Nmccarthy

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.
Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)
Third, I've completed the S1/S1H/S5 conversion, as of yesterday.
It is the most recent LogC (SUP 11.1.1)
Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

Hello everyone, I'm Dilara and I'm student. I really like take amazing photos that is my hobi. 
I found this great forum and want to meet some good people,who know some tricks to take amazing macrophotography and take sunset and etc.
Thanks in advance! 

Perhaps with the delay of the Summer Olympics to July 2021 gave some breathing room for Panasonic to re-evaluate the capabilities.
When they launched the S camera’s the official company line was “Panasonic is on track for 8K by 2020”.
I assumed we would have seen it in a FF S series camera, but with the release of the S5 and the past 24MP S1H release it hasn’t come to pass.
The spirit of the GH MFT cameras has always been “the first with 4K...the first with 4K 60p...”. Or in more broad terms to push the limits. However, we have see a gigantic leap in FF technology. We have 8K, we have 4K120p, all offered in 10-bit 420 or better, with excellent rolling shutter performance.
At this point I would rather see the first internal ND solution in a mirrorless camera than 8K from a MFT sensor. I would rather see a very solid 6K60p and 4K120p. I would rather have internal RAW or ProRes HQ straight from the camera. Give us dual gain ISO from GH5S with IBIS. Give us some more absolutely unique 1.7 prime zooms like the 10-25 f/1.7 A 25-50 f/1.7 would pair nicely indeed and give us a native mount lens with AF that would compete with the classic speedbooster Sigma 18-35 and 50-100 f/1.8 setups. Besides, we have all the other focal lengths and aperture combinations already covered in the extensive MFT lens ecosystem. People that complain about these big and heavy MFT lenses don’t need yet another 12-35 f2.8 standard zoom!
All of those features above actually improve the shooting experience with the camera. 6K is a nice middle ground, offering excellent 4K delivery and makes a “8K” anamorphic headline grabber still possible, while also offering a high resolution HFR not seen in any other mirrorless camera. Besides, I could shoot 6K60p and use a superscaler from BM Resolve or Topaz and essential get a 8K60p video and very few people would be the wiser.
All the new “hybrid” cameras aren’t really hybrids at all. The R5/R6 are photo first cameras. They shit the bed for video. The Sony A7SIII is an excellent video mirrorless camera but its 12MP sensor hampers it for mixed photo work. Besides, I think Blackmagic is more of a threat they now have a S35 12K sensor shooting at 60p! Imagine something similar in a new pocket 6K camera with modular mount...ouch!
The A7IV will be a true hybrid but will probably max out at 4K60p video and still have a 24MP sensor, which is well within the competing range for 20MP+ MFT sensors for photo work.
And they don’t even have to use a 4:3 sensor if that don’t want to. JVC has proved that (although for photo I really like the 4:3 aspect ratio vs 3:2 a lot)!
Anyway, long rambling post. 

A7SIII is the closet FF camera that has come to pulling me out of MFT land as a primary camera. The 12MP sensor kinda kills it for me. I wish it was closer to 20MP for photography. 15MP might have been doable...
MFT still has steam in it for at least one more round of GH and GX cameras. I honestly think they are waiting for a more compelling MFT sensor from Sony. That, or they are experimenting with doing something funky with S35 or preparing a FF S L-mount camera that will replace the MFT GH cameras.
So I wait for news on GH6 camera while still happily enjoying my 5S.
BTW, since this thread hasn’t been derailed enough already. Here is a shot from my first outing out with the 7Artisans 60mm macro. I sipped coffee with my hand on the shutter for about 45 mins off and on until one lucky bee came along.
 

Interesting development but having had a micro hdmi break on me even when clamped in a cage (fortunately only for monitor not recorder) , I wouldn't want to rely on that for recording all day, especially if you can't record internally for back up. Too many other things to worry about when shooting all day without playing Russian roulette with overheating and those shitty connections  

Can someone please point me to some A7SIII S Log graded footage where plants are nor radioactive green and people skin doesn't look like wax? Could not find one. Thanks

When the talk has turned to drilling holes in a brand new state of the art camera, I suspect there may be a problem...

I love it when people complain about skin tones in heavily graded YT videos them conclude the color science is trash. Big brain time.
I'll admit the sooc files from my a7iii with artificial light can be horrendous, however once corrected they look great to me.
Resolve really helps, without those color tools I don't know that I would be as satisfied with the color.

Seems Canon have done just enough to get Sony and Panasonic to step up their game and for that I applaud the release of their new space heater.

Yeah, though my work horse lens is all in EF so not really concerned about it yet.
 
 
Here is a compare between bmpcc6k vs komodo i saw online
 

Even crewed productions still have budget worries. Thus they'll choose the DoP's S1H over renting an ARRI. 

Or perhaps they're shooting in a bathroom, or in a car (or outside a car! Rigged up), or with lots of tricky moving gimbal shots. Plenty of reasons why you'd choose the S1H over a bigger camera, even if you had a larger budget. 

well that's not really practical. that level of cgi can only come from pixar or dreamworks where the whole film is cgi. a skateboarding video with those lovely characteristics should be done in camera and that wouldn't be too difficult to do

I suspect that in the entire history of cameras, there has never been as much hype, followed by pre-orders, followed by hysteria, followed by cancelled pre-orders...before a camera has actually gone on sale to the public as there has been with these two firebrands 😂

Seems he couldn't mount those PL lenses on that Pocket6K then

WILL IT BLEND?!?

For me, the mount is what is holding me back from getting this cam. I don't own any EF lenses and would rather invest in PL or L/RF. The P4k w/ an adapter sounds great, but unfortunately the only PL lenses that works with the speedboosters are the CP2s

HA!,...its funny that you say that as I'm holding my S1 with the MC21 adapter and the Sigma 18-35 f1.8 right now as I type this. It REALLY looks great. I can tell you also that ramping iris open and close is pretty smooth too. AF in video is very accurate with "AF-ON" one push AF.
Don't worry about Super35 mode. It looks just as beautiful as FF in terms of VLog, dynamic range and signal to noise ratio.
This image sensor in VLog is blowing my mind.
CT

S1 super35 looks gorgeous in VLog.
It's a 1:1 4k readout and deBayer so you don't get the 6k oversample but the dynamic range is off the charts and the low light noise is still superb. I feel the S1 Super35 mode STILL matches or beats other Super35 cameras. (EVA-1 and FS7, Canon C series and Ursa)
The S1 sensor is a really.....really,...I mean, REALLY damn good sensor. (This wasn't fully known until they gave us VLog last week....now it's true DR is unlocked and on display for all to see)