TomTheDP

The GH6 needs PDAF.

Looks like the improvement on the lower end models is pretty significant but falls off with the higher end M1 models.

I think I'd pick 35mm on both S35 and full frame sensors. Just always tend to grab that lens.

I have seen amazing deals on used M1 Macs. You can often save 75% sometimes even 50%. Tech devalues so fast it is crazy.

I had a RED Scarlet MX for a while. My Panasonic S1 had better highlight retention. The MX was noisy but the shadows were richer. Now comparing it against the S1 in RAW might be a little different. I do really like RED and ARRI's color compared to other cheaper cameras I have used. They just hold shadow color so much nicer at least to my eyes. Pitting it against the C70 with RAW might start really skewing things against the MX. I have used the RED Epic Dragon quite a bit and that guy is definitely a real winner in almost every category except high ISO. Modern cameras are definitely a bit more versatile due to their high ISO capabilities. But if you have a bit of light to work with and aren't shooting any landscapes at night, cinema cameras definitely look better IMO. In any given side by side you might not notice, but for example working with a sigma FP and ARRI ALEXA side by side on a feature where I have a ton of footage from both cameras, I am really seeing how much easier the ARRI is to deal with.

It's my advice after years of owning and using the camera over many projects. For weddings there isn't a lot of time to deliberate on precise exposure, especially since REC709 monitoring is trash on Panasonic. Unless you are doing a silhouette shot it is what I would advise. I don't think I have ever been let down using this method. If you are used to shooting and exposing for the rec709 profiles on the Lumix I don't think you'll like log at base exposure. Personal preference of course just my advice.

I personally like dovetail, quick release ones are the best. Pricey though. I don't like VCT.

I don't shoot Sony. But I always over expose regardless of camera RED, ARRI, Panasonic, etc.. All cameras generate noise, if you want a clean image you overexpose, same goes for film. On RED or ARRI I just shoot at like 200 iso. ISO on the Panasonic in log is fixed though. If you like a bit of noise base exposure works. I personally do like grain so I sometimes will even shoot at say 1600 iso on ARRI to bring that out. For most stuff I assume people want it as clean as possible though. I also just don't think Panasonic looks as nice in the shadows. You don't really need to overexpose in very bright conditions but if you in a high contrast or low light situation its great.

My suggestion with LOG is just to expose 1-2 stops over, just using the cameras light meter and then nail WB of course. I like Filmconvert a lot

Interesting, I almost exclusively was using emotive colors LUTs as well as over exposing by 2 stops. But yeah it's never been my favorite image straight out of camera. I think I would still give that to Canon.

I own the Classic. It definitely has the best image in the game in terms of color accuracy and dynamic range. It is also just an industry standard image wise, super hard to mess up in post. I think the F35 has a more unique image though, almost film like. The Alexa does too but its a cleaner more neutral image. The F35 is also a bit less power hungry and a bit smaller, though possibly more awkward. Having simple 12 bit internal recording up to 60p and 120p 10 bit with no cropping is nice on the Alexa Classic though. No external recording required.

Would be interested to hear your findings with Emotive colors LUT. Things like this is why it's nice to shoot ARRI, although like you said simply shooting RAW on any camera would at least give you the data to get you where you want to go without artifacts.

Just curious what you have found difficult about it? I have never edited the FX6. When using the Panasonic S1 with a C70, C100, and ARRI Alexa, I will say the S1 was my least favorite. It was super noise free compared to the rest but I know the FX6 has that going for it as well.

END is really amazing and underrated. I think every camera should have it. The other nice thing about the FX6 is the fast sensor readout making for very little rolling shutter. But for me an EVA1 style camera, with a full frame sensor shooting up to 60fps at full sensor and 120fps widowed in prores would be perfect. Honestly full sensor 4k 120fps would be great as it would mean the sensor has a very fast readout making for less rolling shutter. But I could settle with a standard S1H speed rolling shutter. Something like that for like $3500 would be compelling. It would just be good enough and cheaper than competition to make it a compelling option.

I do sell on Facebook marketplace a lot. You'll get a ton of scam people contacting you but its obvious when that is the case.

It crops in on the sensor in 4k 120fps, which makes noise larger and less fine. You just have to expose more carefully or over expose a bit. The good thing is that it's still high bitrate, 10 bit so you have that dynamic range and color information to play with.

Yeah the 1080p is hit or miss. It can look very good but sometimes it is just noticeably soft. If it had 4k 60p then it would be a perfect camera for me. It's too bad they can't have like 2:1 compression or 3:1 that would probably open up the possibility of higher frame rates in 4k.

I think the cable does matter. I have had no issues with my T5 setup, which I used on the last feature I did. I just did a little vacation and used the Dark Power option as it is just more compact. Internal recording was part of the reason I went with the FP, but using a cable kind of kills that. I do have the cable clamped on both ends when I use it. The drive I have in the Dark Power setup is an NVMe PM991a 512gb ssd. No issues so far with it in 4k 12bit. I might get more drives for it if I hold onto it long enough.

I know its off topic but are you saying the internal CDNG 3200 iso isn't useful in HD or both HD and 4K? I have personally found 3200 iso to be incredibly useful, really one of the highlights of the camera for me. I just expose for the subject and it handles highlights really well, even though they appear to be blown in the camera monitor. I haven't heard of the Sandisk Pro Blade but it looks like a good solution. I have been using a 3rd Party SSD solution from Dark Power Lab, which I really like due to it being cordless.

@kyedoes a lot of travel so I can definitely see how a GH5 with vari ND and a small lens is a better setup for that usage. You could probably pocket that if you have the right Jacket where as you'll never be able to pocket a C100. Also for situations where you want to film and not be noticed a GH5 or other camera just looks more like you are doing casual photography. C100 not as much. But if you rig out a DSLR it stops looking like a stills camera and you stop looking like a hobbyist. I did a video using the ARRI Alexa, C100, and GH5. The C100 was my favorite out of the box look. It was a lower dynamic range scene but the colors were just really pretty.

You'll find the shadows do not hold up as well in 8 bit or 10 bit. But if you expose reasonably you'll be fine.

It isn't a bad option if you can get one cheap with some accessories. Its a larger sensor than the P6K and the ergonomics are nicer. The option for Prores 444 is awesome. At 5 pounds its not a super heavy package and you don't need to do much to be ready to shoot besides throw on a Vmount battery. Resolution wise 4.6k is really nice at frame rates up to 60p. It's got some weight to it but at 5 pounds it isn't bad. Gives for a great natural looking handheld and it's light enough where you could get it on a Ronin with a smaller lens.

Using color space transform and the ARRI lut gets them to match contrast wise. The color still looks vastly different. I feel they look quite close after adjusting WB/tint around, but my color blind eyes aren't a great judge. I use 100 iso to see my highlights and then push from there between 400-800 to see what I have in the shadows. I used this method on the last feature I did and was happy with the results. 640 iso does looks underexposed after changing the color space. However after boosting the exposure to match both cameras it actually seems similar to the Alexa in terms of noise performance. So in that sense it actually works out. I could have lit it bright and got a cleaner image but I wanted to see both cameras in a dim situation. The Sigma FP could have been cleaner if I bumped it up to 3200 iso but I wanted to see them at the same ISO.

I think the MK II would be a good way to go. I see one on eBay right now for $800. You get HD 60fps and dual pixel AF. It is center focus only but still reliable and useful. The C100 body is bulky but it is actually a great form factor. Pretty easy to mount on a gimbal without the top handle. It is really just a pick up and use camera. If you only need HD capture its a good option. Dynamic range isn't there but if you can get around that you'll be fine.

I got one of these. It is a neat way to keep it super small and compact. Good for a very low key shoot. I wish it didn't block the HDMI port though.