A NOTE ABOUT PRO RES CONTRAST ISSUES: thanks to a comment by @filipmichalsaffray441 it appears Resolve is mis-interpreting the Pro res files - therefore if you're handling v-log Pro res files in resolve you should select the clip, go to "Clip Attributes" and make sure it's set to "Full" - NOT "Auto" or "Video" - doing this seems to eliminate most of the contrast / gamma issues. Not sure why it's doing this or how it can be fixed.
I was about to inform you about that 😉 This issue has been there forever, whether it's been recorded internally or externally.. very annoying! Thanks for the video Ed!
@@davidmultimedia2024 is it applicable to all pro Res files? Or pro Res 422 hq? Or v-log? I only moved to DR about a year ago so I guess not noticed before, but film a lot in PR on my Komodo, but I guess rarely do a side by side comparison of the same scene so dont often notice.
@@EdProsser It’s just for "V-Log" wrapped into ProRes (no matter if it’s 422 or 422 HQ). For instance, if you record ProRes with another photo profile, you don’t get the issue. When you buy Emotive Color’s Alexa conversion (shameless plug lol), it comes with many other technical LUTs, including one that correct the levels, so you can insert it at the beginning of your node tree, save it as a PowerGrade, so every time you apply it to your footage, you don’t have to go in the Clip Attributes and change it manually (you leave it on Auto). You get identical results.
@@EdProsserAlex Mack is the guy behind Emotive Color, but I’ve been involved in the early development since 2017 (starting with the GH5). We stayed in touch ever since, and I’m part of the “support team”. You should definitely get it for the S5IIX (and first gen S series if you are still using those), at least to use the LogC precise conversion as a starting point instead of V-Log (you’ll be blown away). Lots of upgrades over the years, and it’s now better than ever. The latest version now features a computed recreation of ARRI Rec709 that projects edge gamut behaviour to encompass the entirety of LogC gamut, while preserving this extreme gamut within the limits of Rec.709. This allows a smooth film-like response to color LEDs (unlike ARRI’s display tables, which clip far gamut at 0.0 - 1.0). This is some pretty nerdy stuff, but I’d be happy to share more with you in private, if you’re interested. I really dig your channel ;)
WOW! It's such a breath of fresh air to find educational videos that are both in-depth and accurate like this! Most creators on RUclips simply echo what they've heard from others, never really investing their own effort into researching the details as you have done here. Bravo! Subscribed!!
Yes, I found this really useful. I often use BRAW on the original S5 and it's helpful to see how it performs on the S5XII, especially in comparison to the S5
It's so nice to see what this camera is capable of. It makes me proud to own it and I hope i'll be able to use the full potential of it. I really get why it took you longer to put out this video. It's hard to film a thing once but three times is way harder...analising it and to juggling with it in editing...i can't imagine. Ed, thank you for always briging us quality content!
Thanks! Started planning this before Christmas - wrote and recorded an initial script but found I had to keep adding stuff so re-recorded a few sections! I think it helps break up the vid having the different pieces to camera. Sometimes a video has to develop like this rather than recording all in one go!
Great video. I once owned the BMPCC4K. And I loved working with BRAW. Being a low budget filmmaker, I moved onto Sony for the autofocus. But, I've been looking at various cameras I would want to upgrade to. Having heard about the BRAW implementation using the S5ii/x, plus the powerful features of the S5iix, I began to look at the S5iix again. Watching this video, I am drawn back to the S5iix once more. When you add up the costs of getting the Blackmagic recording monitor for capturing BRAW along with the S5iix, you're still looking at competitive pricing for what you get. Thanks for putting this together. It's very helpful.
Thanks for checking it out! Yep for the price of cam + recorder and a lens you're still cheaper than most RAW capable Sony / canon options which in most case wouldn't even get you a camera body with those brands.
@@yesthisisdonutlol yeah there is that too. PRR is not awful per se, it's just pointless that it locks you into a program like FCPX which Apple has failed to evolve over the years. I hope they can open it up to be used in other editing software. It's also a true RAW format compared to BRAW, although for me a compressed RAW is my preference.
@@EdProsser Just a quick note on this. There is a way (or two) for us Resolve users to record ProRes RAW, then convert it to Cinema DNG, and then edit that in Resolve. I know that Sidney Baker Green has two videos on his channel on how to do this (the second video is an update with improved tips, I think). I believe that there is a free program to make the conversion from PRR to Cinema DNG for both macs and one for PCs (not sure about Linux though).
@@marinrealestatephotography yes but personally the workflow isn't feasible across multiple professional projects as it requires huge data storage demands esp. if you want to keep original PRR rushes and backups.
dude you are the man! you confirmed my suspicions about a post processing on the internal codec that makes the image way less organic. I shoot pro res, cause I am a glutton for punishment as far as my davinci workflow, but the results are very similar. thanks for the video dude!
Thanks for making this, really insightful! I recently got the Video Assist 5" 12G for use with my S1. Busy editing the first project filmed in BRAW now. Hoping to upgrade to the (rumoured) S1iix in the next couple of years.
@@EdProsser I asked about the difference between the RAW video of the S5IIX and the original S5 in a Lumix livestream (in the context of asking about the G9II’s RAW video). They attributed the difference to how the Video Assist handles the RAW signal coming in, as opposed to there being a difference on the camera side. So maybe it was Blackmagic that did something different this time around with the S5IIX’s BRAW? Their response is at 46:00 in the 2/15/24 livestream, if you’re interested.
@@leafcatcherstudio if that were the case why would it differentiate between the two cameras? My VA is the same and hasn't been updated so it must be the signal sent from camera? It's RAW data being exported from the camera and captured by the recorder...
@@leafcatcherstudio thanks I'll check out the stream. I know the implementation is a collaboration between LUMIX and Black magic but seems odd that they'd give the iiX a great RAW quality and not roll it out for the original S5 as they both have the same sensor. But I have no idea how these things work at the image processing level, it's a black box!
Great video, Ed! Thanks for sharing all this valuable information. I really hope one day Lumix, or BM, will fix the digital look in the BRAW footage filmed on the first generation of Lumix S cameras 😅
Yeah if I can find time I might curate some samples to download but YT really really kills stuff like this. Best to watch in 4k on the biggest monitor possible
Great video Ed, I Really enjoy shooting Braw with my Lumix S5mark2, I'm not a pro color colorist So I'm always experimenting with different looks and getting to know the Resolve software.
What quality settings do you tend to shoot at and how have you found managing the increased data rates? Have you been able to notice the quality difference over shooting internally?
@@EdProsser I hardly shoot internally anymore lol, I find shooting at Constant bitrate at 8:1 works for me, I have external SSD drives that I shoot with as well. I also noticed My PC computer is able to process the Braw much better than Internal camera recording lol. Cheers!
@@pixelcityart3554 totally esp compared to editing H265 - I think that's one of the benefits that people don't understand - they think RAW is gonna kill their computer performance, but it's the opposite!
This is on the ol'Helios 44-2 58mm ! I think it pairs really well with this camera when shooting RAW, takes the edge off and gives a nice organic image
@@EdProsser I love shooting with the Helios in my S5 mk1 and thinking about upgrading to mk2 X. You videos really support my idea, especially when seeing your images with the Helios :)
Incredible video as always. The Blackmagic assist doesn't have delay problems? I've seen some people complaining about the delay when they use external monitors
great review, thank you very much, many times the difference of recoding externally is not big enough, or not to the point of worth doing it... but with this set up is quite tempting, specially if you are in the market for a small monitor. might as well get this monitor and have the option to have extra room in post production. Wish black magic upgraded their monitors this year, but still quite good for the S5mk2 (at least they brought the price down, hope is reflected in the country I live, which I doubt)
Love it, Ed! Thanks for covering all the good and things to look out for. Been contemplating getting a video assist for a while now for client work, but also green screening for Unreal Engine + Blender. How do you find 12:1 on Constant Bitrate (if you've tried it out yet) ?
I think it's fine and have captured lots of stuff at that level - I might even go down to that for an interview if it's going to be a long one. I'd say if you are green screening maybe bump up the quality a bit as it'll help with keying - deffo test it out though!
BRAW was already great with S5 org (I am still using IT and waiting If Lumix Push Out a S1Hii or what other Name they find for IT )one downside for me as I shoot mostly live shows IT IS in BRAW you don't have Backup Like prores RAW with Sony FX3... If Not will go with S5iiX...and yeah Highlight Recovery IS great specially with P6K P4K wich I also have😊 By the way best image ever was ProresRAW with S5 org...converter to CDNG to makr IT Work in Resolve. About internal prores you don't think IT IS because resolve reconise IT as Video and Not full range 0-1028 that IT IS more contrasty. Usually every Ninja V Vlog footage I have I need to change the Video Clip Attribute to full...auto doesn't Work at all...about ssd cable I got alaways a 256 V60 sd in the BM video assist for backup ...in case of failure...
Yeah Pro res raw offers the best true RAW option - but the workflow and data rates aren't convenient to use full time for my own work. BRAW is the best compromise between compression and image quality whilst retaining RAW settings. Pro Res contrast - you know what you might be right - clicked on clip attributes - and it's by default set to "auto" and it's clear it's interpreting as "video" - when selecting "full" it does (mostly) eliminate the contrast differences - great catch - thank you for that!
Oh no, thought open gate braw was possible - Really hope it'll be in the future. Maybe with a S1ii? Would also love to see the ability to turn off all internal processing, including lens correction, even without braw :)
The way the codecs handle the highlights is the main difference. Most colorist coils make them all look could. I have the S1 and actually like the look of BRAW on it. It’s still an improvement over the internal codec which is still great because the internal codec is really good. I also use the PD Movie Lidar Follow Focus with my cinema lenses so the S5ii af is useless for me.
@@EdProsser many people don’t know it’s has speed settings. Set the auto focus speed to medium and it’s perfect. It’s better than trying to pull focus if you’re not good at it. It locks onto anything you point it at.
@@MrJayclas I tested it out as was going to make a video on it - but couldn't recommend it as a professional tool yet - they've still got work to do to improve it. The user interface is very clunky, swapping back from AF / MF control is clunky - the performance of the LiDAR is also not great - in anything other than very specific or controlled lighting situations - can't be used with a matte box or certain other screw on filters if they obscure the beam. If you have a relatively static shot and subject walking backwards and towards to camera it's okay - but then it's overkill as I can pull focus for that. For vlogging it might be nice, but again I'd just use an AF lens for that. It's a nice tool and it will improve, but I think it's a few generations away from being road worthy or bullet proof enough to use on professional jobs. For me the internal AF on these cams is far far more reliable (and convenient).
Appreciate your videos very much Ed! Thank you for the insight. After working with a BMPCC 6k Pro for a longer time it was a breeze for me personally to get the S5 II and shoot internal Long-GOP with a light and more flexible set-up. I find it to be incredibly nice looking and still flexible in relation to the tiny file sizes. Also, I can chill out at jobs again knowing that everything is backed up onto the second SD card...I`ve always been a little nervous shooting onto one SSD somehow. I love the look of the BRAW on the S5IIx though, seems to be the best of both worlds! And your B-roll and grade looks incredible! May I ask which lens(es) you used for the b-roll in the park during sunset?
Most of it was on the Helios 44-2 which pairs really nicely with shooting in RAW on this camera, felt like I was getting close to my Komodo image as it smoothed a lot of the sharpness out. Some LUMIX S 50mm as well.
Thanks for the nice content you made🙏, it helps a lot! I have one question: in my case (S5ii + video assist), my braw’s gamma and color space are locked. Any detail settings I missed? Or this is only for S5iiX not for S5ii😅
Where are they locked? Did you buy the BRAW upgrade and shoot in BRAW? If yes - and you're looking in your RAW tab in resolve,.on the left, second from top should be "decode using" it's probably set to Project, change it to "clip" this will then allow you to adjust your footage on a clip by clip basis!
@@EdProsser Thank you for your kind reply 🙏, yes, I can select ‘clip’ and change everything except gamma, color space and ISO. I know ISO is locked for everyone😅
Yes you are right, it's a type of compression, but it's noted so people know which h264 recording method was used in the sample footage as the S5 iiX has multiple internal compression types, h264 long gop or all-i as well as HEVC. Not enough space to write h264 + long gop - granted that would have been clearer!
hey Ed - love the channel - it's amazing!. Quick question re BRAW please - when you shoot BRAW with the s5iix do you shoot in v-log and use the the dual ISO methodology of Black Magic camera's BRAW implementation (where you try to shoot at 400 ISO or 3200 ISO for lower light scenarios) so that you can be at the optimum ISO (noise) settings for changing the ISO in the BRAW panel in Davinci Resolve? i think the dual native ISOs for the s5iix is 400 and 4000 but is only applicable when shooting v-log...Hope this question makes sense, thanks!
I think it makes sense - generally when shooting on any RAW camera, you want to shoot low light scenes at as low an ISO as possible as this tends to give you more range in the shadows. Exposing for higher ISO's tends to give you more range in the highlights - essentially moving ISO remaps where middle grey sits in your image - allocating your limited dynamic range more into shadows, balanced above / below middle grey or towards the highlights.
Thank you for this video man, i love it! You tested all the exact things I would've been curious about (especially the generational comparisons) Being able to have highlight recovery now is fantastic. An engineer at BM tweeted a while back about that feature, and said that apparently it uses leftover white balance data to do the recovery. Turns these cameras into dynamic range beasts The comments you mention about banding etc in the mark 2 cameras were interesting and the first I'd seen about it. I can't help but wonder if this is the trade off of having phase detect AF now. Panasonic's pitch about having contrast detect on the original S cameras was that you'd get sharper images etc, and everyone knew it was bs but there was some truth to it
A few people have reported this - mainly people who shoot on the cameras long term or have shot a lot on the mark 1 S5. I believe it is probably something to do with the updated AF and modifications to the sensor to accommodate this. I think maybe it's produced more aggressive noise and therefore maybe more noise reduction is happening in camera so to compensate they've increased the internal sharpening...
@@EdProsser yeah changes to the structure of the sensor are very much it - the on sensor PDAF means that those rows are "basically" interpolated (or, at least have a higher signal to noise ratio). I feel like most of us were happy to take a bit of an IQ hit to have decent AF though haha I would kill to have it on my S1..
Thank you for this video, really helpful! Might be a silly question but does ibis and autofocus still work when shooting raw? Also what is the higher iso's like in terms of noise when recording raw? Thank you!
Yes IBIS and AF work, a lot of this was shot on the vintage Helios lens making full use of IBIS. ISO works a lot similar as in camera, except you will see more defined noise, this is a good thing, as you can apply your own noise reduction in post which will probably give you better results than the internal NR. Obviously if you plan to shoot at high ISOs I'd do your own tests
@@EdProsser thank you so much for your reply! I shoot mainly run n gun type stuff (mainly weddings) so sometimes pushing the bmpcc 6k to it's limit (which is really good at high iso and can be saved) it's just the s5ii x is intriguing me because of the ibis as I handhold all day. Thanks!
How does the S5ii (non x) look compare to the X Braw.... is the higher data rate that much better? or will S5ii be just as cinematic? Cheers - great video
Pro res RAW or standard pro res? Both are great - but as you'll hopefully see from the video there are some issue with the pro res recording you should be aware of. The internal pro res recordings suffer from the same internal processing and have a weird gamma / contrast shift relative to other codecs. Personally I wouldn't shoot Pro Res RAW as you're locked to working in FCPX to colour grade which has very limited grading controls compared to resolve.
@@MayurMahapatraFilmsThere is a BRAW Toolbox for importing BRAW into FCP without transcoding, but it is still better to use native ProRes Raw for only FCP
@@EdProsser do you have a tutorial on connecting the Blackmagic monitor to the s5iix? I’m having a hard time with it. It keeps says This item cannot be set in the current mode System Frequency 24.00Hz CINEMA) when I try to turn on HDMI raw data output
Hmm strange, I do not, I don't have it in front of me ATM so will try set up soon and take a look. Generally my camera is set to PAL to shoot in 25 FPS and had no problems
I can't quite remember as it was shot last summer. Some of the stuff on the LUMIX S 50mm probably was but most of this is on the Helios 44-2 58mm so it's a bit ghosty as it is
Thanks for the test. It turns out that the external black magic recorder cannot record open gate? Or can it record no more than 30 frames in open gate mode? And what then are the differences from the ninja recorder?
I mention it can't record open gate in the video. Ninja recorder records pro Res RAW which is more of a true RAW but then you're locked into FCPX which I just don't think makes much sense if you want to shoot RAW to colour grade professionally. I don't own one so can't compare - but you'll get more info to play around with in PRR. For me BRAW is the best option, it's compressed RAW and can be used in Resolve very easily.
Hello how much FPS are capable to shot in 4K the S5IIX ? thanks I think the GH6 has more FPS in Slow Motion but I need to jump to the FULL FRAME ! I have a G85 and a BMPCC OG lol
I think if you need the AF and low light performance go with the LUMIX unless you're happy doing noise reduction in post. I haven't had huge issues with low light performance on my Komodo. Check out my long term review of the Komodo it might help.
What resolution is Blackmagic raw from the S5II? Pro Res Raw is 6k but I can't see how that's possible with Braw given the recorder only supports 2160 according to Blackmagic.
Hi, im having the panasonic S5 II X and thinking about buying this monitor. But i ONLY want to use it as a monitor? I just want to see the image from the panasonic screen on the monitor. Im using a SSD to record thrue USB C on the camera.?
You can use it as a monitor, but if you want to record RAW you have to record through the video assist. If you just want a monitor there are also much cheaper options!
@@EdProsser Im just a beginner :-) So i just went to the photoshop and asked what i should buy and he came with this one. I wanted 2000 nits and bigger then 5". What would you suggest? Thank yiu for answering!
When filming in BRAW in the VLOG picture profile, do you still need to film in a higher exposure or is that canceled out now that you have the raw metadata?
Generally you should expose specifically for the scene you're shooting - so when people tend to overexpose / expose to the right - what they're doing is protecting their shadows by raising them and then pulling the image down in post so detail in the low end of the image is preserved with less noise etc. This comes at the cost of the higher end of the image which you may be in danger of clipping. When you shoot in BRAW it's the same thing - you have a limited dynamic rage which is distributed above and below middle grey - changing the ISO usually affects where the dynamic range sits - so higher ISOs give you more range in the high end of the image and lower ISOs will give you cleaner shadows / more detail. The cams will have their "native" ISOs which basically means they have a good balance of shadow and highlight at that ISO - but isn't necessarily the ISO you should always shoot. When you shoot in RAW you're capturing a lot more data - which does help in pushing and pulling the image around - it'll break apart less easily - but it wont increase the dynamic range you get from the sensor. Hope that makes sense
TRIGGER ME! Hi, I I shoot BRAW on my s5iix using a blackmagic Video Assist 12G, 7 inch. I have a smallrig top handle with a red 'record' button to trigger start/stop recording using the usb c to remote mini jack cable that came with this handle. When I used this top handle for recording BRAW with my GH6 the trigger button worked perfectly. What a treat. Unfortunately my s5iix doesn't seem to send this trigger signal to my Video Assist... I get an error message on the screen of my s5iix, by the likes of : "This function is disabled while sending raw data over hdmi". I'm crying in the corner. Anyone got a solution?
@@EdProsser it IS possible. In the menu HDMI settings the option 'hdmi control' needs to be turned ON. By default it is turned off. Remote triggering works great once turned on.
I'm curious if the video assist is primarily to view your BRAW and then the footage is stored on the SD cards? Or does it have to be external recording to an ssd??
It has to be recorded externally - so the camera is outputting a "RAW" signal to the video assist and that is then capturing / recording the data - either onto an SSD connected to the Video assist or an SD card inside the Video Assist.
Because it's not just to have BRAW is it? It shoots pro Res and compressed media, takes images, has IBIS and a million other features absent on a larger and clunker BM body. Different tools for different jobs
@@EdProsser What other features other than the control menus of the LUMIX cameras. The BM also shoots in pro Res. The only difference I see is that the S5 is geared towards photographers and some video creators while the BM is for its video capabilities that is used for filmmaking.
@@doomedthunder6638it doesn't shoot compressed media... better form factor and all the other features I listed. I just didn't want a BM cam. Not sure what's so controversial about that. I bought the VA for my EVA1 so why not use it with my S5?
@@EdProsser There is nothing controversial about liking what you like. I’m just saying that I don’t count the BRAW and ProRes raw as a feature since it doesn’t work out of the box. So if you bought it for reasons other than that, it would make sense.
@@doomedthunder6638 it's a great content creation cam, esp. for RUclips and robust enough to bring out as an a cam on smaller professional jobs or as a b-cam to my Komodo or EVA1. It wears a lot of hats which I don't think the BM can do. I'm not a fan of the BM form factor either, nor its battery life. Gonna try out the BM 6kFF soon tho, to see if it can change my mind!
That screen latency really sucks, I thought they would have fixed that in the last firmware update. Having to not have audio pass through should not have to be an option
Golly, this is really making a good case for the upgrade…I was really considering FX30…but shooooot this looks fantastic, and with that lens you’re using with the swirly bokeh….man
@EdProsser i can’t wrap my head around how you can get a look so organic on the lumis s5; i’m really struggling with the digital look. i have an s5 with the 24-105 and sometimes is sooo digital. I put the MD at minus 40 and on halation the loss of detail at 165 to kind of mitigate that problem but with so i think i'm just destroing my image. i should probably buy a tiffen pro mist 1/8 and hopefully it will help. You have some suggestions on how to get an organic look or your neccessary steps to get that? It would help me soo much!
A lot of it is probably what I'm shooting - stuff like the location / quality of the lighting / framing. Also lens choice, using vintage lenses can help - using diffusion can help, then grading - not making an overly bright image, adding grain, adding a bit of blur etc. Turning all sharpening down in camera as well.
@@EdProsser thank you so much! I saw your videos of you grading and it was very helpful! Oh I didn’t knew there was a settings for the sharpness i couldn’t find it at all. Also i was thinking of getting a monitor because trying to focus on the camera little screen is a total nightmare, and also if i can get a Ninja V or BMM12g i would also improve the power of the lumix and finally record in an SSD. Do you think the 6k and 12 bits and all the new codecs would be a great step in quality? There is one you prefer the most or other monitors that you would suggets? I’m a little scared for the latency of the BMM because everyone seemed terrified by how bad that was but in the video seemed that it didn’t bother you at all; can you focus without any problem looking at the monitor in every situation? The Ninja V maybe i can find it used for 300/400€ and the BMM12g 500/600€
Don't waste you money on Lumix the Firmware is flawed / useless. >>>> Here is why : The S cameras do not allow to automatically adjust AUTOMATIC EXPOSURE when using MF or AF/S mode. They lock AE ; so when you do a run and gun reportage video or photo your AE is locked to ONE VALUE as soon as you keep the shutter half pressed, resulting in over and/or underexposed photos and footage :) However much I love everything about my S1/S1H/S5II in all practicality they are USELESS ( so have to go back to Sony ) ... honestly I do not know how Panasonic can get away with such a glitch :) NOT A SINGLE REVIEWER HAS POINTED THIS OUT : D
![Tee Grizzley - Blow for Blow (feat. J. Cole) [Official Video]](http://i.ytimg.com/vi/wNLN5xsx5dc/mqdefault.jpg)
A NOTE ABOUT PRO RES CONTRAST ISSUES: thanks to a comment by @filipmichalsaffray441 it appears Resolve is mis-interpreting the Pro res files - therefore if you're handling v-log Pro res files in resolve you should select the clip, go to "Clip Attributes" and make sure it's set to "Full" - NOT "Auto" or "Video" - doing this seems to eliminate most of the contrast / gamma issues. Not sure why it's doing this or how it can be fixed.
I was about to inform you about that 😉 This issue has been there forever, whether it's been recorded internally or externally.. very annoying!
Thanks for the video Ed!
@@davidmultimedia2024 is it applicable to all pro Res files? Or pro Res 422 hq? Or v-log?
I only moved to DR about a year ago so I guess not noticed before, but film a lot in PR on my Komodo, but I guess rarely do a side by side comparison of the same scene so dont often notice.
@@EdProsser It’s just for "V-Log" wrapped into ProRes (no matter if it’s 422 or 422 HQ). For instance, if you record ProRes with another photo profile, you don’t get the issue.
When you buy Emotive Color’s Alexa conversion (shameless plug lol), it comes with many other technical LUTs, including one that correct the levels, so you can insert it at the beginning of your node tree, save it as a PowerGrade, so every time you apply it to your footage, you don’t have to go in the Clip Attributes and change it manually (you leave it on Auto). You get identical results.
Do you make the Emotive Color stuff? I remember using the GHAlexS LUTs for GH5 but haven't checked back with them since.
@@EdProsserAlex Mack is the guy behind Emotive Color, but I’ve been involved in the early development since 2017 (starting with the GH5). We stayed in touch ever since, and I’m part of the “support team”. You should definitely get it for the S5IIX (and first gen S series if you are still using those), at least to use the LogC precise conversion as a starting point instead of V-Log (you’ll be blown away). Lots of upgrades over the years, and it’s now better than ever.
The latest version now features a computed recreation of ARRI Rec709 that projects edge gamut behaviour to encompass the entirety of LogC gamut, while preserving this extreme gamut within the limits of Rec.709. This allows a smooth film-like response to color LEDs (unlike ARRI’s display tables, which clip far gamut at 0.0 - 1.0). This is some pretty nerdy stuff, but I’d be happy to share more with you in private, if you’re interested. I really dig your channel ;)
WOW! It's such a breath of fresh air to find educational videos that are both in-depth and accurate like this! Most creators on RUclips simply echo what they've heard from others, never really investing their own effort into researching the details as you have done here. Bravo! Subscribed!!
I've also found the highlight recovery function very helpful in fixing over-saturated tail lights and street lights.
@@zechenwei1139 thanks for the sub! I'm glad it's been useful, a good use of a quiet January working on this.
I greatly appreciate your input for the filmmaking community. Thank you!
No worries, this one was a LOT of work but Jan is always quiet with freelance work!
Thank you for the cable yank test.
You're welcome
Yes, I found this really useful. I often use BRAW on the original S5 and it's helpful to see how it performs on the S5XII, especially in comparison to the S5
Yeah it seems like a big improvement! - differences to colour / sharpening
One of the more comprehensive look at BRAW implementation. Thanks Ed!
It's so nice to see what this camera is capable of. It makes me proud to own it and I hope i'll be able to use the full potential of it.
I really get why it took you longer to put out this video. It's hard to film a thing once but three times is way harder...analising it and to juggling with it in editing...i can't imagine. Ed, thank you for always briging us quality content!
Thanks! Started planning this before Christmas - wrote and recorded an initial script but found I had to keep adding stuff so re-recorded a few sections! I think it helps break up the vid having the different pieces to camera.
Sometimes a video has to develop like this rather than recording all in one go!
Great video. I once owned the BMPCC4K. And I loved working with BRAW. Being a low budget filmmaker, I moved onto Sony for the autofocus. But, I've been looking at various cameras I would want to upgrade to. Having heard about the BRAW implementation using the S5ii/x, plus the powerful features of the S5iix, I began to look at the S5iix again. Watching this video, I am drawn back to the S5iix once more. When you add up the costs of getting the Blackmagic recording monitor for capturing BRAW along with the S5iix, you're still looking at competitive pricing for what you get. Thanks for putting this together. It's very helpful.
Thanks for checking it out! Yep for the price of cam + recorder and a lens you're still cheaper than most RAW capable Sony / canon options which in most case wouldn't even get you a camera body with those brands.
@@EdProsser plus with sony, it's Prores RAW (yuck)
@@yesthisisdonutlol yeah there is that too.
PRR is not awful per se, it's just pointless that it locks you into a program like FCPX which Apple has failed to evolve over the years. I hope they can open it up to be used in other editing software. It's also a true RAW format compared to BRAW, although for me a compressed RAW is my preference.
@@EdProsser Just a quick note on this. There is a way (or two) for us Resolve users to record ProRes RAW, then convert it to Cinema DNG, and then edit that in Resolve. I know that Sidney Baker Green has two videos on his channel on how to do this (the second video is an update with improved tips, I think). I believe that there is a free program to make the conversion from PRR to Cinema DNG for both macs and one for PCs (not sure about Linux though).
@@marinrealestatephotography yes but personally the workflow isn't feasible across multiple professional projects as it requires huge data storage demands esp. if you want to keep original PRR rushes and backups.
dude you are the man! you confirmed my suspicions about a post processing on the internal codec that makes the image way less organic. I shoot pro res, cause I am a glutton for punishment as far as my davinci workflow, but the results are very similar. thanks for the video dude!
My pleasure!
Great video dude! The Lumix system is just getting stronger and stronger. Its wild
Yes! So excited to see what else they have in store for their next camera release
Definitely pushing the needle when it comes to what mirrorless cameras should be doing, Sony need to take note @@EdProsser
Yeah the Sony's are doing a lot of things right, but there's far too much missing for the premium they're charging
Awesome stuff, Ed! Thanks for all the insight. Super informative!
Glad it was helpful!
Thank you that make me more knowledge of learning BRAW
That looks sooooo nice dude, well done!
thanks man
Excellent video as always. Crazy how much these cameras are packing nowadays.
Yeah for the price they're amazing value
Outstanding! Thank you for such detailed and useful exploration of this topic.
My pleasure
Great video!! You’re awesome for this 🔥
Thank you 🙌
Thanks for making this, really insightful! I recently got the Video Assist 5" 12G for use with my S1. Busy editing the first project filmed in BRAW now. Hoping to upgrade to the (rumoured) S1iix in the next couple of years.
Yeah who knows what the next Panasonic release will be, am very interested to see what happens next! Good luck with the project!
Thanks so much for showing these comparisons in this video!
Yeah sorry RUclips has compressed a lot of the detail out but hopefully gives hints of the differences!
@@EdProsser I asked about the difference between the RAW video of the S5IIX and the original S5 in a Lumix livestream (in the context of asking about the G9II’s RAW video). They attributed the difference to how the Video Assist handles the RAW signal coming in, as opposed to there being a difference on the camera side. So maybe it was Blackmagic that did something different this time around with the S5IIX’s BRAW? Their response is at 46:00 in the 2/15/24 livestream, if you’re interested.
@@leafcatcherstudio if that were the case why would it differentiate between the two cameras? My VA is the same and hasn't been updated so it must be the signal sent from camera? It's RAW data being exported from the camera and captured by the recorder...
@@EdProsser Yeah, I’m not sure I 100% buy their answer. But I wanted to pass on their take, since you did this investigation.
@@leafcatcherstudio thanks I'll check out the stream. I know the implementation is a collaboration between LUMIX and Black magic but seems odd that they'd give the iiX a great RAW quality and not roll it out for the original S5 as they both have the same sensor. But I have no idea how these things work at the image processing level, it's a black box!
Great video dude!, the image of this camera is nice in BRAW :)
very nice, thank you !!! lot of stuff to learn here
Glad it was helpful!
Thank you for another excellent video. Super clear and very informative.
Good !
Those file sizes in BRAW… wow
Yeah you get used to it!
Loving this “chunky” review! Can only hope that open gate comes in the next S1H body 👀
I'm not certain, but I remember hearing somewhere that it's a limitation of the HDMI standard rather than the camera, so it'd need to be SDI
@@EdProsser ahh. That makes sense. Then we’ll have it for the new BS1H 😆
@@jordanadudek or internal BRAW on the next LUMIX cam 😈
@@EdProsser I’d return my 6k FF so fast
Great content as always 🙏🏼
Very interesting video. You clearly know your stuff!
Or can convincingly pass for someone who does
those helios shots are f*** beautiful!
They are!
For shooting Music Video, the HDMI Delay is a Deal Breaker fo me...
You can work past that by getting the 7in and feeding audio into the recorder itself. More difficult to organize wires, but a decent workaround.
Great video, Ed! Thanks for sharing all this valuable information.
I really hope one day Lumix, or BM, will fix the digital look in the BRAW footage filmed on the first generation of Lumix S cameras 😅
Yeah I somehow doubt it! I'd really love to see internal BRAW on future LUMIX cameras - but I think the chances are low.
@@EdProsser Ah! What about BRAW on the EVA? Does it look oversharpened like the OG S5?
Love these vids ed! I can see that a BM recorder is in my S5ii’s future now 😮
Yes! Deffo worth checking out. If you've got the S5 ii (not the iiX) you'll have to also pay for the RAW upgrade key which is around $300 I think
@@EdProsser $149
Nice work!
Great video! Thanks for sharing. Need to get me a black magic monitor 🔥🔥
Do it!
What a good video thank you very much
Nice one! Good that you interpret the footage, cause un YT its really hard to see!
Yeah if I can find time I might curate some samples to download but YT really really kills stuff like this. Best to watch in 4k on the biggest monitor possible
Great video Ed, I Really enjoy shooting Braw with my Lumix S5mark2, I'm not a pro color colorist So I'm always experimenting with different looks and getting to know the Resolve software.
What quality settings do you tend to shoot at and how have you found managing the increased data rates?
Have you been able to notice the quality difference over shooting internally?
@@EdProsser I hardly shoot internally anymore lol, I find shooting at Constant bitrate at 8:1 works for me, I have external SSD drives that I shoot with as well. I also noticed My PC computer is able to process the Braw much better than Internal camera recording lol. Cheers!
@@pixelcityart3554 totally esp compared to editing H265 - I think that's one of the benefits that people don't understand - they think RAW is gonna kill their computer performance, but it's the opposite!
Awesome video, thanks man. Which lens did you use on the shot at 8:11? looks gorgeous 🤙
This is on the ol'Helios 44-2 58mm ! I think it pairs really well with this camera when shooting RAW, takes the edge off and gives a nice organic image
@@EdProsser I love shooting with the Helios in my S5 mk1 and thinking about upgrading to mk2 X. You videos really support my idea, especially when seeing your images with the Helios :)
Yeah I seem to have a very nice copy of the lens
Incredible video as always. The Blackmagic assist doesn't have delay problems? I've seen some people complaining about the delay when they use external monitors
Yeah cover this in the vid - check out my section on things to watch out for - 11:34
@@EdProsser It's true. I hurried before watching the video. Thank you for responding
@@MrFreddGG 🤣 it's okay everyone does it
I currently own the S5 and I love the Vlog coming out of it, reminds me of my Bmpcc OG. So I will not need any B raw at the moment.
the internal image is still great, I agree! BRAW will let you squeeze the most out of the camera's sensor when you need it.
@@EdProsser maybe one day I will have the money to play with it😊 I enjoyed seeing your results and workflow.
great review, thank you very much,
many times the difference of recoding externally is not big enough, or not to the point of worth doing it... but with this set up is quite tempting, specially if you are in the market for a small monitor.
might as well get this monitor and have the option to have extra room in post production.
Wish black magic upgraded their monitors this year, but still quite good for the S5mk2 (at least they brought the price down, hope is reflected in the country I live, which I doubt)
Yeah the image quality of the monitors is not the best to be honest!
Love it, Ed! Thanks for covering all the good and things to look out for. Been contemplating getting a video assist for a while now for client work, but also green screening for Unreal Engine + Blender. How do you find 12:1 on Constant Bitrate (if you've tried it out yet) ?
I think it's fine and have captured lots of stuff at that level - I might even go down to that for an interview if it's going to be a long one. I'd say if you are green screening maybe bump up the quality a bit as it'll help with keying - deffo test it out though!
@@EdProsser I appreciate the response. I'll report back on my findings. Thanks Ed!
BRAW was already great with S5 org (I am still using IT and waiting If Lumix Push Out a S1Hii or what other Name they find for IT )one downside for me as I shoot mostly live shows IT IS in BRAW you don't have Backup Like prores RAW with Sony FX3...
If Not will go with S5iiX...and yeah Highlight Recovery IS great specially with P6K P4K wich I also have😊
By the way best image ever was ProresRAW with S5 org...converter to CDNG to makr IT Work in Resolve.
About internal prores you don't think IT IS because resolve reconise IT as Video and Not full range 0-1028 that IT IS more contrasty.
Usually every Ninja V Vlog footage I have I need to change the Video Clip Attribute to full...auto doesn't Work at all...about ssd cable I got alaways a 256 V60 sd in the BM video assist for backup ...in case of failure...
Yeah Pro res raw offers the best true RAW option - but the workflow and data rates aren't convenient to use full time for my own work. BRAW is the best compromise between compression and image quality whilst retaining RAW settings.
Pro Res contrast - you know what you might be right - clicked on clip attributes - and it's by default set to "auto" and it's clear it's interpreting as "video" - when selecting "full" it does (mostly) eliminate the contrast differences - great catch - thank you for that!
great video Ed.. But I use FCPX. then BRAW is not for me
I used to work in FCPX (for nearly 10 years) but eventually made the move full time to Resolve last year - I love it!
Oh no, thought open gate braw was possible - Really hope it'll be in the future. Maybe with a S1ii?
Would also love to see the ability to turn off all internal processing, including lens correction, even without braw :)
I believe the open gate thing is a limitation of the HDMI standard? So it'd need to be via SDI
@@EdProsser Thanks for the answer! That could be it!
The way the codecs handle the highlights is the main difference. Most colorist coils make them all look could.
I have the S1 and actually like the look of BRAW on it. It’s still an improvement over the internal codec which is still great because the internal codec is really good.
I also use the PD Movie Lidar Follow Focus with my cinema lenses so the S5ii af is useless for me.
Nice to know!
I found the PD movie LiDAR pretty unusable for professional work - it felt more like a prototype at this stage.
@@EdProsser many people don’t know it’s has speed settings. Set the auto focus speed to medium and it’s perfect. It’s better than trying to pull focus if you’re not good at it. It locks onto anything you point it at.
@@MrJayclas I tested it out as was going to make a video on it - but couldn't recommend it as a professional tool yet - they've still got work to do to improve it.
The user interface is very clunky, swapping back from AF / MF control is clunky - the performance of the LiDAR is also not great - in anything other than very specific or controlled lighting situations - can't be used with a matte box or certain other screw on filters if they obscure the beam.
If you have a relatively static shot and subject walking backwards and towards to camera it's okay - but then it's overkill as I can pull focus for that. For vlogging it might be nice, but again I'd just use an AF lens for that.
It's a nice tool and it will improve, but I think it's a few generations away from being road worthy or bullet proof enough to use on professional jobs.
For me the internal AF on these cams is far far more reliable (and convenient).
Appreciate your videos very much Ed! Thank you for the insight. After working with a BMPCC 6k Pro for a longer time it was a breeze for me personally to get the S5 II and shoot internal Long-GOP with a light and more flexible set-up. I find it to be incredibly nice looking and still flexible in relation to the tiny file sizes. Also, I can chill out at jobs again knowing that everything is backed up onto the second SD card...I`ve always been a little nervous shooting onto one SSD somehow. I love the look of the BRAW on the S5IIx though, seems to be the best of both worlds! And your B-roll and grade looks incredible! May I ask which lens(es) you used for the b-roll in the park during sunset?
Most of it was on the Helios 44-2 which pairs really nicely with shooting in RAW on this camera, felt like I was getting close to my Komodo image as it smoothed a lot of the sharpness out. Some LUMIX S 50mm as well.
Thanks for the nice content you made🙏, it helps a lot! I have one question: in my case (S5ii + video assist), my braw’s gamma and color space are locked. Any detail settings I missed? Or this is only for S5iiX not for S5ii😅
Where are they locked? Did you buy the BRAW upgrade and shoot in BRAW? If yes - and you're looking in your RAW tab in resolve,.on the left, second from top should be "decode using" it's probably set to Project, change it to "clip" this will then allow you to adjust your footage on a clip by clip basis!
@@EdProsser Thank you for your kind reply 🙏, yes, I can select ‘clip’ and change everything except gamma, color space and ISO. I know ISO is locked for everyone😅
0:36 Long GOP isn’t a codec , BRAW and ProRes is a Codec
Yes you are right, it's a type of compression, but it's noted so people know which h264 recording method was used in the sample footage as the S5 iiX has multiple internal compression types, h264 long gop or all-i as well as HEVC. Not enough space to write h264 + long gop - granted that would have been clearer!
Been meaning to try out BRAW on the Sigma fp and Zcam. So curious to see how it comes out of those cameras.
Yeah, I'm really keen to pick up a little SigmaFP, but also interested to wait and see whether they bring out a new model this year
@@EdProsser it’s such a fun camera to use. Has its quirks, but the image is super! But yeah, eager to see if there’s any news on an updated model.
hey Ed - love the channel - it's amazing!. Quick question re BRAW please - when you shoot BRAW with the s5iix do you shoot in v-log and use the the dual ISO methodology of Black Magic camera's BRAW implementation (where you try to shoot at 400 ISO or 3200 ISO for lower light scenarios) so that you can be at the optimum ISO (noise) settings for changing the ISO in the BRAW panel in Davinci Resolve? i think the dual native ISOs for the s5iix is 400 and 4000 but is only applicable when shooting v-log...Hope this question makes sense, thanks!
I think it makes sense - generally when shooting on any RAW camera, you want to shoot low light scenes at as low an ISO as possible as this tends to give you more range in the shadows. Exposing for higher ISO's tends to give you more range in the highlights - essentially moving ISO remaps where middle grey sits in your image - allocating your limited dynamic range more into shadows, balanced above / below middle grey or towards the highlights.
Thank you for this video man, i love it! You tested all the exact things I would've been curious about (especially the generational comparisons)
Being able to have highlight recovery now is fantastic. An engineer at BM tweeted a while back about that feature, and said that apparently it uses leftover white balance data to do the recovery. Turns these cameras into dynamic range beasts
The comments you mention about banding etc in the mark 2 cameras were interesting and the first I'd seen about it. I can't help but wonder if this is the trade off of having phase detect AF now. Panasonic's pitch about having contrast detect on the original S cameras was that you'd get sharper images etc, and everyone knew it was bs but there was some truth to it
A few people have reported this - mainly people who shoot on the cameras long term or have shot a lot on the mark 1 S5. I believe it is probably something to do with the updated AF and modifications to the sensor to accommodate this. I think maybe it's produced more aggressive noise and therefore maybe more noise reduction is happening in camera so to compensate they've increased the internal sharpening...
@@EdProsser yeah changes to the structure of the sensor are very much it - the on sensor PDAF means that those rows are "basically" interpolated (or, at least have a higher signal to noise ratio). I feel like most of us were happy to take a bit of an IQ hit to have decent AF though haha I would kill to have it on my S1..
Hey, can anyone tell me if we can shoot BRAW on any other monitor but Blackmagic Assist? Thanks,
No the blackmagic assist is the device that captures the braw
Thank you for this video, really helpful! Might be a silly question but does ibis and autofocus still work when shooting raw? Also what is the higher iso's like in terms of noise when recording raw? Thank you!
Yes IBIS and AF work, a lot of this was shot on the vintage Helios lens making full use of IBIS. ISO works a lot similar as in camera, except you will see more defined noise, this is a good thing, as you can apply your own noise reduction in post which will probably give you better results than the internal NR. Obviously if you plan to shoot at high ISOs I'd do your own tests
@@EdProsser thank you so much for your reply! I shoot mainly run n gun type stuff (mainly weddings) so sometimes pushing the bmpcc 6k to it's limit (which is really good at high iso and can be saved) it's just the s5ii x is intriguing me because of the ibis as I handhold all day. Thanks!
DAYUMM
How does the S5ii (non x) look compare to the X Braw.... is the higher data rate that much better? or will S5ii be just as cinematic? Cheers - great video
S5ii braw looks the same... And the image from the S5ii and S5iix is identical in the same recording modes
@@EdProsser Great - thanks Mate :)
Do you think you can maybe upload some BRAW sample footage from the s5iix to test out ?
Am away at the mo but possibly on my return if I have time
@@EdProsser yes please. If possible do send upload some sample BRAW footage do try out. It would be really helpful! Thanks !
@mohammedfahim9918 actually you can download BRAW sample footage from the black magic website
@@EdProsser oh specifically from the s5ii/x? I didn’t know that
Thank you!
@@mohammedfahim9918 oh boo probably not specifically from the camera. BMD cameras only I assume. But will give you a flavour of working with BRAW
Hi! Panasonic Lumix S DC-S5 IIX - Does Phase Detection AF works on FullHD 1080 60p?
As an open gate only shooter i am disappointed i cant use braw as it does not support open gate.
I think it might be a limitation of the HDMI standard rather than the camera, not 100%
great video Ed.. But I use FCPX. then BRAW is not for me. Is Prores good enough?
Pro res RAW or standard pro res? Both are great - but as you'll hopefully see from the video there are some issue with the pro res recording you should be aware of. The internal pro res recordings suffer from the same internal processing and have a weird gamma / contrast shift relative to other codecs. Personally I wouldn't shoot Pro Res RAW as you're locked to working in FCPX to colour grade which has very limited grading controls compared to resolve.
@@EdProsser I am also using color finale pro for colour grading..
@@MayurMahapatraFilmsThere is a BRAW Toolbox for importing BRAW into FCP without transcoding, but it is still better to use native ProRes Raw for only FCP
If I’m shooting anamorphic, does the monitor work?
Yes
@@EdProsser do you have a tutorial on connecting the Blackmagic monitor to the s5iix? I’m having a hard time with it. It keeps says This item cannot be set in the current mode
System Frequency 24.00Hz CINEMA) when I try to turn on HDMI raw data output
Hmm strange, I do not, I don't have it in front of me ATM so will try set up soon and take a look. Generally my camera is set to PAL to shoot in 25 FPS and had no problems
are you using a mist filter for the shots with the woman?
I can't quite remember as it was shot last summer. Some of the stuff on the LUMIX S 50mm probably was but most of this is on the Helios 44-2 58mm so it's a bit ghosty as it is
Which lens did you use at 2:42 and 8:13?
Loved the swirls
The Helios 44-2
@@EdProsser did you use the 18mm 1.8 in this video?
Your hair looks much fuller on 422 HQ compared BRAW and internal LONG GOP , 422 HQ better?
Could be the contrast difference making it look that way?
Are you able to use gyro stabilization in davinci with the lumix braw?
Unfortunately no
Does s5iix ibis still work, while shooting 4k24p external braw?
Yes
Thanks for the test. It turns out that the external black magic recorder cannot record open gate? Or can it record no more than 30 frames in open gate mode? And what then are the differences from the ninja recorder?
I mention it can't record open gate in the video. Ninja recorder records pro Res RAW which is more of a true RAW but then you're locked into FCPX which I just don't think makes much sense if you want to shoot RAW to colour grade professionally. I don't own one so can't compare - but you'll get more info to play around with in PRR. For me BRAW is the best option, it's compressed RAW and can be used in Resolve very easily.
Can you capture BRAW to external ssd or you need a BMD Monitor?
You need to do it via the BMD monitor unfortunately
Hello how much FPS are capable to shot in 4K the S5IIX ? thanks I think the GH6 has more FPS in Slow Motion but I need to jump to the FULL FRAME ! I have a G85 and a BMPCC OG lol
should I get the Lumix s5iix or the red Komodo? (coming from Sony fx30
It depends what you want and what you need? Fairly different cameras... Both great
@@EdProsser I want raw but definitely need low light/af
@@realiam1am go for the Lumix
@@EdProsser also I have a red scarlet x
I think if you need the AF and low light performance go with the LUMIX unless you're happy doing noise reduction in post. I haven't had huge issues with low light performance on my Komodo.
Check out my long term review of the Komodo it might help.
Are there more Braw possibilities on the GH6 than on the S5iix?
Hmm I'm not sure as never used that cam, possible diff frame rates and resolutions?
they both support Braw. should be the same
What resolution is Blackmagic raw from the S5II? Pro Res Raw is 6k but I can't see how that's possible with Braw given the recorder only supports 2160 according to Blackmagic.
You can choose several options, but tops out at 5.9k resolution which I believe is detailed in the vid
Hi, im having the panasonic S5 II X and thinking about buying this monitor. But i ONLY want to use it as a monitor? I just want to see the image from the panasonic screen on the monitor. Im using a SSD to record thrue USB C on the camera.?
You can use it as a monitor, but if you want to record RAW you have to record through the video assist. If you just want a monitor there are also much cheaper options!
@@EdProsser Im just a beginner :-) So i just went to the photoshop and asked what i should buy and he came with this one. I wanted 2000 nits and bigger then 5". What would you suggest? Thank yiu for answering!
@@pep98 Atomos Shinobi 7in or a smallHD?
@@EdProsser Thank you! I decided for the shinobi, orderd it today.
@@pep98 great, that's the monitor I use
On youtube almost no difference after compression
Yeah not much can do about that, tried to zoom in, but YT sucks the life out of it
A real shame that even with external recorders the S5IIX in 2024 can’t record 6K open gate in BRAW.
I can't quite remember but I think I remember someone saying it's a limitation of the HDMI standard rather than the camera, but yeah it sucks!
When filming in BRAW in the VLOG picture profile, do you still need to film in a higher exposure or is that canceled out now that you have the raw metadata?
Generally you should expose specifically for the scene you're shooting - so when people tend to overexpose / expose to the right - what they're doing is protecting their shadows by raising them and then pulling the image down in post so detail in the low end of the image is preserved with less noise etc. This comes at the cost of the higher end of the image which you may be in danger of clipping.
When you shoot in BRAW it's the same thing - you have a limited dynamic rage which is distributed above and below middle grey - changing the ISO usually affects where the dynamic range sits - so higher ISOs give you more range in the high end of the image and lower ISOs will give you cleaner shadows / more detail. The cams will have their "native" ISOs which basically means they have a good balance of shadow and highlight at that ISO - but isn't necessarily the ISO you should always shoot.
When you shoot in RAW you're capturing a lot more data - which does help in pushing and pulling the image around - it'll break apart less easily - but it wont increase the dynamic range you get from the sensor. Hope that makes sense
Do I need an adapter to use the Russian lenses you used?
The Helios? Yes, you can adapt to EF and adapt ef to L or M42 to L
@@EdProsser okay sweet, have any recommendations?
@@Seph_vision the M42 -ef adapter is just a cheap metal ring, any will do. Then whatever ef-l adapter you prefer, I use the sigma one
@@EdProsser okay awesome thank you
TRIGGER ME! Hi, I I shoot BRAW on my s5iix using a blackmagic Video Assist 12G, 7 inch. I have a smallrig top handle with a red 'record' button to trigger start/stop recording using the usb c to remote mini jack cable that came with this handle. When I used this top handle for recording BRAW with my GH6 the trigger button worked perfectly. What a treat. Unfortunately my s5iix doesn't seem to send this trigger signal to my Video Assist... I get an error message on the screen of my s5iix, by the likes of : "This function is disabled while sending raw data over hdmi". I'm crying in the corner. Anyone got a solution?
I'm not sure sorry! It's probably a limitation when shooting RAW as that's the only data it can output
@@EdProsser it IS possible. In the menu HDMI settings the option 'hdmi control' needs to be turned ON. By default it is turned off. Remote triggering works great once turned on.
I'm curious if the video assist is primarily to view your BRAW and then the footage is stored on the SD cards? Or does it have to be external recording to an ssd??
It has to be recorded externally - so the camera is outputting a "RAW" signal to the video assist and that is then capturing / recording the data - either onto an SSD connected to the Video assist or an SD card inside the Video Assist.
@@EdProsser Awesome, thank you. I've only used Atamos up until now.
I just don’t understand why you would spend this much for a camera and the extra accessories just to have BRAW. Why not just get a Blackmagic camera?
Because it's not just to have BRAW is it? It shoots pro Res and compressed media, takes images, has IBIS and a million other features absent on a larger and clunker BM body. Different tools for different jobs
@@EdProsser What other features other than the control menus of the LUMIX cameras. The BM also shoots in pro Res. The only difference I see is that the S5 is geared towards photographers and some video creators while the BM is for its video capabilities that is used for filmmaking.
@@doomedthunder6638it doesn't shoot compressed media... better form factor and all the other features I listed. I just didn't want a BM cam. Not sure what's so controversial about that. I bought the VA for my EVA1 so why not use it with my S5?
@@EdProsser There is nothing controversial about liking what you like. I’m just saying that I don’t count the BRAW and ProRes raw as a feature since it doesn’t work out of the box. So if you bought it for reasons other than that, it would make sense.
@@doomedthunder6638 it's a great content creation cam, esp. for RUclips and robust enough to bring out as an a cam on smaller professional jobs or as a b-cam to my Komodo or EVA1. It wears a lot of hats which I don't think the BM can do. I'm not a fan of the BM form factor either, nor its battery life.
Gonna try out the BM 6kFF soon tho, to see if it can change my mind!
That screen latency really sucks, I thought they would have fixed that in the last firmware update. Having to not have audio pass through should not have to be an option
Yeah it's not great, I don't know if firmware can fix it to be honest.
What about the ProRes options in BM assist?
Do they have the same limitation with sensor crop and frame rates?
Yes as they're just recording the signal from the camera
Great video! Thanks for sharing🤘🏼
really nice video!!!
Golly, this is really making a good case for the upgrade…I was really considering FX30…but shooooot this looks fantastic, and with that lens you’re using with the swirly bokeh….man
The little Helios in action! Yeah I mean, either camera is a great choice!
Can you record BRaw files from the black magic assist to the blade ssd storage and handle over usbc?
You'd need a usb cable from the blade to black magic video assist but I don't see any reason why not wouldnt work
@EdProsser i can’t wrap my head around how you can get a look so organic on the lumis s5; i’m really struggling with the digital look. i have an s5 with the 24-105 and sometimes is sooo digital. I put the MD at minus 40 and on halation the loss of detail at 165 to kind of mitigate that problem but with so i think i'm just destroing my image. i should probably buy a tiffen pro mist 1/8 and hopefully it will help. You have some suggestions on how to get an organic look or your neccessary steps to get that? It would help me soo much!
A lot of it is probably what I'm shooting - stuff like the location / quality of the lighting / framing. Also lens choice, using vintage lenses can help - using diffusion can help, then grading - not making an overly bright image, adding grain, adding a bit of blur etc. Turning all sharpening down in camera as well.
@@EdProsser thank you so much! I saw your videos of you grading and it was very helpful! Oh I didn’t knew there was a settings for the sharpness i couldn’t find it at all. Also i was thinking of getting a monitor because trying to focus on the camera little screen is a total nightmare, and also if i can get a Ninja V or BMM12g i would also improve the power of the lumix and finally record in an SSD. Do you think the 6k and 12 bits and all the new codecs would be a great step in quality? There is one you prefer the most or other monitors that you would suggets? I’m a little scared for the latency of the BMM because everyone seemed terrified by how bad that was but in the video seemed that it didn’t bother you at all; can you focus without any problem looking at the monitor in every situation? The Ninja V maybe i can find it used for 300/400€ and the BMM12g 500/600€
Don't waste you money on Lumix the Firmware is flawed / useless. >>>> Here is why : The S cameras do not allow to automatically adjust AUTOMATIC EXPOSURE when using MF or AF/S mode. They lock AE ; so when you do a run and gun reportage video or photo your AE is locked to ONE VALUE as soon as you keep the shutter half pressed, resulting in over and/or underexposed photos and footage :) However much I love everything about my S1/S1H/S5II in all practicality they are USELESS ( so have to go back to Sony ) ... honestly I do not know how Panasonic can get away with such a glitch :) NOT A SINGLE REVIEWER HAS POINTED THIS OUT : D