Congratulation! This is by far the best tutorial how to expose V-Log correctly, either targetting at getting middle grey right or the whole scene w/o clipping the highlights (for example in landscape shootings). I came to some sort of solution for protecting the highlights in V-Log by experimenting with the wave form monitor and observing at which percentage adding more light starts compressing the wave form at the upper end - and that was around 95%. So, I set my zebra to 90% to be on the safe side - and overexposed footage was gone! And, now I learned from your great tutorial, that the luminance spot meter on the S1H in V-Log mode exactly measures the stops of the light. I just did the test with my S1H while watching your video. It is a perfect fit: when the zebra for 90% comes into action the spot meter is around +6 stops, leaving me 0,3 stops lee way. I really ask myself where those stupid recommendations come from saying one should overexpose V-Log by 1-2 stops in principle, especially with such precise measurement instruments in my hands.
8:25 is where the light bulb for me jsut turned on. Wow, i actually now understand this way more then i thought i would. Thank you so much, your such a good teacher. Thanks.
Part way through the video (just bought an S5 as an upgrade from A6300). Very useful so far, clearly explained, great presentation and just the right pace. What has impressed me even more is your answering of questions in the comments. Subscribed!!!
Thanks for this video . I have been struggling with Vlog but after your video I feel much more confident in getting the right exposure and knowing how much leaway I have with both highlights and shadows. Thanks dude 👍
A huge THANK YOU Joseph! I know this video is a year old, but just I stumbled on this today. This is by far the most clear cut explanation of white balance and luminance correction/settings I've seen! I thought I was just too dense to comprehend how to use the color/luminance card correctly. Just got my GH6, so much to learn!
I did sell my pocket 4k and got the S5. I honestly not missing it at all. Fullframe, amazing stability, very compact and light. All what I need from the kind of job I do. Just love it.
I bought a used GH5s as a (B-cam) for my BMPCC4k, and I was confused about perfect exposure in the gh5s, and you nailed it! This what I'm looking for exactly, thanks a lot Joseph, this is very useful.
Excellent tutorial! I recently used my S5's to record interviews on the Navajo reservation for a PBS segment on solar power. I recorded in V-Log 709 and intentionally overexposed by a full stop. Why? Because overexposing then correcting in post reduces noisy shadows, plus the videos looked fantastic after adding the V-Log LUT.
@@photojoseph Thanks for the attention, I watched again and understood! It was some lack of attention from my end (it's not my native language, that's why)
Hi Joseph, Really appreciate this effort to explain everything in details.... it's a great help....wanted to know if you have covered in video about the knee and slope of vlog
I didn't… pretty arcane video topic, I think. I'd suggest reading white papers and technical analysis if it's something you really want to dig into, sorry.
@@photojoseph Thanks for your reply... Honestly I also don't know... but someone on UA-cam was explaining how it affects highlights roll off on Sony Slog... and it actually works in Slog if I assume that person shared the exact same thing... Although don't have any complaint about vlog highlight roll off but seems interesting to know... searched on internet and it's there for almost all panasonic cameras from past but nowhere it's mentioned how to use it... Sony settings are different than Panasonic hence can't use that video as guidance
Mil gracias por este vídeo y sobre todo a la persona que lo ha traducido a Español porque gracias a él he podido comprender la clase magistral . Acabó de comprarme la lumix S5 para hacer vídeos no profesionales pero me gusta hacer las cosas bien y antes que nada aprender como se utiliza y cuáles son las opciones que tengo con ella. Mil gracias
Love your videos! I started watching them during the pandemic, and have been a student of the game for a couple years now. Do you always use this method to get white balance dialed in when shooting a project? I was just curious if white balance is part of the normal workflow or if you can figure it by eye after getting more comfortable? Also, what do you do in a run and gun situation, any tips for best white balance in those moments? Thanks sir!
Welcome! Custom WB is the way. You can’t trust your eye as it’s influenced by a million uncontrollable things. For run-and-gun, usually I just use auto since the environment changes constantly.
@@MrTifoso31 the S1 was designed as a stills-first camera. The S5 is basically a baby S1H, or full frame GH5. Adding V-Log obviously makes it a video camera but I can’t answer why spot hasn’t been added. It may not be possible- the processor in the S5 is, IIRC, more advanced than what’s in the S1.
Excellent video with great tips thank you. I have two questions I hope you can answer. 1. Around 6 minutes you were adjusting ISO without any UI appearing on the monitor, how did you do that? 2. When shooting in log is it more favorable to set exposure to middle grey, or to ETTR so that highlights are close to +6.3stops and then stretch middles and blacks down in post? I’ve heard this method reduces noise in shadows, but it sounds like a lot of stretching the data around
Thanks Woodams. 1. I have ISO control set to the command dial on the back of the camera. Easily bumped so kind of dangerous but I’m used to it and love it. 2. For run and gun, my preference is to shoot hot with no clipping - live and die by the waveform monitor. Noise lives in the shadows so it’s best to crush them out than lift them up. For a fixed setup, just test with your LUT or preferred color grade and tweak in camera until you like what you get. That’s what I did for my setup and my perfect exposure is +1.3 stops over.
Thank you so, so, much! I just got the S1H, and subscribing to your channel is the best thing I’ve done. Question: You set the zebras to around 40, and when they appeared on middle grey, you established that exposure was perfect. You then used the spot metering to show that white was at 2.1 stops over. But then you increased brightness til you reached 6.3 stops over. 1) Why would you want to increase brightness if the scene was already perfectly exposed? 2) If you push brightness upwards, wouldn’t you cause the perfect exposure of middle grey to be ruined? And finally 3) Most other videos state that skin is at 60-70 IRE. Isn’t that the level I should set the zebras at in order to get perfect skin exposure (instead of at 40 for middle grey)? I apologise if these questions make little sense to you, I’ve probably misunderstood something 🤷🏽♂️😃
All good questions! When shooting log, it's better to overexpose than to underexpose. Noise lives in the shadows, so if you overexpose (as long as you don't clip your highlights), then bring the exposure down in post, you'll have a cleaner image. Within reason; don't shoot an all-dark scene eight stops over just because you can, but shooting a couple of stops over is normal for log, and especially for raw. If you are interested in capturing bright highlight detail, like clouds in the sky, then you should max those out without clipping, the stretch the mids and shadows down in post. Remember when shooting log, you are ALWAYS going to color grade in post. As to the IRE; yes skin is generally 60-70 IRE. Really light or dark skinned changes that a bit. But a known 40 IRE grey card is always 40 IRE. So you have a KNOWN exposure. Zebras can be set wherever you want; here they were set to 40 to measure on the card. If you're shooting "run and gun", meaning you don't have time to adjust lighting and just have to get the exposure as good as possible in camera, then this is where shooting with zebras around 60 or 70 IRE helps. Once skin hits the zebras, you know you're mostly correctly exposed. I hope that helps!
awesome video! how to read/expose night scenes? for example only using a fire torch. how would you read waveforms than? so would you put the spot meter on the torch?
Hi I recently changed to Panasonic from Sony and I'm really impressed with it so far. I've noticed something interesting when using auto ISO in manual mode. It looks like the camera will push the exposure histogram to the right ( as if you were 'exposing to the right'). I haven't seen this documented anywhere. Am I dreaming? It's the same on S1/S5
Welcome to LUMIX! Do you mean that it overexposes? If you point it at a grey card are you seeing the histo or wave over by 1.5 stops? And are you shooting in V-Log?
@@ardeesnapper ah. I just tested and it’s working properly. First make sure that constant preview is turned on, otherwise, the image on the viewfinder may not change, even though the exposure does. Set the camera to full manual and pointed at a white wall. Adjust the exposure until the histogram is dead center and white. When histogram is yellow, the exposure is “incorrect“. Then switch the ISO to auto and the histogram should be in the same place.
@@photojoseph Yes it's working correctly alright, the photos are exposed correctly. I forget what way my Sony worked, my buddy is going to check his. But I've never noticed Auto ISO to push to the right before on a camera. It's really slick
Do you happen to know how to find the color temperature after capturing the white value on the S5iiX? This way I can just dial that value in to other cameras after capturing the white value on one of the cameras. BTW, great video as usual, you're channel is criminally underrated.
Haha thank you, I appreciate that! You can look up the white balance on the raw file in a computer; I’m not sure that it shows up on the camera? I don’t know that I’ve ever looked! Do your custom white balance and then immediately take a photo of the same white source. Play that photo and see if it reveals the white balance. If not, you’ll have to look at it at on a computer. That said, you should do a custom white balance on each individual camera. Every lens is different, filter is different, and of course, if the cameras are from different manufacturers, then the sensors are different. It’s best to have custom white balance done on each camera and not just dialing the same number everywhere.
@@photojoseph Good point on the white balance for each camera/lens combo. Though I forgot to mention, I also want to know the color temperature so I can dial in my lights to match the room's ambient light so we have more consistent lighting on the subject. We'll often film on location where we can't control all the light sources. So I will try to dial in our lights to match the ambient.
@OrigEntertainmentOfficial ahh… then, you need a color temperature meter. Like a light meter, but for color temp. If you want to be super accurate, at least.
Thanks for sharing this, I've found it very helpful. Today I tested out the luminance spot meter in V'Log where I exposed an overcast but bright sky to 6.1 and it was not recoverable. I lowered my exposure in 1/3 stops and found the details in the sky needed to be at around 4 to be legible in FCPX. I'll do more tests to gain more knowledge and confidence but form what I've sen so far the 6.3 over hasn't allowed me to render details, just washed out, not burned out cloudy skies. Having previously shot with HLG I'm finding v-log a different challenge.
@@photojoseph Thank you for your reply Joseph. I was using a SDR project. I have just tried the clip in a HDR and it makes viewing a lot easier. However there is still large areas of the sky unrecoverable at anything over +4. I applied a colour wheel adjustment to the clip but there is no data in much of the sky. I shot a clip about 90 seconds at various exposure values and it's interesting to see the sky appear as the meter gets to around 4. I can only conclude my positioning of the spot meter was inaccurate. I had the meter positioned at the top end of the frame and perhaps go vent the cloud cover and low sun there were brighter spots lower down. I will do more tests. Happy to share the file with you if you'd care to take a look. Thanks again.
Details in highlights is pretty much gone. I am trying to find an ext recorder to see that maybe it's the codec who is causing it aa its still compression that we are dealing with. Also I am happy if you can share me the files as I want to see if its goes through CST in davinci resolve maybe I could recover it. Thx
Thanks. Pretty sure this is not in S1. Make sure it's up to date (firmware 2.1) but if you don't see it, then it's not there. The menu system is the same operation system, so you should be able to follow this video to check av.jpn.support.panasonic.com/support/global/cs/dsc/download/index4.html
I noticed that in panasinic auto wb has better skin tone(for me it's even better than canon's) than when you use manual wb. To achive that level of skin tone you must correct manually white balance after reflecting from grey card.
@@DennisSchmitz @Dennis Schmitz @Dennis Schmitz Panasonic have one of most great color sciences. For beginners it offers an auto WB and very good profiles. For Experts it has Log, Raw or flat profile, curves, 0-255 or 16-255 or 16-235 gamma's and color shift after custom WB. But in the middle, between rookie and video guru panasonic has missed a few moments. And when that type of user shoot in flat profile, whith a manual WB, and then take a random LUT for image he don't get why it's not so good as the other manufactureres. For example you can look an old potato jet comparesing of canon m50 and panasonic g7.
@@jeirg-lr8vf color science in V-Log is great indeed, you don't have to worry about any gamut clipping nor roll-off unlike with Sony or Blackmagic (yes, even Gen 5 colorscience) cameras. Problem is their mediocre Rec709 conversions. Have been developing my own Luts with great results straight out of the box without messing with the tint which causes other hue shifts as well.
Thanks so much. Honestly I feel like I need to force myself to learn this kind of stuff I've ignored to get to the next level, your channel answered a lot of questions I had with acquiring my S1. I made a word document with screencaps of your video. Subscribed and liked! QUESTION: When you say 42% gray is exposed perfectly for log, does that mean you need to buy a 40% or close gray card? Most are 18%
Very helpfull. It means a lot for me after loosing parts of memory. Trying to get back on the track. Setting up wb should be applied after changing location and if the lighting changes, right?
QUESTION. Just received my new S5ii. I’m in love. But when I assign zebras to any function button, it does not work. I confirm that it was properly assigned to the button, but it still fails to turn zebras on or off. I have to go into the main menu to turn on/off. All other Fn button assignments are working properly, but zebras don’t work when assigned to an Fn button. Any thoughts? Many thanks gang.
Wow! All of that adjustment! Great job PhotoJoseph! Too bad Panasonic refuses to fix their crappy autofocus! That is the exact reason that I do not buy this camera! Hear that Panasonic???? They have the best color on the market, but the elephant in the room is still video autofocus. Their sales would triple with real autofocus. They have improved it but not enough. As a stills camera Panasonic leads in my opinion. Yes we can buy a dedicated VIDEO CAMERA AND CARRY AROUND TWO CAMERAS, BUT WHY HAVE HYBRID CAMERAS IF THEY DO NOT WORK PROPERLY??
Thanks for the complement, but easy on the camera. No, the AF is not the best out there, but the camera is better than many others at many other things. No camera has it all.
Wondering if anyone knows whether you can use a LUT in VLog assist when shooting in-camera? There seems to be zero advice on this anywhere on the web, nor does the manual say you can or not. They just say you can import LUTS... but no mention of using while filming... or is this an over-think, and of course you can? I just don't see how! Thanks!
Sorry but Panasonic doesn't have a video on loading LUTs into the Lumix cameras but all the modern 10bit models (GH5 and newer) that offer V-LOG or V-LOG L can load a LUT (up to 4 actually). Here is a video that can help in Resolve if you plan to create your wn out and output as a .VLT file (not a .cube). ua-cam.com/video/TepMLjpHJDU/v-deo.html If you already have your LUTs and they are in .cube format and you just want a fast conversion, this video will show you how it's done with the LUtCalc website ua-cam.com/video/aUt0qMJCMb4/v-deo.html .
Thanks for the video. I have a few questions.. 1. I would like to set my zebras for the maximum highlight..so when they appear I should go low.. what would be the porcentage? 85 or 95? 2. I wonder if exposing for vlog and Raw Pro res (with the atomos V) is it the same way? Max highlights 6.3 stops and shadows Min -8stops? thank you
This is fantastic. But…. Can I use these tools in the photo mode or is it for video only? Just thinking how handy it would be for me as I shoot a lot with ND filters for landscape photos . Btw camera S5 is due for delivery tomorrow, so not in my hands yet. Would appreciate your input though 🙏
The S5 doesn’t have timecode input unfortunately. It can generate timecode and output that over HDMI to sync with an audio or video recorder, but that’s it. If you want to sync with multiple cameras, you can record timecode on an audio channel and extract that in software; how you do that depends on your NLE. This video discusses it: ua-cam.com/video/Nmde6Z7fH_A/v-deo.html
No, the base/range zebras are only in the newer cameras. S5 and S1H have it; I think that's it. The luminance spot meter is in some other models, I think… honestly don't recall if it's in GH5 or not though!
Hi Joseph. I'm looking to upgrade to an S5 from my GH5. Please can you confirm if 'focus transition' (you can set 3 focus points and move between them) is available on the S5? I can live without 'Sony' level autofocus - but I can't live without 'focus transition'.
love your content on S series, probably the only one that helps me with my new camera, since you are an S series "guru" i have some questions for you :P. As you set the Zebra with stops what would you recomend setting zebra 2? Or you believe that in the way you set up Zebra 1, zebra 2 is not needed? Second question is while i m recording vieo or generally at video mode on S5 i cant change the Exp comensation, even the dedicated button is not working, is this because its off on video mode? Does the camera do it auto? And last is any recomendation for any budget friendly lens beyond the 20-60 focal length of the kit or maybe something in this range that can give me really different results while shooting video. Thank you really much in advance, keep up the good work Sir :)
Hi, great video. Question - I assume that you expose for middle gray for both light and dark scenes the same way, from regular daytime brightness to a dark barley lit scene - and compensate by changing the native iso? Does the white balance and colors remain the same? I would assume so but just wanted to know if there were other things that needed to be done to expose properly so a short films scenes would all look okay.
Exposing “properly” is merely a starting point. Everything else is a creative decision. Most important thing is to not clip highlights or shadows. If I’m doubt, expose high (without clipping) and bring down in post.
Hello Joseph, despite this video is posted a few years ago, I would like to ask you something I don´t understand: the step you explain at around 9:47 is referred to V-log profile. If I use another colour profile, the base range changes to a higher value. What I don´t understand is that the base range value shown in other profiles is like I am overexposing the image. Is this because instead of showing me the base range, is showing the parts of the image starting to clip?
Base range is the base for that profile - where middle grey should be. If you’re using a different profile, you can use the same technique. However some profiles, like vivid, may still overexpose the whites at the point as their curves are completely different (that’s the “look” part of it). This technique can be used anywhere but is most useful in Log. Hope that helps.
If we are interviewing people and using the grey card to check exposure. Where do we place the grey card? Right in front of the camera or more towards where the interviewee will be sitting since the light will be pointed on them?
Thanks for these videos - I just watched all the campaign & early review materials for the Fuji XH2 S - which as a current Fuji XT3 shooter - I thought was a great advertisement for buying an S5. I picked up a new S5 for under 1.5K! Still waiting for shipping - wondering if you have any suggestions for color profiles vs VLOG for interior daytime real estate videography - totally new to Lumix. Cinelike D seems like it works like Eterna on a Fuji - is that accurate?
Hi Josepth, great video, I have a question about the Lumix S5. While I'm watching the monitor, the resolution is low and make it difficult to focus (I'm more manual than auto), but at the moment I press REC the resolution change and now it's very crisp to focus without problem, even the Focus Peaking is more accurate. Do you know if there is a solution? Thanks in advance.
Hi @Joseph... I just bought the S5... even when the battery is not in the body... the body feels little wobbly inside like something is moving... is it due to the IBIS that the sensor is moving or I got the rotten apple... please let me know... Thanks
Hi, I recently bought the S5 and I am struggling with noise in shadows. Is there any safe overexpose setting for run and gun? And when you apply vlog to rec709 conversion LUT in Premiere, do you apply it under input LUT or under Creative tab? What is your recomendation for profile when not wanting to use LOG. When to use LOG and when not to? Sorry for this many questions but I really don't have anyone to aks to. If there is a chance to continue this conversation somewhere else for more questions? Thank you Joseph!
Don’t clip highlights (use zebras). Apply base LUT at input LUT; that’s where Log to Rec709 should happen. Creative is to go from 709 to a “look”. Log when you want control; non-Log when you want it easy.
Great video, thank you for sharing! Question; do you know if there's any way you can set the custom WB on an x-rite card (like you did here) and also have it SHOW you what temperature it's setting? I haven't figured it out myself and find it super annoying when using multiple cameras and quickly want to match them. Instead now we have to rely on setting the WB on our BMPCC4K and then manually putting in whatever that camera tells us on my GH5, backup G9, etc. Cheers /Fred
Great question - sadly no, it does not. However, two things - remember that WB isn’t just the temp but may include a shift, but also custom WB compensates for the sensor differences, lens differences, and color casts that might be on that part of the scene. I think it’s better to custom WB from each camera from each angle. Maybe I’m wrong but that’s how I’ve always done it.
Great tutorial. I have a question about exactly how much I can push my brightness without clipping. I am on a Lumix S5, shooting in V-log. Firstly, no matter how much I increase my brightness the waveform never reaches (or exceeds) the top solid line that represents pure video white, that is +6.3 stops. (The waveform is cut off between the top dotted line and the solid line.) This makes it rather hard to tell when the images is clipped. Should I increase the brightness till the waveform turns into a plateau at some part? Secondly, the image seems to clip before the luminance spot meter hits +6.3 stops (rather around 6.1-6.2). So, both the waveform and the luminance spot meter don't come out as very precise. To me the most trustworthy, clear and practical way to ETTR but not clipping is to set the zebras to 95 %, increase the brightness gradually and then stop when the zebras appear. Or am I missing something? By the way, setting the zebras to 100 % doesn't work for me ... I don't know why (it would otherwise be an intuitive way to find the clipping point).
Really good questions. The waveform is small so kind of hard to read. It clips “early” because it’s Log and the wave range is lower (even though the dynamic range is higher). Not gonna argue that the wave window could be better designed. Looking for the plateau and/or using zebras is the right way to go. I agree ETTR is the right approach as long as you don’t clip. When in an uncontrolled environment you just really need to watch the wave closely.
depends on where you post i think...for social and youtube imo there is not much difference with naked eye, however dynamic range probably is reduced but lets hope someone that has tested it can confirm it :)
@@sardanapalos Yeah, I'm looking for a camera with all the features of the S5 but I absolutely do not want 4k, just 1080. I've seen in tests with other cameras that sometimes the 1080 is noticeably different than the 4k within the same camera.
Some cameras crop into the sensor when you do 1080. Some “pixel bin” meaning they just throw pixels away. The S5 scales down so you have all the quality of 4K in a native 1080p capture.
@@photojoseph Awesome. I know from past experience that a camera can perform like it's another camera depending on its resolution mode. I just received my new S5 yesterday and am excited to dig into it as well as your very helpful videos!
Is there an exposure meter on the S5ii like the that was on the GH5 it was perfect for setting exposure while shooting in non auto mode... but it seems that it is not on the S line of cameras... or at least I can't find it.
Sooooo much coming this year… are you subscribed?? ua-cam.com/users/photojoseph
Would love to see a exsample in a real life situation without the cards, now that would be really powerful to see it in action.
Lum spot meter explanation is a game changer. Thx.
Isn’t it awesome?
This is probably one of the best videos I watched talking about exposure. Awesome work and great communication skills. Thank you very much
Thank you!!
I just upgraded from the g86 to the s5. The amount of advanced features are mind blowing.
I’m going to watch your entire series.
I love to hear that, thanks!
Congratulation! This is by far the best tutorial how to expose V-Log correctly, either targetting at getting middle grey right or the whole scene w/o clipping the highlights (for example in landscape shootings).
I came to some sort of solution for protecting the highlights in V-Log by experimenting with the wave form monitor and observing at which percentage adding more light starts compressing the wave form at the upper end - and that was around 95%. So, I set my zebra to 90% to be on the safe side - and overexposed footage was gone!
And, now I learned from your great tutorial, that the luminance spot meter on the S1H in V-Log mode exactly measures the stops of the light. I just did the test with my S1H while watching your video. It is a perfect fit: when the zebra for 90% comes into action the spot meter is around +6 stops, leaving me 0,3 stops lee way.
I really ask myself where those stupid recommendations come from saying one should overexpose V-Log by 1-2 stops in principle, especially with such precise measurement instruments in my hands.
Bro you are the man, I don’t comment on videos a lot but you deserve it , the explanation I needed as I was confused about exposure ❤️
Love hearing that, thanks man!!
(Hope you subscribed 😁)
Of course I did haha 🙌🏾
8:25 is where the light bulb for me jsut turned on. Wow, i actually now understand this way more then i thought i would. Thank you so much, your such a good teacher. Thanks.
That’s awesome to hear, thank you for that!
Bought the Lumafusion a month ago then I just bought my S5 two days ago and here you are again! Lol I learned fast cuz of you. Thank you!
Haha that’s awesome. And great combo!!
The inverted Zebra blew my mind. Thank you for that! Good work as always!
Thank you!
Part way through the video (just bought an S5 as an upgrade from A6300). Very useful so far, clearly explained, great presentation and just the right pace. What has impressed me even more is your answering of questions in the comments. Subscribed!!!
Exact same upgrade I did just now. I’m loving it this far.
@@matiashojas41 Wish you many hours of happy filming! I don't use mine enough, but I love the results when I do!
Thanks for this video . I have been struggling with Vlog but after your video I feel much more confident in getting the right exposure and knowing how much leaway I have with both highlights and shadows. Thanks dude 👍
I just bought the GH6 and needed to refresh my memory on how to expose V-Log properly. This was really helpful, thanks!
Awesome! Enjoy the camera; it’s a beauty!
Floored, this video was utter perfection and demystified the log profile for me!! 🎉
Wonderful!!
Wow just wow amazing video!
Thanks!!
The point at the end is the creme de la creme. Such a fantastic way to quickly determine exposure. Thank you! :)
It’s so good, isn’t it!
I am subscribed, thank you so much for this amazing tutorial. I learned so much! Where have you been all my life.
AMAZING! THANKS!!!
☺️
I'm a beginner and this is all very interesting and useful. I look forward to testing out these techniques.
very useful video. guy is very clear
This... is exactly what I needed. I just ordered the S5, and I wanted to get into waveform and exposure with V-Log.
Fantastic! you'll love the camera.
Darn! Wish the S1 had the luminance spot meter, too.
Great video Joseph! One of the most comprehensive videos on exposure.
Thanks!
Awesome video. Everyone with an S camera should watch this.
the best explaning video of all lumix tutorials, thanks!
Thanks!
the best person to know more about Lumix
😊
Great info, I’ve just switched from a GH5 to a new S5.
Sweet! Enjoying it?
Excellent video.
Learnt a lot.
Thank you.
Yay!
Great presentation, Joseph. Excellent examples and explanations. thanks so much!
A huge THANK YOU Joseph! I know this video is a year old, but just I stumbled on this today. This is by far the most clear cut explanation of white balance and luminance correction/settings I've seen! I thought I was just too dense to comprehend how to use the color/luminance card correctly. Just got my GH6, so much to learn!
Fantastic to hear, glad this helped! Enjoy your new camera 🙂
OMG 😱, what a useful video! Thank you so much! 🙏🏻
Awesome, you’re welcome!
very usefull video ! Thank you so much!
I have to say I'm considering the S5 more and more over the bmpcc, that level of detailed control over the exposure and colour is fantastic.
Yeah… I _really_ like this capability!
I did sell my pocket 4k and got the S5. I honestly not missing it at all. Fullframe, amazing stability, very compact and light.
All what I need from the kind of job I do. Just love it.
@@martagalanoficial I recently purchased an S5 and also own a Bmpcc 4k. I may do what you've done - we will see.
Absolutely brilliant! thank you
😊
I've always relied on an external monitors false colors, but these tools are great! thanks for the tutorial!
Thanks! I never got into false color. I really should try it!
What a powerful setup ! This camera series is awesome.I speak about the S series.
Agreed! :-)
Super helpful. Thanks so much
One of the best videos on exposure, great job as usual Joseph! Thanks for the awesome content.
I bought a used GH5s as a (B-cam) for my BMPCC4k, and I was confused about perfect exposure in the gh5s, and you nailed it!
This what I'm looking for exactly, thanks a lot Joseph, this is very useful.
Awesome, very glad to hear that!
Excellent video
Thank you very much!
@@photojoseph I love when I watch a video about a subject I feel I already know quite a lot but still find something I didn't know.
@JWS1968 That makes me happy to hear!
Thank you i watch all your videos, they're awesome!!
Thank YOU! 😊
Great explanation, sir! Thanks to you, i decided to buy the S5 today
Woohoo!
THANK YOUU!
I have just ordered this camera and just getting into videography and photography so need all the tips I can get so I thankyou in advance 😊👍
Awesome! Welcome to the family!
Excellent tutorial! I recently used my S5's to record interviews on the Navajo reservation for a PBS segment on solar power. I recorded in V-Log 709 and intentionally overexposed by a full stop. Why? Because overexposing then correcting in post reduces noisy shadows, plus the videos looked fantastic after adding the V-Log LUT.
Nice!
Very clear and well done. Thank you.
Thanks mate
That's gold Joseph. Thank You.
The GH6 is between +5.5 stops and -7.7 stops.
Thanks for this great video! Great information and very clear!!
I don't understand the question. Substituting?
@@photojoseph Thanks for the attention, I watched again and understood! It was some lack of attention from my end (it's not my native language, that's why)
You’re the best
😊
Wow! This will come in handy!
such an explanation as it should be! Thank you so much!
Fantastic tutorial thank you so much
Really great technique. 🔥
Isn't it?! Ever since I learned this, I do this all the time. Amazing.
Thank you!!
Hi Joseph, Really appreciate this effort to explain everything in details.... it's a great help....wanted to know if you have covered in video about the knee and slope of vlog
I didn't… pretty arcane video topic, I think. I'd suggest reading white papers and technical analysis if it's something you really want to dig into, sorry.
@@photojoseph Thanks for your reply... Honestly I also don't know... but someone on UA-cam was explaining how it affects highlights roll off on Sony Slog... and it actually works in Slog if I assume that person shared the exact same thing... Although don't have any complaint about vlog highlight roll off but seems interesting to know... searched on internet and it's there for almost all panasonic cameras from past but nowhere it's mentioned how to use it... Sony settings are different than Panasonic hence can't use that video as guidance
Mil gracias por este vídeo y sobre todo a la persona que lo ha traducido a Español porque gracias a él he podido comprender la clase magistral . Acabó de comprarme la lumix S5 para hacer vídeos no profesionales pero me gusta hacer las cosas bien y antes que nada aprender como se utiliza y cuáles son las opciones que tengo con ella. Mil gracias
Love your videos! I started watching them during the pandemic, and have been a student of the game for a couple years now. Do you always use this method to get white balance dialed in when shooting a project? I was just curious if white balance is part of the normal workflow or if you can figure it by eye after getting more comfortable? Also, what do you do in a run and gun situation, any tips for best white balance in those moments? Thanks sir!
Welcome! Custom WB is the way. You can’t trust your eye as it’s influenced by a million uncontrollable things. For run-and-gun, usually I just use auto since the environment changes constantly.
Brilliant, man. Many thanks. I wonder how this translates to shooting at night? I would love to hear your thoughts on that.
Well, the principals don’t change, but if you want it to LOOK like night then of course things need to be underexposed.
Great, thanks for sharing this helpful tips 👍
Be sure to catch the whole series on the Panasonic channel!
@@photojoseph I just added the S1 to my S5 and wanted to activate luminance spot meter, but it doesn‘t seem to be available in the S1. How come?
@@MrTifoso31 the S1 was designed as a stills-first camera. The S5 is basically a baby S1H, or full frame GH5. Adding V-Log obviously makes it a video camera but I can’t answer why spot hasn’t been added. It may not be possible- the processor in the S5 is, IIRC, more advanced than what’s in the S1.
Excellent video with great tips thank you. I have two questions I hope you can answer.
1. Around 6 minutes you were adjusting ISO without any UI appearing on the monitor, how did you do that?
2. When shooting in log is it more favorable to set exposure to middle grey, or to ETTR so that highlights are close to +6.3stops and then stretch middles and blacks down in post? I’ve heard this method reduces noise in shadows, but it sounds like a lot of stretching the data around
Thanks Woodams. 1. I have ISO control set to the command dial on the back of the camera. Easily bumped so kind of dangerous but I’m used to it and love it. 2. For run and gun, my preference is to shoot hot with no clipping - live and die by the waveform monitor. Noise lives in the shadows so it’s best to crush them out than lift them up. For a fixed setup, just test with your LUT or preferred color grade and tweak in camera until you like what you get. That’s what I did for my setup and my perfect exposure is +1.3 stops over.
Holy shit this was a good video!
Love that response!!
Thank you so, so, much! I just got the S1H, and subscribing to your channel is the best thing I’ve done.
Question: You set the zebras to around 40, and when they appeared on middle grey, you established that exposure was perfect. You then used the spot metering to show that white was at 2.1 stops over. But then you increased brightness til you reached 6.3 stops over. 1) Why would you want to increase brightness if the scene was already perfectly exposed? 2) If you push brightness upwards, wouldn’t you cause the perfect exposure of middle grey to be ruined? And finally 3) Most other videos state that skin is at 60-70 IRE. Isn’t that the level I should set the zebras at in order to get perfect skin exposure (instead of at 40 for middle grey)?
I apologise if these questions make little sense to you, I’ve probably misunderstood something 🤷🏽♂️😃
All good questions! When shooting log, it's better to overexpose than to underexpose. Noise lives in the shadows, so if you overexpose (as long as you don't clip your highlights), then bring the exposure down in post, you'll have a cleaner image. Within reason; don't shoot an all-dark scene eight stops over just because you can, but shooting a couple of stops over is normal for log, and especially for raw. If you are interested in capturing bright highlight detail, like clouds in the sky, then you should max those out without clipping, the stretch the mids and shadows down in post. Remember when shooting log, you are ALWAYS going to color grade in post. As to the IRE; yes skin is generally 60-70 IRE. Really light or dark skinned changes that a bit. But a known 40 IRE grey card is always 40 IRE. So you have a KNOWN exposure. Zebras can be set wherever you want; here they were set to 40 to measure on the card. If you're shooting "run and gun", meaning you don't have time to adjust lighting and just have to get the exposure as good as possible in camera, then this is where shooting with zebras around 60 or 70 IRE helps. Once skin hits the zebras, you know you're mostly correctly exposed. I hope that helps!
@@photojoseph YES it really helped! Thank you so much for giving such a detailed answer 😊 So looking forward to going through more of your content!
Awesome!
awesome video! how to read/expose night scenes? for example only using a fire torch. how would you read waveforms than? so would you put the spot meter on the torch?
No, definitely not. That’s not a scene you can meter. That you’ll have to do by feel.
Hi
I recently changed to Panasonic from Sony and I'm really impressed with it so far.
I've noticed something interesting when using auto ISO in manual mode. It looks like the camera will push the exposure histogram to the right ( as if you were 'exposing to the right').
I haven't seen this documented anywhere.
Am I dreaming?
It's the same on S1/S5
Welcome to LUMIX! Do you mean that it overexposes? If you point it at a grey card are you seeing the histo or wave over by 1.5 stops? And are you shooting in V-Log?
@@photojoseph Thanks for the swift reply.
I should have mentioned that I was shooting stills, with the standard profile.
@@ardeesnapper ah. I just tested and it’s working properly. First make sure that constant preview is turned on, otherwise, the image on the viewfinder may not change, even though the exposure does. Set the camera to full manual and pointed at a white wall. Adjust the exposure until the histogram is dead center and white. When histogram is yellow, the exposure is “incorrect“. Then switch the ISO to auto and the histogram should be in the same place.
@@photojoseph Yes it's working correctly alright, the photos are exposed correctly.
I forget what way my Sony worked, my buddy is going to check his.
But I've never noticed Auto ISO to push to the right before on a camera.
It's really slick
Do you happen to know how to find the color temperature after capturing the white value on the S5iiX? This way I can just dial that value in to other cameras after capturing the white value on one of the cameras. BTW, great video as usual, you're channel is criminally underrated.
Haha thank you, I appreciate that! You can look up the white balance on the raw file in a computer; I’m not sure that it shows up on the camera? I don’t know that I’ve ever looked! Do your custom white balance and then immediately take a photo of the same white source. Play that photo and see if it reveals the white balance. If not, you’ll have to look at it at on a computer. That said, you should do a custom white balance on each individual camera. Every lens is different, filter is different, and of course, if the cameras are from different manufacturers, then the sensors are different. It’s best to have custom white balance done on each camera and not just dialing the same number everywhere.
@@photojoseph Good point on the white balance for each camera/lens combo. Though I forgot to mention, I also want to know the color temperature so I can dial in my lights to match the room's ambient light so we have more consistent lighting on the subject. We'll often film on location where we can't control all the light sources. So I will try to dial in our lights to match the ambient.
@OrigEntertainmentOfficial ahh… then, you need a color temperature meter. Like a light meter, but for color temp. If you want to be super accurate, at least.
Are these options and tools for video only? Or could I use them for photo mode also? Excellent video 👍
Thanks for sharing this, I've found it very helpful. Today I tested out the luminance spot meter in V'Log where I exposed an overcast but bright sky to 6.1 and it was not recoverable. I lowered my exposure in 1/3 stops and found the details in the sky needed to be at around 4 to be legible in FCPX. I'll do more tests to gain more knowledge and confidence but form what I've sen so far the 6.3 over hasn't allowed me to render details, just washed out, not burned out cloudy skies. Having previously shot with HLG I'm finding v-log a different challenge.
What are you doing to the clip once it’s in the timeline?
Oh and SDR or HDR? Explain your setup in detail.
@@photojoseph Thank you for your reply Joseph. I was using a SDR project. I have just tried the clip in a HDR and it makes viewing a lot easier. However there is still large areas of the sky unrecoverable at anything over +4. I applied a colour wheel adjustment to the clip but there is no data in much of the sky. I shot a clip about 90 seconds at various exposure values and it's interesting to see the sky appear as the meter gets to around 4. I can only conclude my positioning of the spot meter was inaccurate. I had the meter positioned at the top end of the frame and perhaps go vent the cloud cover and low sun there were brighter spots lower down. I will do more tests. Happy to share the file with you if you'd care to take a look. Thanks again.
Curious if you used a conversion LUT or graded from scratch yourself.
Details in highlights is pretty much gone. I am trying to find an ext recorder to see that maybe it's the codec who is causing it aa its still compression that we are dealing with. Also I am happy if you can share me the files as I want to see if its goes through CST in davinci resolve maybe I could recover it. Thx
Wow simply great video. Is it available only in S5? I have Lumix S1 :(
Thanks. Pretty sure this is not in S1. Make sure it's up to date (firmware 2.1) but if you don't see it, then it's not there. The menu system is the same operation system, so you should be able to follow this video to check av.jpn.support.panasonic.com/support/global/cs/dsc/download/index4.html
With the Ninja V have you noticed a glitch being recorded into the footage? I keep seeing this during longer record sessions
Never!
@@photojoseph I wonder if it’s because I’m clicking record on the atomos and not the S5
@@OriginaldoBo should not matter. What is the glitch and when does it appear?
Fantástico!
I noticed that in panasinic auto wb has better skin tone(for me it's even better than canon's) than when you use manual wb. To achive that level of skin tone you must correct manually white balance after reflecting from grey card.
Interesting! And how do you adjust? You mean you do a color shift after a custom WB? I’d love to hear your “recipe”!
@@photojoseph Usually I add more green(+6) and little amber. That's remove a magenta shift on the the skin.
@@jeirg-lr8vf you should consider getting proper Luts, the Panasonic ones are probably the worst any manufacturer offers.
@@DennisSchmitz @Dennis Schmitz @Dennis Schmitz Panasonic have one of most great color sciences. For beginners it offers an auto WB and very good profiles. For Experts it has Log, Raw or flat profile, curves, 0-255 or 16-255 or 16-235 gamma's and color shift after custom WB. But in the middle, between rookie and video guru panasonic has missed a few moments. And when that type of user shoot in flat profile, whith a manual WB, and then take a random LUT for image he don't get why it's not so good as the other manufactureres. For example you can look an old potato jet comparesing of canon m50 and panasonic g7.
@@jeirg-lr8vf color science in V-Log is great indeed, you don't have to worry about any gamut clipping nor roll-off unlike with Sony or Blackmagic (yes, even Gen 5 colorscience) cameras.
Problem is their mediocre Rec709 conversions. Have been developing my own Luts with great results straight out of the box without messing with the tint which causes other hue shifts as well.
Thanks so much. Honestly I feel like I need to force myself to learn this kind of stuff I've ignored to get to the next level, your channel answered a lot of questions I had with acquiring my S1. I made a word document with screencaps of your video. Subscribed and liked!
QUESTION: When you say 42% gray is exposed perfectly for log, does that mean you need to buy a 40% or close gray card? Most are 18%
Glad it’s been helpful. An 18% grey card is a still photo term. Video grey is measured at IRE. But it’s basically the same shade of grey.
Very helpfull. It means a lot for me after loosing parts of memory. Trying to get back on the track. Setting up wb should be applied after changing location and if the lighting changes, right?
Correct.
QUESTION. Just received my new S5ii. I’m in love. But when I assign zebras to any function button, it does not work. I confirm that it was properly assigned to the button, but it still fails to turn zebras on or off. I have to go into the main menu to turn on/off. All other Fn button assignments are working properly, but zebras don’t work when assigned to an Fn button. Any thoughts? Many thanks gang.
Wow! All of that adjustment! Great job PhotoJoseph! Too bad Panasonic refuses to fix their crappy autofocus! That is the exact reason that I do not buy this camera! Hear that Panasonic???? They have the best color on the market, but the elephant in the room is still video autofocus. Their sales would triple with real autofocus. They have improved it but not enough. As a stills camera Panasonic leads in my opinion. Yes we can buy a dedicated VIDEO CAMERA AND CARRY AROUND TWO CAMERAS, BUT WHY HAVE HYBRID CAMERAS IF THEY DO NOT WORK PROPERLY??
Thanks for the complement, but easy on the camera. No, the AF is not the best out there, but the camera is better than many others at many other things. No camera has it all.
Thanks for the video. I don't have the option to change the base range by stops, it just has the option to change the % only?
Wondering if anyone knows whether you can use a LUT in VLog assist when shooting in-camera? There seems to be zero advice on this anywhere on the web, nor does the manual say you can or not. They just say you can import LUTS... but no mention of using while filming... or is this an over-think, and of course you can? I just don't see how! Thanks!
Sorry but Panasonic doesn't have a video on loading LUTs into the Lumix cameras but all the modern 10bit models (GH5 and newer) that offer V-LOG or V-LOG L can load a LUT (up to 4 actually). Here is a video that can help in Resolve if you plan to create your wn out and output as a .VLT file (not a .cube). ua-cam.com/video/TepMLjpHJDU/v-deo.html If you already have your LUTs and they are in .cube format and you just want a fast conversion, this video will show you how it's done with the LUtCalc website ua-cam.com/video/aUt0qMJCMb4/v-deo.html .
of course you can!
Thanks for the video. I have a few questions..
1. I would like to set my zebras for the maximum highlight..so when they appear I should go low.. what would be the porcentage? 85 or 95?
2. I wonder if exposing for vlog and Raw Pro res (with the atomos V) is it the same way? Max highlights 6.3 stops and shadows Min -8stops?
thank you
Hi thanks for your tutorial, where can I find the vector scope on the menu?
This is fantastic. But…. Can I use these tools in the photo mode or is it for video only? Just thinking how handy it would be for me as I shoot a lot with ND filters for landscape photos . Btw camera S5 is due for delivery tomorrow, so not in my hands yet. Would appreciate your input though 🙏
Can you do a video on timecode with the Panasonic S5? I'm lost and need to understand it
The S5 doesn’t have timecode input unfortunately. It can generate timecode and output that over HDMI to sync with an audio or video recorder, but that’s it. If you want to sync with multiple cameras, you can record timecode on an audio channel and extract that in software; how you do that depends on your NLE. This video discusses it: ua-cam.com/video/Nmde6Z7fH_A/v-deo.html
Great review. Is Lumix S5 support for editing raw photo in Lightroom? Thank you
Yes, absolutely. I’ve been editing S5 RAW in Lr almost almost since it came out. They supported it almost immediately.
@@photojoseph Glad to hear that. By the way, I'm Finally picked S5 than G9 😊
Can you only set this up with the card you have ? as i can't seem to get it up on mine.
That’s really helpful! Does all of this work on the GH5 too? I’ve never used the luminance spot feature.
No, the base/range zebras are only in the newer cameras. S5 and S1H have it; I think that's it. The luminance spot meter is in some other models, I think… honestly don't recall if it's in GH5 or not though!
@@photojoseph thanks for the reply! I’ll look into it
@@photojoseph fyi just checked and I have base/range on my BGH1 as well
Hi Joseph. I'm looking to upgrade to an S5 from my GH5. Please can you confirm if 'focus transition' (you can set 3 focus points and move between them) is available on the S5? I can live without 'Sony' level autofocus - but I can't live without 'focus transition'.
Hey there. Sadly it's not… this is considered an "H" level feature. It's on the GH5 and the S1H, but not the S5 or G9.
@@photojoseph That's such a shame. Good job I'm keeping my GH5 :)
@@photojoseph If Panasonic offered it as a paid optional upgrade to the S5, I'd be in!
love your content on S series, probably the only one that helps me with my new camera, since you are an S series "guru" i have some questions for you :P. As you set the Zebra with stops what would you recomend setting zebra 2? Or you believe that in the way you set up Zebra 1, zebra 2 is not needed? Second question is while i m recording vieo or generally at video mode on S5 i cant change the Exp comensation, even the dedicated button is not working, is this because its off on video mode? Does the camera do it auto? And last is any recomendation for any budget friendly lens beyond the 20-60 focal length of the kit or maybe something in this range that can give me really different results while shooting video. Thank you really much in advance, keep up the good work Sir :)
Hi, great video. Question - I assume that you expose for middle gray for both light and dark scenes the same way, from regular daytime brightness to a dark barley lit scene - and compensate by changing the native iso? Does the white balance and colors remain the same? I would assume so but just wanted to know if there were other things that needed to be done to expose properly so a short films scenes would all look okay.
Exposing “properly” is merely a starting point. Everything else is a creative decision. Most important thing is to not clip highlights or shadows. If I’m doubt, expose high (without clipping) and bring down in post.
@@photojoseph thank you
Hello Joseph, despite this video is posted a few years ago, I would like to ask you something I don´t understand:
the step you explain at around 9:47 is referred to V-log profile. If I use another colour profile, the base range changes to a higher value. What I don´t understand is that the base range value shown in other profiles is like I am overexposing the image. Is this because instead of showing me the base range, is showing the parts of the image starting to clip?
Base range is the base for that profile - where middle grey should be. If you’re using a different profile, you can use the same technique. However some profiles, like vivid, may still overexpose the whites at the point as their curves are completely different (that’s the “look” part of it). This technique can be used anywhere but is most useful in Log. Hope that helps.
@@photojoseph thank you for your help. Have a good day
If we are interviewing people and using the grey card to check exposure. Where do we place the grey card? Right in front of the camera or more towards where the interviewee will be sitting since the light will be pointed on them?
You put your grey card at the subject you are exposing for.
Same exposure principles for the GH6?
Yep!
Thanks for these videos - I just watched all the campaign & early review materials for the Fuji XH2 S - which as a current Fuji XT3 shooter - I thought was a great advertisement for buying an S5. I picked up a new S5 for under 1.5K! Still waiting for shipping - wondering if you have any suggestions for color profiles vs VLOG for interior daytime real estate videography - totally new to Lumix. Cinelike D seems like it works like Eterna on a Fuji - is that accurate?
Hi Josepth, great video, I have a question about the Lumix S5. While I'm watching the monitor, the resolution is low and make it difficult to focus (I'm more manual than auto), but at the moment I press REC the resolution change and now it's very crisp to focus without problem, even the Focus Peaking is more accurate. Do you know if there is a solution? Thanks in advance.
Hi @Joseph... I just bought the S5... even when the battery is not in the body... the body feels little wobbly inside like something is moving... is it due to the IBIS that the sensor is moving or I got the rotten apple... please let me know... Thanks
just the IBIS, nothing to worry about
@@photojoseph Thanks lot Joseph
Hi, I recently bought the S5 and I am struggling with noise in shadows. Is there any safe overexpose setting for run and gun? And when you apply vlog to rec709 conversion LUT in Premiere, do you apply it under input LUT or under Creative tab? What is your recomendation for profile when not wanting to use LOG. When to use LOG and when not to? Sorry for this many questions but I really don't have anyone to aks to. If there is a chance to continue this conversation somewhere else for more questions? Thank you Joseph!
Don’t clip highlights (use zebras). Apply base LUT at input LUT; that’s where Log to Rec709 should happen. Creative is to go from 709 to a “look”. Log when you want control; non-Log when you want it easy.
Great video, thank you for sharing!
Question; do you know if there's any way you can set the custom WB on an x-rite card (like you did here) and also have it SHOW you what temperature it's setting? I haven't figured it out myself and find it super annoying when using multiple cameras and quickly want to match them. Instead now we have to rely on setting the WB on our BMPCC4K and then manually putting in whatever that camera tells us on my GH5, backup G9, etc. Cheers /Fred
Great question - sadly no, it does not. However, two things - remember that WB isn’t just the temp but may include a shift, but also custom WB compensates for the sensor differences, lens differences, and color casts that might be on that part of the scene. I think it’s better to custom WB from each camera from each angle. Maybe I’m wrong but that’s how I’ve always done it.
How i get this slide menu on the display? Thx
Great tutorial. I have a question about exactly how much I can push my brightness without clipping. I am on a Lumix S5, shooting in V-log. Firstly, no matter how much I increase my brightness the waveform never reaches (or exceeds) the top solid line that represents pure video white, that is +6.3 stops. (The waveform is cut off between the top dotted line and the solid line.) This makes it rather hard to tell when the images is clipped. Should I increase the brightness till the waveform turns into a plateau at some part? Secondly, the image seems to clip before the luminance spot meter hits +6.3 stops (rather around 6.1-6.2). So, both the waveform and the luminance spot meter don't come out as very precise. To me the most trustworthy, clear and practical way to ETTR but not clipping is to set the zebras to 95 %, increase the brightness gradually and then stop when the zebras appear. Or am I missing something? By the way, setting the zebras to 100 % doesn't work for me ... I don't know why (it would otherwise be an intuitive way to find the clipping point).
Really good questions. The waveform is small so kind of hard to read. It clips “early” because it’s Log and the wave range is lower (even though the dynamic range is higher). Not gonna argue that the wave window could be better designed. Looking for the plateau and/or using zebras is the right way to go. I agree ETTR is the right approach as long as you don’t clip. When in an uncontrolled environment you just really need to watch the wave closely.
Is there any performance disadvantages to shooting this camera in 1080p such as reduced dynamic range, noisier shadows, ect?
depends on where you post i think...for social and youtube imo there is not much difference with naked eye, however dynamic range probably is reduced but lets hope someone that has tested it can confirm it :)
@@sardanapalos Yeah, I'm looking for a camera with all the features of the S5 but I absolutely do not want 4k, just 1080. I've seen in tests with other cameras that sometimes the 1080 is noticeably different than the 4k within the same camera.
Some cameras crop into the sensor when you do 1080. Some “pixel bin” meaning they just throw pixels away. The S5 scales down so you have all the quality of 4K in a native 1080p capture.
@@photojoseph Awesome. I know from past experience that a camera can perform like it's another camera depending on its resolution mode. I just received my new S5 yesterday and am excited to dig into it as well as your very helpful videos!
Is there an exposure meter on the S5ii like the that was on the GH5 it was perfect for setting exposure while shooting in non auto mode... but it seems that it is not on the S line of cameras... or at least I can't find it.