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Posts posted by SteveV4D

  1. 52 minutes ago, kye said:

    Of course, in your case you could shoot 1080p in Prores HQ, which I understand is downsampled from the whole sensor.  You might be a huge fan of RAW, which I understand the benefits of for some applications

    BRAW isn't really RAW when you look further into it, and perhaps should be looked at just another recording codec like ProRes with more latitude to adjust white balance and exposure with minimal degradation to the image.   The workflow with Resolve makes it no brainer, making it so hard to lose the extra flexibility once you get use to it, to claw back those shadows and highlights that would otherwise be lost.  I do miss those RAW controls in Resolve when dealing with H264 and H265 codecs.

    52 minutes ago, kye said:

    One of the things that I really see as fundamentally ridiculous in modern cameras is the absolutely atrocious codecs for the lower resolutions.  Many cameras have 100Mbps 4K but 25Mbps 1080p.  The logic is ridiculous.... let's make a camera that can process 260Mpps (Million pixels per second - 4K at 30p), can compress 260Mpps, and can write 100Mbps to the card, then we'll take the 1080p video mode and write to the card at one-quarter of the cameras capacity!  It's not like they're protecting their cine line by crippling the 1080p mode.

    I think poor 1080p codecs are one of the main reasons that 1080 has such a bad reputation online, people compare their 4K mode with their 1080p mode and think that's a fair comparison.  

    This is only going to get worse as we move into 8K cameras.  I think its more a case that camera manufacturers get keyed on the high resolution and just include 1080p more as an after thought - only adding more functionality when bowing to pressure.  Canon R5 is only getting a 120fps in 1080p in the next firmware after the 4K option has been around since launch.  As you say, why the delay?  Does 1080p have a bad reputation?  A preference for 4K isn't always a negative on 1080p.  I often deliver in 1080p and even my 4K videos are watched that way.  I just prefer to work with 4K masters.  Especially as they look better when I playback on my 4K monitors and TV.  🙂

    52 minutes ago, kye said:

    If you're putting 24p onto a 23.976 (or vice-versa) then it will cause a skipped / jumped frame every 16 minutes, but because it's a rounding situation, the first frame would happen around the 8 minute mark.  However, every time you cut from one clip to another you're effectively resetting the clock, so you'd have to have a clip longer than 8 minutes on the not-matching timeline, or you'd have one frame error per 16 minutes (with the first error around the 8 minute mark) if your master was being broadcast on the wrong framerate. 

    Okay that makes sense.   What would happen if you're working with 24p, but set the encoding of the finished video to 23.976 (and vice versa), would this cause stuttering?

    When I playback 25p footage from my Drone on a 24p project setting in Resolve, I often experience stuttering.  Once I change the attributes of the files to 24p, the playback is a lot smoother.  So I wonder if from that, then its true there is some issues with playback if mistakes are made when dealing with a 24p timeline.

  2. Not all decisions are based on personal preference, but can be a product of the gear you use.  My Pocket cameras are cropped for 1080p recording, making it less desirable to shoot in.  I also prefer shooting in DCI 4K, which uses the full sensor of the Pockets and my GH5 that I also use is limited to 24p for that mode.  For some reason, Panasonic adopts this frequency setting for Pal, ntsc and cinema, which the Pocket doesn't.  The GH5s allows 25p DCI, but doesn't have IBIS.  

    That said, I'm not sure 24p and 25p yield much difference, in regards to the stutter effect.

    There is also the minor difference between 23.98 and true 24p.  Some cameras say 24 fps when they are actually 23.98.  I should do my own tests and see if this can cause stutter if used on a pure 24p timeline.  Or if encoding 24 as a 23.98 finished file can either improve or worsen the situation.

  3. 4 minutes ago, Nerv said:

    More than a C70 or Komodo...which of the 3 would you chose for video work...

    Those going for this camera, I imagine are hybrid shooters.  I'm not one, so I won't go anyway near it.  I'm impressed by it, though it has some key video deficiencies.  As expected for a hybrid camera.  Then again, the C70 can't output RAW, which this camera can, so its give and take.  

    For video only work, it would seem silly to invest this much in a hybrid.  My personal thoughts, but maybe others will feel differently.  

    I would welcome manufacturers looking at more smaller video only cameras, rather than hybrids.  BM has the Pockets, Canon has the C70.  Panasonic have done a box camera, but something more like the C70 would be a winner for me if done to the same standards as the S1H.  I'm not sure I see Sony offering something like the C70, but maybe....

  4. Shoot what you're happy with.  If I listened to every opinion on YouTube or forum, I'd be a confused mess.  I've had suggestions even here to shoot 1080p, and 8K and 4K and 6K and then there's the thoughts on 8 bit vs 10 bit vs 12 bit and 60fps and 24fps and 25fps and 30fps.  You can find a YouTube video suggesting each and everyone if you look.  

    Its like upscaling 1080p to 4K, what's the point, when you can shoot 4K.  If you want the motion blur of 24p, film it.  If not, film something else.  I'll use motion blur to correct where I couldn't use the right shutter speed.  I won't use it to pretend I'm shooting something I wasn't, unless a client asks me to.

  5. And already Sony have thrown their ace card into the mix.  Could be 2021 delivers a lot for camera owners, even over 2020; which lets face it, offered hope on a level, a bit like much of the year, didn't quite deliver always on the promise of its specs.  I'll be interested to see where technology takes us, as other manufacturers respond.  BM and Panasonic, I am speaking to you.

  6. 30fps can look more video like to me, but then living in a Pal country, I'm use to 25fps anyway.  30fps can certainky look smoother to playback.  Though 60fps is even smoother and this didn't do much for the Hobbit movies.  

    In the video above, I saw some great 24fps and some not so great.  Without knowing how it was shot and with what settings, I can't blame all of it on the frame rate, since some of the shots look fine.  I think motion is harder to do right with 24fps and therefore any deficiencies in that area will be less covered.  

    I shoot 24fps for my own work and Weddings.  I find stutter more if I shoot at a higher frame rate and then playback at normal speed in a 24p timeline.  Effectively speeding up the footage.  However I can see this effect in a 25p timeline also.

  7. Its Canon.  I'm not sure I trust their 10 bit output to an external recorder.   What sort of signal is being sent out to the recorder? Is it RAW data then converted to a 10 bit ProRes file, or a H264 10 bit file that is recorded as ProRes?  

    That said, under certain conditions, 8 bit and 10 bit don't yield too much difference depending on the grade.  I have found differences on occasions where I've switched to 50p on my GH5, which is 8 bit.  Filming vLog on both 8 bit and 10 bit, there are noticeable shifts in quality in how far you can push grades under certain lighting conditions.

    That said, I'm a huge fan of BRAW and that is whole different level of quality when it comes to grading, so I rarely seriously grade 10 bit footage these days, except to colour balance my C and D camera footage in multi camera shoots.  


  8. 25 minutes ago, herein2020 said:

    FINALLY....Just tried DR 17 Build 23 today and you can FINALLY copy an entire color grade and all nodes from one clip to another. This was long a source of frustration for me. Every other way to copy a color grade simply was not as intuitive especially the creating a still method. 

    DR17 is really coming along nicely, it does have a few frustrating bugs but most users probably wouldn't run into them. Also, Fusion performance is still dismal for any real Fusion work but it has improved slightly.

    Finally, they've added this.  I've been waiting for my current projects to finish before upgrading.  This has me excited to do so.  Its silly things like this that are often the biggest frustration with DaVinci.

  9. 16 hours ago, IronFilm said:

    But still, if you purchased any of the many good cameras in 2020 then you can pretty much ignore what happens this year as you're sorted and set sweet.

    Work or lack of, made purchase of new gear unnecessary for me.  Aside from a used lens I bought for personal projects, I didn’t spend.  

    That aside, the cameras of 2020 whilst on spec impressive are not top of my list for various reasons.  R5 has overheating.  R6 too.  S5 is nice but feels too stripped back, plus the need to invest in new lenses. Its a possible purchase.  URSA 12k out of my price range.  C70 is a great camera, but the lack of RAW bothers me.  Komodo is great but it needs extra money to rig it up, making it quite expensive for what it would bring to my work.

    So I'm quite happy to sit back and see what 2021 brings.  I still have some old GH4r to be replaced, ideally with BM as I have 2 Pockets and a 3rd BM camera would be perfect, as 3 cameras is the sweet spot for most projects I do and allow me to be 100% BRAW and BM colour science.  

  10. 1 hour ago, kye said:

    both hoping for the perfect camera to be released, and also hoping it won't so I can use what I have and focus on the craft..

    I always get a bit amused by this thought that those buying new gear are not focused on their craft. How?  If I buy a new camera, if anything I film more not less.  😁😁

    As for your question.  My hope lies with BM.  Canon have given a C70 and maybe a C200 Mark II would enter my radar. 

    Panasonic, my wish is maybe a GH6.  A S1H mark II would maybe lean me there of AF is addressed.  

    Sony, Nikon and Fuji aren't on my radar. 

  11. I am hoping to pick up the Mavic Mini 2, Osmo 2 and if they release a Mavic Pro 3, I'll be getting that too.  The Mavic Mini 1 was my only camera purchase in 2020 and its been very useful for grabbing drone shots when I am out walking.  I've been keeping busy during this no work period, filming on my P4K various places I've been to on my walks, including some local towns and cities.  

    My other purchase last year was the 24 to 105 IS Canon lens.  A perfect compliment to my Pocket 4K, stabilising my hand held shots.  I've had great fun learning new colour grading techniques last year and the BRAW 4K is such a pleasure to grade, I wish my Panasonic cameras had the option to use this codec.  Even the ALL-I on the GH5s doesn't give me the same experience.  

    I am pretty sure Blackmagic have something planned for this year.  Last year, the 12K URSA was too far put of my price range to consider, even if I did have work.  If they resume something more affordable this year, I'm in.

  12. I'm sticking to my Pocket 4K and 6K and GH5 and GH5s.  I'd like to add a fullframe mirrorless, but I don't think I've the budget for that this year.  

    Tempted by the C70, but can't see work at full-strength to justify that either.  If BM release something new, I may give that serious consideration.  A box camera from BM would be great.  

  13. 11 hours ago, kye said:


    It means that Panasonic will have taken the video features of the GH5 and essentially doubled their price.  Also, they've smashed the S5 with the Canon Cripple Hammer in order to protect their own line of 'cine' cameras.

    They may have doubled the price, they've also doubled the sensor size.  You'd never get a fullframe GH5 at the same price.  Bare in mind I paid £400 more just for the GH5s, and that was MFT.

    As for the S5, its not been that badly hit.  You're paying for that tech inside a smaller body.  And there's a lot there for the price, all things considered.  Theres also the S1 for a slightly higher price.  Canon are a little more ruthless in their cripple hammer.  At least the S5 and S1 are not programmed to shut down and cool for lengthy periods.  If not for the lack of AF, Panasonic would be head of the game in my book.  

  14. 7 hours ago, kye said:

    people that have budgets of hundreds of millions of dollars for a film, and who win awards for making glorious images actually choose <3K resolutions by choice.  Think about that for a second..   When they could have anything they want, they actively choose 2K.

    Do you think there's a reason that they might do that?


    Usually if it is effects heavy and it saves on cost and rendering time.  Also the Alexa didn't have a 4K model, the preferred choice for many filmakers.   And they weren't filming in 1080p, more 2.7K - a resolution choice sadly overlooked on hybrid cameras - it would be perhaps a better compromise between 1080p and 4K and been used as much as 4K if it had. 
    Of course, these days, many Hollywood movies now choose to film in 6K now it is readily available; I assume they have a good reason for that too.  It always takes time for some to shift their way of doing things.  Hollywood is often at the mercy of the Cinema projection technology, which lags behind recording specs.  In comparison, Netflix has led the way with 4K, because they have total control over delivery to its audience.  They're not promoting 1080p.

    Ultimately there's nothing wrong with delivering in 1080p, I do so myself.  I just capture in 4K for various good reasons.  Namely as 1080p is cropped on my camera of choice.  In fact, I shall be capturing in 6K once my work resumes (hopefully this year 🙏).  I have very good reasons for that too.  😉

    7 hours ago, kye said:

    AF is a great point - so let me phrase it like this...  If you had ALL-I on the GH5 and then the S5 didn't have it, that would be an additional factor on top of the AF that would steer you towards a different brand.  One thing that really makes the GH5 stand out are the codecs.

    We have veered widely off the original point, which was that Panasonic would be foolish to add ALL-I to the S5, when it could compete with the S1H.  The S1H is the fullframe successor to the GH5 in the eyes of Panasonic I feel.  The S5 is the smaller budget versions, perhaps more akin to the G90 vs the GH5.


    You wouldn't know it from these 4K fanboy discussions,

    Labelling people fanboys for having a different opinion to yours is a bit of a low argument in my book.  Some of us have done our own tests and formed our own opinion on 4K and its practicalities and merits - doesn't make us fanboys.  😀

    7 hours ago, kye said:

    4K video in the kind of codecs we're talking about is closer to 2MP in resolution, so why quibble about 8MP vs 12MP 🙂

    You really don't like being told you're wrong about something, do you.  😉😂😂


  15. I voted Tory last election, not because I voted for Tory, but I was voting against Labour.  And speaking to many others, they did exactly the same.  Labour and Tory have become so big, its an either/or situation and frankly neither fit for many, but its considered picking another party is but a wasted vote.

    There are many layers of people you can vote for and yet very little changes depending on whoever clown we vote in, as the beaurcracy that they rely on to get things done never changes.  

    Frankly one more level above our own Government makes little difference when it comes to free will in a democracy such as ours.  All I see in leaving the EU is more red tape and delays.  I've yet to see how the ordinary person in the street will be better off now we have left, except that feeling that we have left the EU.  

    When things go wrong, and they will, who will you have to blame for it, now the EU can't be used as the obvious fall guys. 

  16. Limiting yourself to 1080p because of YouTube is a bit like UK programme makers in the 60s and early 70s not making programmes in colour because the vast majority of TVs in the UK were black and white.  Besides there is always Vimeo. 😉

  17. 9 hours ago, kye said:


    Yes and no.

    If I was upgrading from the GH5 and wanted the ALL-I modes, then maybe I get the S1H instead of the S5.  But maybe I realise that I can get the A7S3  go with that instead.  

    The S5 isn't only competing with the S1H, it's competing with the S1H's competitors, and other options too.  By pushing people to re-buy all their lenses then that's a point where your ecosystem has to remain attractive.

    Thats not an argument to suggest Panasonic are remiss in not adding ALL-I, both now and in the future. The A7sIII for example is limited to 12mp, making it a less attractive alternative if shooting photos is your thing, compared to the S5.

    Of course, jumping on a new lens system makes brand loyalty less relevant if you own a GH5 like I do, and why I have delayed going fullframe.  But its not just the lack of ALL-I on the S5 that's the issue.  In fact whats putting me off the most from upgrading to Panasonic fullframe is the poor AF.  Its that which makes the Sony and Canon more attractive despite their own limitations.  If I am to jump to a new fullframe system, I want one that meets my needs the most.  So far no manufacturer has delivered on that to make the jump cost effective for me. Especially as I don't shoot a lot of photo work to justify the cost on its own merit.

  18. 28 minutes ago, Mark Romero 2 said:

    Anyway, as mentioned at the start of this post, that kind of puts Panasonic in to a tricky situation where they might have cameras that are technically capable of doing more things, but they need to hold back on the features just to distinguish the higher end cameras.

    Technical ability is just one aspect of a camera specs.  The other is cost. Probably the most important.  Each camera has to make a profit.  

    There is no profit in making the S5 so good, no one wishes to buy the S1H. 

    Same with Canon.  Though my issue with them is that they can add features like RAW to the R5, yet withhold it from the C70.  At least Panasonic is more consistent with distinguishing their features from different models.  Though their slip of adding vlog to the G100 whilst the GH5 is still a paid upgrade does annoy.  

    For me a camera manufacturer needs consistency amongst their line, whilst allowing rooms for upgraded specs for higher priced model.   The difference between the S5, S1 and S1H makes sense to me and I can't see the S5 jumping further without devaluing something of the other models.

  19. 5 hours ago, kye said:

    My impression was that the GH5 started off without the cool codecs and they were added later on, so I would have thought the S5 would also get updates in a similar manner.  Maybe not, who knows.  Certainly the GH5 was partially famous because of the ALL-I modes, so it does matter I think, although there's the whole 'undercutting your other models' thing.

    I feel there are 2 main reasons to add new features to cameras down the line.  The first which I feel applies to the GH5 and the initial upgrade given to the S1 was that features were added later when they had resolved any issues, adding such features would cause in the camera software.  The ALL-I was added to the GH5 6 months later and probably not included on initial release as they hadn't quite finished working out some of those issues in implementing it.  Other cameras get external RAW I feel for similar reasons.  Otherwise why not include it on initial release.  

    Another reason to add features is to bring a camera more in line with other newer models.  The S1 got a recent upgrade no doubt to help separate it from the S5, which would otherwise have eclipse the model.  

    I'm not sure any of this applies to the S5.  Unless a cheaper fullfrane comes from Panasonic, unlikely; then there's no reason to give the ALL-I codec.  Even with the GH5, we were promised ALL-I on release, even though we waited 6 months for it.  No such promises have been forthcoming on the S5.

  20. 25 minutes ago, good_1da said:

    I believe in 10 years time leaving the EU will be seen in a similar way to not joining the single currency. That, on balance, we made the right decision. 

    Poor anology.   We never been in the single currency to therefore compare whether one was preferable to the other in gain.  

    I think in 10 years time, people will realise that leaving the EU made no real difference at all to their income and lives.  The poor will still be poor.  The rich will still be rich.  Those wasted people will still claim benefits and be angry at the World for it.  The high Street will still suffer as the internet rises and takes business more and more online.  We will still use poor countries as cheap labour to make our goods and for telephone call centres.  Business will fail, jobs will still be lost and freedoms will still be trod on.

    The only difference will be that many of the older generation who voted to leave will be dead and there will be more of a new generation who will seek the benefits being a part of the EU can bring.  You can't rewind the clock back to the glory days of the British Empire.  

    The only real benefit for me personally now that we have left finally is maybe the hope Brexit gets talked about less and less as time goes on.  I'm frankly sick of the subject. 

  21. I use ALL-I on my GH5 for any scenes where there is a lot of motion, not just for slightly better IQ when interpreting motion, but mainly for much improved playback.  Static scenes tending to still playback okay when limited to Long-Gop.  Its a shame Panasonic don't offer a higher bitrate as an extra option when needed.  If there was a GH6, and this feels less and less likely as time goes on, then this would be where it could improve on the fullframe.  ProRes and high bitrates ALL-I would be useful for some projects, especially if combined with higher frame rates. 

  22. Cameras like the S1 and S5 are jobbing cameras.  Great for getting the work done but not cinema cameras.  The S1H is a lot better.  Panasonic colour science is okay, again more perfect for Corporate work.  But doesn't always have that extra magic.  This and the codec limits the quality of the S1 and S5 footage.  

    Would I own a S5.  Of course. Not everything needs that cinema magic.  But the S5 earns its small size by being less ideal for great video use than the S1 and definitely the S1H. 

  23. 2 minutes ago, IronFilm said:

    Depends which countries and which states you're referring to. 
    I'd say there is a bigger difference between New York and Alaska, than there is between Sweden and Norway. 

    There's a lot of difference between London and a small Village in Yorkshire, yet both are in England... 😉

    Ultimately in Europe you have changes in language between Countries, the need for passports at some crossings, and of course, there's no Europe President. 

    US is more akin to the UK, where we have Countries Wales, Scotland and NI with their own rules and Government, with variations much like the various states in America.  However crossing to them doesn't carry the same weight as say visiting France, Germany or Spain.  I can still speak English in Scotland, pay by the same currency and follow rules that are similar to my own Country.  This isn't the case with other Coutries in Europe.  Even though the EU as the Euro, countries like Norway have their own currency, and culture can vary more. 

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