TomTheDP

I don’t think REDs patent would affect it as Prores RAW isn’t actually raw.

Installed too! Thanks !

I'd assume the Venice doesn't have the dynamic range of an Alexa. Though it seems to be accepted on higher end productions/work. The price of it is certainly high end haha. I am really really close to getting a Ninja V. Seems like it would solve the texture issue with 4K 60p on the Panasonic. Though less noise isn't always the worst thing tbh.

where is this from?

Arri does tend to have a green push.

DXOmark rates the Panasonic S1 dynamic range as 14.5 stops. It rates the RED helium at 15.2 stops and the RED Epic at 14.8 stops. If the stills and video dynamic range are the same on the S1 it would mean the Panasonic S1 is only .3 stops behind the RED Epic Dragon and .7 stops behind the Helium. Thats pretty wild. I am guessing the Alexa is around 16 stops in comparison.

I'm not 100% sure. I was always much more impressed by the RAW stills than video out of any camera I've used. Maybe its just the 14 bit depth that makes the difference rather than Dynamic range. FLOG on my Fuji defiantly doesn't compare to its RAW photos but maybe that's not the case with Prores RAW. I just tested my S1's stills against its internal VLOG 10 bit and you are right its really close. Not a super scientific test but I shot exposing for the skin at 0ev and then exposing for the sky in both RAW and 10 bit VLOG. 10bit 10 bit RAW RAW The RAW does look better but dynamic range seems similar. The rolloff in 10 bit was better as I was using Emotive color's Alexa lut.

As basic as its sounds Premiere's color match tool works pretty well. I get best results by matching log to log than applying the same LUT to both to get very similar highlight and shadow roll off, than adjust contrast and white balance to match. If you have the color chart you could crop the image to just the chart and use the color match tool, probably would get even better results.

I hope Panasonics next release has internal RAW. Panasonic has always been one to push boundaries.

Yeah the dynamic range for photos on the R6 is really good. Seems more on par with Sony and Nikon vs the EOS R or older Canon DSLRs which were always behind in shadow and highlight retention. It's weird on the R5 even in RAW dynamic range is not great. The A7S3 and Panasonic S1 are quite a bit better. The shadows do hold more detail in RAW than CLOG1 and CLOG3 which basically cut off the shadows to reduce noise, but the highlights just aren't there.

I picked B and D with the Tom Antos test. Which was the FX3 and RED Komodo. The FX3 and FX6 shouldn't look different color wise, weird. These test are fun although I don't find them that useful. Maybe I should go buy an FX3 or A7S3 now lol.

I think Sensors are there, but the video modes are not. Once the Sensors can do the same readout in video mode as they can with photos it will be game over. The Fuji APSC line up as well as Sonys or any of the current full frame cameras give within a half stop to the same dynamic range as the Arri Alexa when taking RAW stills.

Thanks for the compliments everyone! Means a lot from people on this forum as I know we are all pretty picky when it comes to this stuff. 😂😄 For the Z-cam I used a set of Rokinons 24, 34, 50, and 85 Everything on the Panasonic was shot on a Rokinon 35mm 1.8 We also used a Sigma 14-24 2.8 for a few interior wide shots where we need that ultra wide FOV. I have a set of Canon FD lenses which I would have used had I owned them last year. The Rokinons do the job though. I really love Minolta lenses though they can't be adapted to EF so only some cameras can use them. I'll do a little breakdown for you if I can remember perfectly. 0:05 Rokinon 35mm 1.4 0:12 Rokinon 85mm 1.4 0:15 Rokinon 50mm 1.4 0:18 Rokinon 50mm 1.4 (1.8 crop in post) 0:19 Rokinon 50mm 1.4 0:22 Rokinon 35mm 1.4 0:31-0:47 Minolta 35mm 1.8 (shot mostly wide open) 0:50 Mavic 2 pro 0:53-1:03 Minolta 35mm 1.8 0:52 Rokinon 24mm 1.4 1:06-1:20 Rokinon 35mm 1.4 well you get the idea at this point

I’m pretty sure the exact sensor had been posted on here by @androidladbefore. I’m just too lazy to dig through a million threads right now

@Sage any progress with the Z-cam?

I’ve seen several comparisons. Seems to maybe give a small increase in the highlights. Maybe half a stop at best. Both clog1 and 3 are losing you shadow detail. The dynamic range increase in RAW is mostly in the shadows, and they are very noisy. Overall the R5 dynamic range is just not very good.

Panasonic, Nikon, Fuji, Z-cam, and Blackmagic all use Sony sensors. Canon is really the only company not using them right now. Blackmagic's Ursa sensors aren't Sony either and neither were their older cameras which were all Fairchild. This isn't information Panasonic tells people. @androidlad could give you more exact information on this type of stuff

Shot mostly on the Zcam S6 with some Panasonic S1 in there too. I feel like the trailer was harder to make than the actual film. 😅

How’s the latency when shooting Prores to a ninja V?

The Lumix S line uses Sony sensors. Panasonic's processing is way better though.

Considering the R5 now with CLOG3. Some of the fan mods looks doable

I shoot backlit a lot with no issues, the S1 has amazing latitude. I personally owned the Ursa 4.6k and didn’t really see the hype with the dual gain. I can say with a lot of practical shooting experience that I rarely have issues with dynamic range. Not having 4000 iso would cause a lot of issues though. The types of shots where the S1 (insert Sony sensor here) fails is inside if you have a bright window and very little bounced or ambient light. That’s when you use lights or just let it blow out, which I sometimes do for stylistic reasons.

Interesting, the film still looks so nice in the highlights though I am sure the Pocket could as well with different grading. I am gonna take a photo with the S1 to see how it does today, I'll throw it up here. That is if we get any sun here lol.

I think the A7S sensor has comparable dynamic range to the A73 /A7r3. In terms of Sony and RED their full frame sensors have the most dynamic range. The RED monstro is 8k and has the most dynamic range though the Gemini has similar dynamic range and only 12mp vs 35mp on the Monstro. Arri dynamic range is the same regardless of sensor size or resolution. The URSA 12k and 4.6k have similar dynamic range, though the 4.6k is dual output while the 12k isn’t as far as I know.

DSLRs didn’t have to deal with rolling shutter in photos though.