herein2020

There's a lot of annoying quirks that I have just gotten used to especially when it comes to multi-cam; it definitely does not sync multiple cameras using audio as well as Premier did and when you have a multi-cam clip you lose your color grade if you flatten the clip, you also can't reset your crop factor on multi-cam clips without flattening the clip first...etc, etc. Plenty of little quirks but Fusion is my biggest problem. It might as well not even be a tab in the NLE since it is so unstable, and even if I manage to work my way through a Fusion comp, good luck getting it to play smoothly in the edit page until it is cached which could take forever. After Effects was way smoother and more stable when it came to playback.

Amazing video and cinematography, not one thing seems off to me, I guess sometimes people just see what they want to see. They did a lot of speed ramping which isn't for everyone, but this wasn't supposed to be a corporate video; it really showcased the slow motion capabilities of the S5. What I found really interesting is they even used 1080P 120FPS for some of the shots which most people are saying is trash due to the bitrate; clearly pretty much anything is useable if you work within its limitations, have a good story, and know your camera. The entire video was flawless IMO and really showcased what this camera can do; they also managed to upscale the 1080P back to 4K without it being obvious which parts were which. Really well done. This video makes me look at 1080P out of this camera in a whole different way and I may try it one day if I want 120FPS.

I have an external monitor for my C200 in addition to its Canon monitor, but unless it is a pretty well paying shoot I don't bother pulling it out. I guess I've gotten used to just dealing with tiny screens, the hassle of setting up the monitor, dealing with the cables, figuring out how to power it, etc. just isn't worth it to me. Also to me its a PITA to not see all of the settings on one of the screens, or only the on board monitor is a touch screen, or with the GH5 when you connect something to the HDMI port the audio will not play back through the headphones. Still have to pay for it, so yea make sure if you get one second hand that it has the upgrade. The lack of a tilt / flip screen is a big one for me. I do a lot of gimbal work and low shots, that tilt flip screen is a life saver. The lack of a tilt/flip screen was one of the main reasons that I never considered the S1 or S1R when they came out; that and they didn't do 4K60FPS at the time.

I used to think modular was the way to go since the rig could get so small, but after seeing how much was needed to make it usable I now know hybrid meets my needs better. Also, I saw you included the C70 in your modular list....in my opinion it is too complete to be considered modular. With the C70 you can just add a lens and batteries then go shoot.

I don't use external recorders or monitors, I am already carrying around too much gear as it is, and even if I did, I wouldn't use one with the S5 because of the mini HDMI port. I do a lot of gimbal work, hybrid shoots, etc., I can't add a monitor to my kit. I'll make the S5 work, but focusing will never be easy.

Any camera will go blurry if you put a plain white piece of paper in front of it, cameras need some kind of contrast to achieve focus. Cell phones aren't as obvious because they have really wide angle lenses but they would go blurry as well. For your setup my tips will work perfectly. Before putting that paper down, make sure there is something with texture and contrast like the desk or an object for the camera to focus on. Press the shutter button half way until it achieves focus, then flip the lens switch to manual focus. You will now be able to film everything and it will all stay in focus as long as you follow my other tips. Trust me, the GH5 is way overkill for this project, you just need to learn more about how to get the most out of it and how to set it up for this type of project. It will never be a point and shoot type of camera like a cell phone. The nice thing is, after you have it all setup, if you never move the GH5, all you will need to do is press record for future videos.

Here is my entire wish list for DaVinci Resolve 17....it's a long one: - Make the Fusion tab as stable as the edit tab...ok that's all

My approach doesn't rely on AF at all, I've been using the GH5 for years and use tricks like these all the time to still get an acceptable output.

Another option is try bringing in more light, setting your ISO around 3200 and shooting as stopped down as possible, also manually focus at the midway point to how close you think you will bring objects to the camera and use a wider lens. If you can bring in enough light to shoot at F8.0 while keeping the ISO from going above 3200 and shoot with a 12mm MFT lens you may be able to get your setup to work for you. Not ideal, but I would try that before getting a whole new camera and lens. Also, if you output your videos at 1080P, you can shoot in 4K and zoom in up to 2x without losing resolution. The goal is to have your entire workspace to be in focus by using the deepest Depth of Field (DOF) as possible and to move the objects only half as close to the camera as you need to while punching in up to 2x to get closer shots when needed without losing resolution. I know that's a lot of tech talk for someone who's not a camera person so I'll try to simplify.... 0 - Mount a MFT lens that goes as wide as 12mm (like the 12mm-35mm Panasonic MFT lens) 1 - Set the F stop to F8.0 2 - Set the ISO to ISO 3200 3 - Set the shutter speed to 1/30 (I know this isn't 2x the frame rate but since this isn't fast moving action cheating a bit here won't be noticeable) 4 - Set the resolution and frame rate to 4K 29.97FPS LongGOP 5 - Mount the camera to whatever overhead position it will be mounted in 6 - Add as much light as needed until the exposure meter is in the middle (properly exposed) 7 - Sit a static object in the frame and flip the lens focus switch to MF. Adjust the focus until the static object is sharp. The object should be about 50% less close to the camera as the closest point to where you plan on bringing objects to the camera 8 - Film your video 9 - When editing the video use a 1080P timeline and whenever you need a closeup punch in up to 100%. That's how I would film something like this with the GH5 so that I didn't need AF. Of course this won't work if you are trying to be cinematic or have bokeh (a blurry background) or razor thin DOF (i.e F1.4).

Sample 85mm F1.8 L mount images from DP Review. I have never owned an 85mm, I always feel like I'll get into too many situations with the 85mm where I won't have enough room to get back far enough to get the composition that I want, so I prefer the 50mm, I've been on plenty of shoots where I had problems making even the 50mm work especially for boudoir where bedrooms and hotel rooms aren't that big so I'm more interested in the 50mm than this one but the images out of the 85mm do look nice: https://www.dpreview.com/sample-galleries/4485951356/panasonic-lumix-s-85mm-f1-8-pre-production-sample-gallery/7497596978

I did the same thing, I got the Sigma adapter and can now use all of my EF mount FF lenses with no problem on the S5 and out of all of my lenses including APS-C lenses only the EF-S 10-22mm does not work. The focus peaking kind of sucks, very hard to see and for me a lot of the time its just not visible at all and combine that with the fact you can't zoom in to check focus while recording and the focusing situation when using EF lenses in general isn't that great; I am sure the native lens experience is better. As long as you aren't filming with a razor thin depth of field and not filming anything fast paced its workable but definitely not great.

Have you considered switching to Davinci Resolve? For the brief time that I had the R6 I was able to create proxy files with no problem for the H.265 footage.

Lets not forget....using an external recorder makes it worse, and no ability to zoom in while recording to check MF is a real pain at least for me.

I agree, the S1 just started looking a lot better; Panasonic just found a few new ways to differentiate the S1 from the S5 without crippling a single feature. 5.9K 10bit internal is pretty incredible for a $2500USD camera body. I know Panasonic wants to sell native L mount glass, but I think if they released a native EF adapter and a native RF adapter that worked seamlessly with Canon lenses to include continuous AF they would sell a lot more bodies. Panasonic is without a doubt in my mind providing the most value right now for both photography and video but AF and their L mount is still holding them back, not to mention Canon and Sony have them beat by a long shot in the marketing department. In my area, you can't go to a single big box retailer and pick up any Panasonic bodies and I live in a major city. You pretty much have to buy the Lumix line sight unseen.

I've been working with the GH5 for the past few years and the fastest lenses I could get were F0.95 MFT which translates into F2.8, so these lenses look great to me. I do wish they had a 14mm or 16mm prime on the way for real estate work, but other than that, the 24mm for video and the 50mm for portraits might pull me further into the "alliance". If the 24mm outperforms my current Canon EF 24mm for sharpness and usability then I may go for it. I tested the Canon EF-S 10-22mm; and holy sh*t I stand corrected @Lux Shots, the Sigma 18-35mm EF-S lens does work on the S5, but not the Canon EF-S 10-22mm. I also tested the Canon EF-S 18-135 F3.5-F5.6 and it worked also. Maybe the EF-S 10-22mm does not report that it is a crop sensor lens and the rest of them do which is a real bummer because that 10-22mm would have become my real estate video lens. I'm still not sure why manually selecting APS-C mode does not make the EF-S 10-22mm work unless its a crop factor thing that gets adjusted when the lens reports its crop factor to the Sigma EF adapter. This little camera just never ceases to amaze me; Panasonic has got to be the best kept secret out there. All YouTubbers will ever talk about is the AF, there's so many more important things to a camera system than just AF.

I use FastStone for batch operations, it can extract the JPG file from the RAW file, but I'm not sure if it can actually convert the RAW file to a JPG (there is a difference). Also, there is a new version of codecs for Windows 10, you have to get it from the Windows Store, after installing this codec I am able to view 5DIV, T6S, and S5 RAW files in Windows Explorer: https://www.microsoft.com/en-us/p/raw-image-extension/9nctdw2w1bh8?activetab=pivot:overviewtab Also, not sure if you are aware...but just straight RAW to JPG conversion will usually not yield the greatest results since RAW files are usually generated to be further manually processed. Personally if I wanted the flexibility of processing the RAW files but also wanted the full resolution JPGs I would just set the camera to save each image as RAW+JPG....that will save you processing time later and will probably yield the best results if you don't plan on further processing the RAW files.

Maybe it will change with a firmware update, it would be really nice to use EF-S lenses as well since I have two at the moment. In the menu it has an APS-C option which doesn't make sense to me since Panasonic doesn't make any crop sensor lenses so I assume the APS-C mode was meant for another vendor's lenses but I'm not sure if Panasonic considers APS-C to be a 1.5x crop or Canon's 1.6x crop. Also, the APS-C crop option is only available in the video menu, not the photography menu.

I'm in one of the worst states in the country (Florida) the only good news is I'm not in Miami so yea I've been declining most jobs that are indoors or groups of people. Fortunately there's still some work that doesn't fit those categories but definitely far less than before.

It is pretty strange, I didn't pre-order anything, I just went to a very large retailer's site here in the USA called BestBuy and ordered it...got it within 3 days. I was actually surprised because the two main online camera stores in the USA; Adorama and BH did not have it in stock.

The rental houses there don't ship you the equipment? They don't have any good local ones here either, I just get everything from lensrental.com (no idea where they are located) and they ship it to me a few days before my project starts. Your setup sounds really compact, I keep evaluating my kit to try to get it down to that size. I think I can bring my kit down to a single backpack with the Canon 5DIV, S5, EF to L mount adapter, EF 24mm F2.8 for the S5, EF Sigma 50mm F1.4, EF Canon 70-200mm 2.8L, EF Canon 24-70mm F2.8L, EF Canon 24-105mm F4.0L, a few ND filters, S5 XLR module, lav mic, Sennheiser G4 wireless transmitter and receiver, and maybe fit the Mavic Pro with 4 batteries, iPad, and remote. Where everything gets bulky is when I also need to bring my tripod, monopod, Ronin-S gimbal, studio strobes, light stands, beauty dish, 300W video lights, flashes, diffusers, etc. I also have a Canon Rebel T6S that I use for timelapses and a GoPro setup for underwater footage. Not that every job needs all of it but sometimes it does. I think the S5's AF would be perfectly fine for photography but that would mean I'd need to buy L mount lenses which I'm trying to avoid. One day I may ditch the C200, 5DIV, and Canon Rebel, and go with 3 or 4 S5 bodies and L mount lenses, but for now that sounds more costly than I am willing to spend so I'm stuck for now with my odd mixture of equipment, but I'm used to it since the only thing that really changed was the GH5 was replaced by the S5.

I returned mine so no idea, before returning I upgraded to version 1.1.1 and tried the battery trick and it did not work, so either they have closed that loophole or I did it wrong.

I watched this video just for the comedy factor. Just watching the video started giving me a headache. The Panasonic S5 is such a joy to shoot with compared to the R6. It's like Canon is selling a sports car but puts a limiter on it, rations the amount of horsepower it can put to the wheels at random times, then expects you to thank them those few times you can actually drive it like their marketing material said it could be driven.

That makes sense, I rarely shoot weddings they just don't pay enough in my area, but I do shoot a lot of random weird projects that typically need b-roll that I can use from a different project. Also I live in FL...we don't have a winter or a summer it all looks the same year round, so even that works for me. Its always interesting to see how other's workflow works based on their geographic location and the types of work they do. For weddings you definitely cannot reuse most if any of that footage so I'd skip metatags too in that scenario.

That is pretty cool, I've never considered BM a viable option for me though, since I shoot 50/50 photos and video.

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