00:00          On today's photo moment we're going to be talking about the GH5S and lowlight performers but we're actually breaking this out into three separate parts. I will tell you what those three parts are right after the intro.

00:19          Good morning welcome to PhotoJoseph's Photo Moment the first live three times a week show here on YouTube at YouTube.com/PhotoJoseph 930 a.m. Pacific. And I said the thing, I said the URL, hey look I got it all out there hey subscribe if you haven't subscribed thumbs up if you liked the video you know how the whole thing works. And hit that little bell to notify. So today's show is in three parts.

00:39          This is all about GH5S — look at this glorious thing here the GH5S and low light performance. But in doing some tests and doing some editing and Final Cut I came across a couple of the things that I wanted to talk about with you but I figured this would be really three separate topics but not three totally separate shows one during today's show in three parts so the first part is going to be talking about the GH5S and its low light performance I going to show you some results of shooting at 2500 ISO. We're going to look at some studio test and some test that I'm doing that I shot for my blacksmithing project. So take a look at all that in Final Cut. Talk about it looking at. And then part two we're going to be talking about how to set up Final Cut timeline for HDR processing and part three is going to be talking about some issues that I've run into with the Atomos ninja inferno which I have yet to resolve.

01:25          Atomos has yet to resolve. Apple hasn't gotten back to me to figure out if it's an issue on their end. And frankly it's a call for help. Let's see if any of you can figure out what's going on if you have familiar familiarity with it and you know what the heck is going on. So with that said before we hit the show just remember a couple of things we'll throw up here. If you are using GH5 or GH5S even and you are looking for some training on it do check out my training at GH5Training.com it's Five and a half hour comprehensive training that is focused on the GH5. However now that I finally have the s I will be adding onto that to include GH5S and also GH5 version 2 fimrware. The GH5S will be a paid add on it will be a small paid out on but that will be paid out on the version 2 firmware update stuff will be free for those who've already bought the GH5 training.

02:13          So keep that in mind GH5Training.com if you want learn all about that and we do the rest later. Let's just get into the shop. Okay so GH5S it's big thing. One of its big features is its low white performers because as DeWall native ISO it has its censer. I don't know how the heck this works but it's got in its sensor it has dual native ISO it can shoot at 400 Nativ or at twenty five hundred. Native and when you say native what that basically means is this is the optimized setting for the sensor. This is where you're going to get the best performers the largest dynamic range and lowest noise that is as close to perfection as you're going to get over it. Usually you have one native ISO this camera has two native ISO so that means you can shoot at 2500 and as you're going to see in a moment you're have virtually no difference between 20 500 and 400 which is kind of crazy remarkable and are going to show you there is little difference and we're going to take a look that we're going to explore what that actually is.

03:09          So we're going to start looking at footage that is shot in the studio just from side by side test in good light just to see the difference between the two and then we're going to look at shots that I did for a blacksmith shoot project that I'm working on. These are test shots so it just to see what the performance is like what the actual lighting conditions like and so on. We're also going take a look at them aesthetics some of the settings in the camera itself and let's actually start with that. So let me switch over to bring the menu up on here and bring up this set up. There we go. So there's the menu system on the GH5S. If you go into the Rentsch with the psionics of the can the custom settings rent or custom thing going to exposure.

03:49          At the very top there's dual Nativ ISO setting and then underneath that is ISO increments. By default is going to be set to 1 TV. This is bad. You need to set it to 130 V and the reason for that is v of that one. You can't actually get to the native isover 2500. Odd but true. So first thing you do when you get out of the box set it to 130 The second thing you do is go to the dual need of ISO settings and you can choose an auto low and high. I'm telling you that almost always auto is going to be perfectly fine and let me explain why. So we're going to start presenting it to low now if switch over to the full view here. Jump out of this. Bring up the ISO Command and at low your native has 400 there's no indicator in here of what is native.

04:30          Look at the bottom of screen there is four. You'll see this goes all the way down to a low of 80 and up to a max of twelve hundred fifty so if you're in the low ISO setting you can go from 80 up to 12 15 that's it. Now let's go back into the settings. Set this to high bring the ISO controls back up again and it starts at 12 50 and works its way up up up up Horwitt to 50 to 1200. That's kind of huge anyway. So the low point is 12 50. Okay so now you go on because of the low it goes up to 250 and the high starts at 12 50. So wait a second there there's a crossover point and there is 12 50 is the crossover. 2050 is the only ISO that is available for both low and high.

05:17          So what this means is Leveton auto auto if you are at 400 or anything under 12 50 it's going to be defaulting to the low ISO and then adjusting again to compensate. If you go above 12 50 it's going to be at the 12 50 and adjust again to compensate. So there's no way it's impossible for you to set the camera to 25 hundred ISO and be shooting at the 400 ISO gained all the way up to 25. That's not possible the camera can't do that. If you're at 25 100 it is the native 2500 if you got 400. It is the native 400 Sydney to where about that the only position where it becomes a concern is at 12 50 at that crossover point. So what is the technical difference in the 400 and the 12. This is where I have notes to make sure I give you the right info here.

05:59          So 400 to the base 400 has slightly greater dynamic range but also slightly higher noise so you little more dynamic range in the 400 base with a little bit more noise. Odd that you have Lobet were noise the 400 but that's that's the way it's put together at the 2 500 base ISO. You have a slightly lower dynamic range and a slightly less sensor noise so there's your kind of your compromise if you will. So at 12 50 to 50 is the one position the one single ISO work can be either based off of 400 or off of 25 under so you have to decide do you want if you need to shoot at 250. Right. My setup my scene. I happen to shoot at 250 that is my ISO. Do I want slightly higher dynamic range or slightly higher noise. In which case go for the 400 cups is where I'd take notes. Or do I want slightly lower dynamic range for slightly lower noise in which case you want a base it off of the 24 100 the higher ISO setting the most part it's not going to matter how often you actually going to shoot it exactly 12 15 personally said it auto and just go and shoot.

07:06          Don't worry about it. But if you ever need to have that at 12 15 you want to make that decision. You can't the camera will default. By the way it defaults to the lowest noise mode which means it's defaulting at 12 15 if you're in the auto. It is going to default to the 25 100 base getting down to 12 50. That's where it's going to be cut. So there's that super important set up on there that you understand that that you understand how the study is really really important the interest then you have to send it to one third or so so that you can Winford settings so that you can get to the full true need of ice on there. So superb. All right. So that's the camera that I want to talk about obviously a lot more about the camera but that's what I wanted to show you.

07:43          Now let's talk about this setup. This is mostly what I use to do the techo except for the lens will come to the lens in a moment here. But let's just show I've got to look I've got a glorious closeup. So beautiful. It is in my small rig cage which I am really quite like you I'm quite fond of this thing. You may have noticed from those who seen this before that I have added the the helmet on here. I don't I'm not actually using this right now but one of the reasons I put the helmet on and I'm leaving it on is because it makes positioning of the handle with the ninja on top and with a microphone a little bit cleaner it just it just kind of works better. It makes the rain a little bit bigger. It only takes about five minutes to take it apart put it back together without this but I'm I'm digging that on there. Obviously you don't have the axle or one and there's no need for that but there you go. So this is how I shot it shooting to the Alamosa ninja assassin.

08:31          OK. Ninja inferno sorry. Why would I shoot to the inferno. Let's start with that internally on the camera. You can shoot the numbers right. Ultra HD as we're only talking for a tragedy. You can shoot an 8 bit up to 60 16 you can shoot 10 bit up to 30 but you can't shoot 10 bit and 60 for that you require going external to the ninja. The other advantage of shooting the ninja is that you're shooting to progress so you're having about an 800 megabit recording versus the maximum of 400 megabit internal versus the standard of 150 megabit int. So considerable difference in there.

09:12          So I figured I got the toy is lets go for the absolute max quality so for case 60 IP 10 bit to progress on this thing the inferno has this is kind of cool. I really like this product it's got dual batteries in there so you can swap them out as you go. You know you don't have to worry about when dying and going blank on the screen you can just pop it out so if you're doing a really long recording or you just don't want to shut down and restart it you can just pop a new battery on take the dead when put a new one on there and it records to SSD so there's an SSD drive. This is a terabyte. Well 960 gig SSD and so you can shoot a bunch of on there and if you've never played with one of these before when you go into the settings you can choose what level of approach you want it tells you exactly how much footage you how much capture time you have.

09:54          It's pretty awesome little toy. So that's on them. The lenses. Every shot that I'm going to show you in a moment you're shot in the in the blacksmith shop was shot on one of three lenses here so a shot either with the Noctua Chron which probably most of it was because you know it turns out that that Blacksmithing is kind of hot and Sparks and I don't want to get my camera too close to their stuff so shut a lot of it with this mostly wide open so get that super shallow depth of field and not always because I'm not going to get away with shots were wide open which ones weren't but not always because sometimes you know you need a little bit more depth but shot with a doctrine or some of them were shot with my young you 25 millimeter zero point 9 5 by the way. All of these will be linked down below if you're curious about any of these things and then a couple of shots maybe just one shot was shot in the 15 millimeter like a F1 points out for a little bit wider shot of all of them shot with variable Indie's on them.

10:43          I get asked a lot about variable Indie's I can tell you that I haven't done any comprehensive testing but out of a desperate need for AIFF a variable Endi quickly and not wanting to spend a lot of money. I found this one on Amazon from a company called fote EFO TGA. I now own three of these. They're great and they're like 15 bucks 20 bucks. They're really inexpensive. I am sure optically they're not as good not as clean not as pure as many of the more expensive ones. I would hope but they're great. They've been working just fine for me I haven't seen anything that I go oh that's kind of gross or some weird color cast. I'm digging them so for the money. You can't argue with these things.

11:22          So that was that set up. If you're wondering what the heck is going on here with this Canyonlands on here on hold on a second as a Canyonlands on there. This I talked about this briefly before I will be doing a comprehensive look at this later but this is an adapter from a company called pic's Co. These are really inexpensive adapters. I love all the really inexpensive stuff that's coming from these cameras. This is unlike the metal which actually has glass in it. These do not have any glass in it. This is just a hole. So there's one that is literally just a hole. It just attaches to the it allows you to attach your Canon or Nikon or whatever lens to your Micro Four Thirds camera. Then the second version of it has a built in aperture because there's no electronic communications so you cannot actually control the aperture in the lens natively like you could with the metal bones adapter so it's super cheap.

12:07          It's just basically an adapter that is built at the exact right distance to hold the lens at the right distance but it does work. And again if you want to see a test of what this looks like I shot something yesterday in the falling snow just a shot of myself stepping towards the camera at 240 frames per second on the juge 5 s with this 50 mil canon lens at wide open at one point to a super solid up the field is kind of kind of very slow step and you can see the snowflakes that are in the plane of focus.

12:34          It's cool. Check out my Instagram photo just talk about it. OK.

12:39          That is everything about the camera. I believe it is time to look at some files. So let's bring that up I'm going to start with a screenshot to show you comparison the Relix video files. Before we do that just let me remind you of our value for value proposition. If you are watching this show and you feel like you're learning a thing or two today then please please please consider contributing consider putting some value back into the company back into the show. This avoids you can do that. Just go to a of dot coms Love support you can contribute monthly if you want to buy a patron on anywhere from a dollar on up or sympathic via paypal or do a direct one off contribution by pay parler Apple Pay or whatever Venmo whatever you like. You can purchase stuff through my affiliate links. There is a thing called kit dot coms kind of awesome actually kit dot com slash voter Joseph. You'll see I have a bunch of different kits they're built up of different packages that you can buy or the most interesting kit is one that is called as seen on voltages as a moment. And if you're watching today's show then you'll go there and you'll see at the top of that everything we talked about today.

13:41          And then last one of the forces that you can hire me directly to help you set up your chute your rigging your streaming whatever you might need. So value for value footages of dot com slash support. Thank you very much. Right now when we open this right file here and we are SRI's two of these here we have both these open and let's take a look at what I got. Let's take this full screen. So this is what you're looking at here is a side by side. Obviously the exact same shape you see on the left. It's ISO 2500 and a desire to keep the aperture the same or change the shutter angle so ISO twenty five hundred thirty degree shutter 4.5 the shutter angle does matter nothing was moving so we're not going to get any kind of motion blur in their shot at 4 to 8 bit.

14:25          So internal second shot over here on the right is ISO 400 180 degree shutter so I'd at 4.5. So again same aperture same will not say so but the ISO based ISO 400 on the right basis of twenty five hundred left and 30 degree versus 180 degree shutter at first glance they look virtually identical. Okay so that's useless. Right so now let's look at a different version of the same picture where I did a little split screen on here and I realize that you are now looking at this on a 10 ATP YouTube broadcast so you can't really appreciate the difference in here. But let me tell you you actually can listen to this anywhere on an iPhone. This will really show to well on here but what we're seeing here the difference that you probably cannot see. So again on the left is the twenty five hundred on the rights the 400 there is slightly slightly less noise in the 24 100 shot but there's also slightly slightly less detail.

15:22          So my interpretation of what's happening here is that there is a Dino's using algorithm very very subtle but a very subtle annoying algorithm being applied at the 25 100 ISO that is cleaning up the noise it's in there. But simultaneously removing the ever so slightest bit of detail unless your pixel peeping it I really don't think you're going to notice I had to look pretty closely to see it but that's my interpretation of what's happening there. I don't know these things you know animal engineer but that's what I think is happening here and other than that the fact that the left has 20 of 100 or so the rightest 400 that's pretty darn awesome. So there is that. So that's that's the first thing I wanted to show you that. Now let's actually look at some video. So off to Final Cut Pro. Oh what I left out of the whole shooting configuration is that I'm shooting in the log so that I have maximum dynamic range maximum room for grading.

16:18          So let's take a look at these shots. Interview log in SDR standard dynamic range we're going to look at those first and then we're getting into parts 2 and 3 getting into high dynamic range and some specific stuff on the Adams. So with that said let's take a look at the set up in here or I have. Let's close this thing here actually. That it looks room here I got a bunch of shots on the timeline. These are straight out of the camera. No adjustments applied to this. You can see the flat profile that they are if you look at the wave form appear if I was actually you know slightly more dynamic range shot.

16:51          If you look at the waveform up here you can see how flat it is. So here is zero. That is black. There's 100 that is white. Anything above 100 is super white anything below zero is super black and generally for all intents and purposes we want to keep our shot well within zero to 100. If you look at the shot is clearly quite flat and it even looks quite noisy. And that's you know it looks noisy but this is not how it's meant to be used this is not Haussmann to be looked at it's meant to be looked at with a colour grade and or a light applied. So let's just take a quick scan through these shots here just to show you what I got on here and what's really cool about this actually let's just park on this one for a moment here.

17:28          What's really cool about this is look at this is black black rock. This is obviously extremely extremely hot and extremely bright. And yet other than the hottest hottest center of this we're seeing the full range of the images here. Now yes this does look noisy because we haven't done any grading to it yet but I want to show you the flat profile first you can see exactly how it looks. Now scientists see a couple of the shots here are just come scan through the time when I did one like this is insane. He's got this oven that goes up to like a billion degrees insane. It's just like true on form. Blacksmithing is pretty awesome stuff. Anyway so you can see quick scan through the shots OK it looks like I'm going to select all of those go to the inspector and I'm going to enable the Panasonic Verilog Lutts.

18:16          And now we see what the shots look like essentially natively and you can look at the dynamic range on the left you can see in the the waveforms We have stretched them out we actually still haven't gotten all the way down to black or even all the way up to white. But we are definitely pulling on the range on there so now we could get into the shuttle or Belushi's this one. Now we can get into our creative greening on here and this. You can see we still got some room to go on the blocks. We still have room to open not a whole lot to go on the white but we have a little bit so I can go into the great here and do something like pull the shadows down so we get those all the way down to black and I'm going to want to grade this quite crunchy.

18:53          I'm going to make this look like really rich and delicious Full Highlights of a little bit more. And that is a very very quick one past grade. And what this looks like so I play through that you can see what that looks like. And that is pretty pretty slick. Pretty cool. Now when we do the actual shoot we're going to do a little bit different lighting we're actually going to he's going use a different type of coal in the in the furnace. So it gets all smoky in the room it's going to look really really cool.

19:25          But this is where we're at right now. So this is the first first test shots you can see. So that's without an additional grates. Let me actually let's go back to here where the shutters were drawn.

19:34          Let's say I wanted to do a little bit of color tweaking to it maybe I wanted to kind of cool my shadows a little bit so I can go up here and pull into my shadows a little bit a kind of Aqua cool toning into the shadows and then let's just go up here and add a saturation curve. Love the new color grading tools and from ten point four which is incidentally what we're looking at. I want to make say these reds here a little bit more saturated hue versus saturation of the eyedropper click on the Reds. It drops three control points. So Centerpoint and into edge points or grab that center point and I can saturated you saturate just the red on there. So I want to kind of goose that up and make a little bit more dynamic. Pretty cool looking to go back to the other wheels here on a mid toned down a little bit make it a little bit overall dark.

20:18          I really want this to be a dark scene where the bright burning parts are really pulling out. OK. So you take that hit Mansfield a copy. Select everything. Command shift V to paste we're going to paste the color wheels and the saturation curves and just like that we now have let's go to the top of this. No there is no audio on this. Now we have a quick look at the first pass of the shots on there which is in my humble opinion pretty stinking cool. This is going to be a lot of fun to work with. A lot of fun to do the final edit on things. Absolutely beautiful gives us a long shot.

20:51          There we go. That was probably a little bit too dark. Oh it's actually a live that open up. Yeah this is. This is cool stuff so I'm digging it. This is going to be a lot of fun to play with a lot of fun to put together and again shot with those are one of those three lenses that I showed you the Noct Chron or the 25 mil zingy or the 15 Millichap and there we go. So there's there's the first look do that on some of these I went to a really fast shutter angle so that I could capture the sparks going really nicely.

21:21          It's pretty awesome. What do you think. I'm stoked. I think this is going to be really really cool.

21:29          OK so that's the first part of it. That's what I wanted to share to begin with. So we're setting up we're not doing anything special and final cut at this point. We're just working in a SDR standard dynamic range timeline like you always have. Bringing this high dynamic range footage by Hayden emigres generally means vlog footage that is has a compressed look that flat look expanding out to make it look really good for the screen. Super loving it. Looking good now we're going to have into part two part two of the show is going about how to set the set up for high dynamic range for actual HDR setup and then part three is going to be about the outermost ninja inferno and some little oddities that I ran into in their soap. We'll be right back. Part two of today's show.