cams tha cost only 1000$. So why not implement it? Its like capturing all your stills as PDFs. Somehow you‘ll get it to work but why not just use jpg...?

Uh, Canon/Nikon/Panasonic would rather make you buy a $5000+ cinema camera for the better codecs than to put it in a $2000 hybrid camera. It’s called up-selling.

Why Panasonic doesn’t offer it in its GH5S, a heavily video centric camera, I’m not sure. My guess is lack of compute power/heat dissipation in that form factor.

BMD is doing the right thing. Offering great options in lots of different form factors. The fact that the P4K has BRAW for $1500 is insane.

9 minutes ago, DBounce said:

16-35mm F4

But is that really wide when shooting in 4K? That’s a 28-60. Close to a Tamron 27-75 E-Mount zoom lens.

9 minutes ago, DBounce said:

Canon makes a EF-S 10-18mm f/4.5-5.6 IS STM Lens

Eh, it works but it’s an EF-S lens. Which kinda narrows its appeal.

Im not hating on the EOS R. The final image out of the camera can be quite good. I’m just saying Canon could have and should have done better.

9 minutes ago, ade towell said:

How did any of you lot manage in film production a few years ago, AF has only just become semi reliable? You all talk like you can't work without it?

We’re spoiled. It makes some shots much easier to do with one person, a camera, and a gimbal. Who wouldn’t want some half decent AF on their camera?

3 minutes ago, DBounce said:

When Panasonic releases the 10 bit internal, flip screen, PDAF GH6 full frame camera, who here will give a toss about the S1?

I highly doubt there will be a full frame GH6. But you’re right. The S1 is perplexing. I also think it won’t sell well.

7 minutes ago, DBounce said:

Of all of these issues IMO the one easiest to deal with is the crop. I can simply use wider lenses or re-frame; which I do, if the situation calls for it.

I would disagree. It’s less expensive to buy a $200 Deity D3 pro shotgun mic and turn down the preamps on the Z6 then it is to buy wide angle lens. I haven’t checked lately but I’m not sure Canon sells a 9-21mm that would get you a 16-35 equivalent with that 1.7x crop in 4K.

I also agree that Panasonic is in the worst shape here with bad AF. Is it useable? Yes. Is it trustworthy enough to rely on in a paid shoot? Way to risky. They need to get their AF shit together.