Robert Patts

3 minutes ago, Ninpo33 said:

Everything you’re describing is perfect for a monopod situation. Your description is no different than what most of us deal with several times a day on any event or wedding shoot. Remember that many of us shot things like this before there was any sort of IBIS or OIS at all. You’re complaining about a situation that is only negative for you because you are not using the right tools or technique. To blame the camera is a cop out. 

Hahah. I have been doing this for 10+ years. I own a monopod. I own a tripod. Neither would be useful in this situation. 

You are telling me, it is more efficient to continually adjust my monopod in height multiple times from multiple positions in the crowd instead of hand holding it and taking advantage of the IBIS? 

In your mind, when I am standing stage right...new speaker comes out. I have about 10-15 min to shoots. I should first,  adjust the monopod to the correct height. Shoot. Ah, now I want a bit lower shot with more screen and more stage...lower the monopod some more. Now I want that shot where its framed between two of the audience members...let me adjust that one more time on the ole monopod.  And probably some more angles on stage right. Lemme adjust the ole monopod more.

And then continue this monopod dance multiple times for stage center, and stage left? Cmon now. 

As I said before, rolling shutter at 200mm...open gate...not the best. Why open gate? Because most deliverables nowadays needs to be in 16x9 and 9x16. Rolling shutter at 70mm...fine.

30 minutes ago, newfoundmass said:

If you're shooting at 200mm handheld for long periods of time in video you should probably be using a monopod or at least a shoulder rig. I know there are situations where that isn't possible, but that's a pretty extreme scenario.

Eh. Not so much. You are shooting a large tech conference . You are the solo shooter. The person on stage is talking for 15 min. You need wide. Close. And mid shots. 
 

You stand on the left side of the stage. You use your 70-200 for these shots as they walk back and forth across the scene.

Once those shots our done. You go to the center of the  audience. Repeat. 

Once that is done you go the left of the stage. Repeat again. 
 

Having a tripod / monopod is not efficient in this situation. 

If you have your camera on sticks and not moving you won’t have a problem. 
 

But  if you are hand holding with the lens at 200mm, shooting open gate , and are following someone walking on stage the rolling shutter / jello is very visible. 

Excluding whip pans. If you are shooting open gate , and are on a long lens around 200mm. Rolling shutter will rear its ugly head 

Well. Looks like I was pretty spot on with my predictions.

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Chris Niccolls posted on Insta Stories of the camera, so it will share the same body of the S5IIX

It will be high megapixels...that is a fact...which means at least 8K shooting.

Since every single camera from Panasonic has had opengate...you can guess 8k Opengate 

If it can do 8k opengate, do the math, it can probably shoot downsampled 6k + 4k.

It is an RII series, so most likely no Internal ND's.

11 hours ago, Andrew Reid said:

Can anyone really say that after nearly SIX years there has been another L-mount camera that's better for filmmakers than the S1H?

Aren't the new Blackmagic Cameras L-Mount?

I think if you use some deductive reasoning it is easty to guess the specs.

Chris Niccolls posted on Insta Stories of the camera, so it will share the same body of the S5IIX

It will be high megapixels...that is a fact...which means at least 8K shooting.

Since every single camera from Panasonic has had opengate...you can guess 8k Opengate 

If it can do 8k opengate, do the math, it can probably shoot downsampled 6k + 4k.

It is an RII series, so most likely no Internal ND's.

I had an S1H...went to the s5iix and am back to my S1H. S1H image was truly one of a kind with that OLPF.

I have ran with the S5 + VA for a long time. The only real benefit of BRAW is file size and playback speed. You will get no additional benefits in DR or "motion cadence"

Try applying this LUT to your footage on export, (it is in the export window settings in Premiere)

https://we.tl/t-eHqZmP04NB

It fixes the gamma problem.

S1H is up there.

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1 hour ago, barefoot_dp said:

To each their own, but S1H has been one of my least favourite images to work with in post.

 

Why is that? I exclusively use the S1H and have had no problems in post at all.

16 hours ago, TomTheDP said:

The A7S3 or FX3 also have low RS. 

The Pana S1/S1H/S5 also has pretty low RS in S35 crop mode. 

I can say that in s35 mode the S5 is garbage when recording in BRAW. Perhaps internal on the S1H is better.

Are cameras that shoot PRR not an option? If so , you have the Fuji XH2S with very low RS.  

1 hour ago, kye said:

@Tito Ferradans shows the latency here and it seems like there isn't any...  linked to the timecode:

 

Weird. Newsshooter did actual testing and it was 192ms...same as I have found on the S series.

Five years in development and they still could not fix the issue with HDMI latency.

All I care about is if they fixed the HDMI lag.

I have both and they are easily matched.. They are nearly identical color wise when placed side by side. The main difference to me is the highlight rolloff is softer on pocket series.  The S line is nice due to the lack of noise, but the codec is more intensive on the CPU. But there is IBIS. Pick your poison 

@Parker I would love to see this in motion. Only issue I have had with the Lumix line is motion cadence. 

@HockeyFan12 I think others have mentioned online that it does not allow highlight recovery.

@gt3rs Here.

Great to hear the firmware update is out. Sad that CLOG3 only give it 0.5 stops improvement in DR

lol

6 minutes ago, HockeyFan12 said:

For BRAW, is the color Panasonic V Log or Black Magic Gen 5? 

I assume VLOG, as the review I read stated "V-Log or V709 will be selectable on the Live View monitor during RAW output.".

It does not matter...as Raw is Raw...and a simple CST node will get you where you need to be. No?

@Mark Romero 2 There is tons of bad footage on both sides, just due to peoples inability to grade and expose correctly. In regards to lenses, I use EF manual focus lenses. Even with an older Contax Zeiss, and a 1/8BPM I had to de-sharpen it in post a bit. 

If you look at this video, there are a few scenes that look just off. This is due to grading. Because, here it is again but with a "proper" grade. As I mentioned before, the Lumix lines require more "work" to get that nice look. 

I found an example here, that has a decent comparison of skin tones in the sun. But then again, everything in the sun looks nice. And nobody is moving. It is under mixed lighting and when people move where things look off and motion gets weird for the Lumix line. 

If you are shooting static objects, with no motion, it does not matter which camera you get. Get the camera that is easiest to fly on a gimbal. 

End of the day, it just a sensor in a box. It don't matter. BM gives me the nicest image with least amount of work. Lumix give me a nice image if I grind it a bit. Motion is off on the Lumix line. Don't know why. Could be rolling shutter or innate sharpness. I have tried the S1H....S1....and S5. All the same. 

But, if you shoot ADD fueled content like this, where it a bunch of quick cuts. Go for this camera. I have find projects shot like this is where this camera shines.