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Panasonic S5 Entry Level Full Frame seems to be real...


jgharding
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4 hours ago, hyalinejim said:

Is it a  straight out of camera file?Yesterday I downloaded some "sample" S1 VLog  that was edited and encoded to ProRes. When I pushed it I saw highlight banding that I never see with GH5 VLog mp4s, and that I haven't seen with S1 SOOC files.

YEAH!!! It seems like all of the straight out of cameras were fine with this, but all of the prores transcoded stuff i downloaded (which contains way more underexposed and lowlight stuff) has slight to medium levels.of artifacting like this. But I'm not sure since I can't find any SOOC files in a underexposed situation or lowlight, if you or anyone has some vlog 10bit sooc files in those difficult situations with skintones that you can share that would be amazing.

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2 hours ago, HockeyFan12 said:

Are you using Adobe or transcoding to ProRes with Apple software first? Adobe's interpretation of HEVC is broken. I can post comparisons if you're curious. I transcode to ProRes (in Finder, actually) first and it dramatically improves the HEVC image.

The footage that I'm finding this issue on are all transcoded and edited prores 422/hq sequence, because they are the only ones with underexposed and lowlight shots with a lot of skintones. And I'm pretty sure that the s1/s5's 10bit codec is h.264, not hevc.

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18 minutes ago, jack jin said:

The footage that I'm finding this issue on are all transcoded and edited prores 422/hq sequence, because they are the only ones with underexposed and lowlight shots with a lot of skintones. And I'm pretty sure that the s1/s5's 10bit codec is h.264, not hevc.

Yes I think you're right. I was having a similar issue in 6K photo mode with colors blotching/banding, I think that is HEVC. And transcoding solved it. But I think you're right that the 150Mbps is h264. No idea what's going on in that case... 

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They're all relatively wide shots, so not too taxing for IBIS. As long as you're using it to steady handheld shots, like here, I'm sure it'll be fine. But Wong's videos show that it's just not a substitute for a gimbal in the same way that a GH5 or S1 might be - if you really need to do a walking shot but don't have a gimbal.

I'm impressed by the highlight retention in the market scene - mixed light, low light and garish light sources that tend to blow out are all handled nicely and it looks very natural.

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10 minutes ago, hyalinejim said:

They're all relatively wide shots, so not too taxing for IBIS. As long as you're using it to steady handheld shots, like here, I'm sure it'll be fine. But Wong's videos show that it's just not a substitute for a gimbal in the same way that a GH5 or S1 might be - if you really need to do a walking shot but don't have a gimbal.

I'm impressed by the highlight retention in the market scene - mixed light, low light and garish light sources that tend to blow out are all handled nicely and it looks very natural.

Me too, I really like the dynamic range of these Panasonic FF cameras. About the IBIS, Gerald Undone used a 50mm without walking on his video and the footage looked jerky.

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5 hours ago, ntblowz said:

Interesting to know only Panasonic prores raw give u full control, Nikon's one is the worst, all other only allow ISO but no WB control, and WB is the one that is the most important!

 

 

raw support.JPG

Does it mean the ProResRAW on the Panasonic Cameras is more robust? I saw videos (including one on dpreview), saying that the codec wasn't RAW, though it is (a little?) better than the 10-bit internal codec of the Panasonics (and other cameras). Since RED has sole monopoly over RAW (including all forms of actual RAW that don't even belong to them), everyone seems to be using some form of wrapper and metadata manipulation during or after compression to circumvent the bad Patent.

The temperature and exposure control in post may have to do with presets, much like a LuT. I am not sure they necessarily  mean that it's better. 

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53 minutes ago, sanveer said:

Does it mean the ProResRAW on the Panasonic Cameras is more robust? I saw videos (including one on dpreview), saying that the codec wasn't RAW, though it is (a little?) better than the 10-bit internal codec of the Panasonics (and other cameras). Since RED has sole monopoly over RAW (including all forms of actual RAW that don't even belong to them), everyone seems to be using some form of wrapper and metadata manipulation during or after compression to circumvent the bad Patent.

RED have monopoly on compressed raw over 1:5 ratio, but not uncompressed. Sigma fp have internal uncompressed raw without problem, Canon have internal 1:4 Cinema RAW (cross licence with Red so they can use RF mount).

its more than just LUT, have you ever tried to change WB on a JPEG..? Totally different than trying on RAW photo, so technically it should be the same for RAW video but turns out there is more to that.

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On 9/4/2020 at 6:44 PM, jack jin said:

The footage that I'm finding this issue on are all transcoded and edited prores 422/hq sequence, because they are the only ones with underexposed and lowlight shots with a lot of skintones. And I'm pretty sure that the s1/s5's 10bit codec is h.264, not hevc.

The S1/S5/S1H 4K 24p 10-bit is H.264, while the 4K 60p 10-bit is H.265. The S1H 5.9K 10-bit internal is H.265.

I haven't forgot about you, I have just been crazy busy. I'm also done with the Facebook group, too much bullshit there for me to be honest. I'm trying to set something up with a model, but models can be nervous when you ask them to shoot in low light at night for the first gig. I'm going to try and get some time on Wednesday for a photoshoot, and then maybe I can get a video shoot with her later in the week.

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So I took the plunge. One Panasonic ambassador told me about an interesting offer with a shop in France. Besides the Panasonic offer with the Sigma 45mm offered for free, this shop will give you 3 years more warranty + a free battery. I thought it was a good deal so I pre-ordered it. I am pretty sure I would do it as I need another body to complement my S1H but this offer made me purchase it right away.
So it should arrive by the end of september/beginning of october. I will put it through its paces as I have some interesting jobs coming along, especially one shooting a documentary for the french national television service (France Television) if it is delivered in time.
So I'll give you all my first feedback really quick I think.
Pretty excited by this camera as it is the one I was waiting for in the L-mount system : a smaller camera than my S1H that could still shoot awesome video to match with the bigger brother, being quite smaller to be my B-cam/gimbal cam, also my main stills camera, and one that I could bring everyday to shoot some street and mundane photography (without the hassle to release the S1H from the rig/cage between pro gigs) and one camera that I could take on vacation without sacrificing any quality in stills picture and video.

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