Dope content here, Dustin. I'm new to the S1H and your recent vids have been very informative and practical getting to grips with the in-depth functions of this beats! Thanks for posting the Netflix settings sheet too! Peace, Jay.
Love your videos, especially on the S1H, it's such a different beast for cinema, so many settings! I was shocked when I seen your subscriber count, I thought you were in the millions, not thousands, crazy! I'll share your videos around to my camera buddies.
So glad I found this channel .. editing my S1H footage right now.. loving it .. I over estimated how much light I would need for the 180 FPS tho.. super noisy but still happy with the camera over all ..
You should do it on street basketball instead. They also always order 2 seasons if it's approved so chances are high. Especially if you act and direct and camera operate and boom.
You'll be very interested to watch my next video on this channel. It'll be in black and white. I don't have recommended settings but it's funny you mention it
*Hey Dustin. I'm saving up my extra shekels to be able to pick up an S1H body ASAP. All reports, reviews, and industry feedback indicates this is THE hybrid mirrorless camera for serious production.*
@@DustinArmstrongPro I was watching a live feed, think it was from B&H. Featuring gerrald undone and other youtubers. There's a possibility that they might give us 5 minute 6k clips on the s5. Not saying it'll happen but he said they're looking into seeing something like that will benefit it's users
@@DustinArmstrongPro Wow dude, I'm loving this camera more than the Sony A7siii. Let me tell you why. The Sony camera is great. However, I find it to be, too easy and it doesn't seem to be much of a challenge. The s1h is just a fun camera to figure out and use. As a professional, how do you feel about the Sony?
I love it as well. That's interesting actually I've found the S1H much more user friendly and makes more sense than the Sonys 😂 but that's just my experience and it could be because I was more of a "beginner" when I was on Sony so maybe that's why. I'm excited to see how it compares to the A7sIII (I have one on pre order)
Hey Dustin Thanks Myself George Joseph This is great video, the fog shots... I have a doubt, does the netflix production requires time code? What if we dont use time code cable? Viva filming
Hi Dustin. Rewatching this video, a question pops up: aside from HLG, are V-Log and RAW HDR? If I shoot V-Log or RAW, can I deliver in HDR? Thanks for your insight!
As far as I'm aware, yes you can finalize in HDR in V-LOG and ProResRAW. You just need an HDR monitor in order to do that and the correct workflow. I don't know what that looks like, but yeah fairly confident. It's possible the sheet has been updated from Netflix. Maybe I'll look into doing an updated version of this video.
@@DustinArmstrongPro Thanks! It should work at least for RAW as RAW reads out all the data the sensor can get. As for HDR monitors: I don't have one. But the new iMacs will support HDR. Cheers!
Great info. Thanks a lot. I was wondering how difficult these settings could be to find. Are they likely to change do you think? Any comment about HLG HDR?
No problem! I honestly have no clue. I'm sure they are likely to slightly change overtime. Haven't fully tested HLG but have a video planned in the future to test it out
@@aspirant5872 I would say it's much harder to edit actually. Still working on my Lut - there are many obstacles to do so. V-Log on the other hand is easy to work with and even the provided Lut provides fantastic results! HLG has the advantage of having no noise reduction related motion artifacts and cleaner shadows while providing the same dynamic range. Especially visible at 120 and 100p.
Thanks! Great to have the ire exposure levels for v-log. That's a tricky one. Especially in run and gun scenarios. Do you know how to read exactly 7,3 41 and 62 ire from the waveform monitor or is there another way? I guess 10, 40 and 60 will do as well. Thumbs up!
Probably an expensive monitor on set could give you a good waveform monitor with an exact value. It doesn't have to be exact everytime. Especially if you're a run and gun videographer (like me) it's hard to always expose perfect. You can also check out my video covering 10 secret settings in the S1H. You can use the luminance spot meter in the S1H to also help assist with exposing correctly using a grey card. Hope this help🙏
@@DustinArmstrongPro sorry guys, I just watched the video..are you sure 90% white is 61 ire? I think it makes more sense if 90% white is 71 ire? as if we count that 25ire=1 stop...then 61ire will be like skin tone exposure? if i explained myself properly...Thinking of buying the camera. are you selling second hand? :) thanks for all the videos man!
@@nelisaalcalde9081 If you are following the Netflix guideline then yes (click the link to the Netflix guide and look at the bottom of the first page). I'm not exactly sure what you mean, but watch my video how to expose and colorgrade LOG footage that'll explain more in depth on exposing LOG footage. Not selling though haha. Appreciate the support!
Just subbed - what would you recommend for a one-camera solution for RU-vid content, product videos (for Kickstarter) and narrative filmmaking? Think the S1H would fit the bill? Do you still use your Sony a7 III/S II since getting it?
Thanks for the support! The S1H would definitely fit the bill, but same with most hybrid systems. It really just comes down to what's most important to you. Autofocus, ergonomics, etc. I think if you're doing more narratives, the S1H might be a better choice. If social and product videos are, A7III or Canon 1DX might be better. I still use my Sony but use my S1H more
Dustin Armstrong my own camera will mainly be for: talking head shots as you did here, interviews, product videos, actors monologues, short films (but may rent or get another DP for this).
@@Weird_Quests Possible a camera with good autofocus may be a better choice, but it just depends how comfortable you are pulling focus manually. And is this your first camera? Or already know about cameras? All these things would be things to consider when buying a camera
Dustin Armstrong I teach filmmaking and photography as well as do a little sales too - pretty comfortable with using cameras - just trying to balance ease of use with value/features
Brother absolutely loved this video. I require some help, When I grade the 10bit vlog footage from S1H in Premiere Pro, the color banding issues come my way, mostly likely the banding happens in skies. Guide me how to fix this.
Your video tour guide is here. I have honestly not run into these issues. Are you on the latest firmware for the camera and updated to the latest Premiere Pro?
Hey Dustin, just got the S1H and I have the GH5 as well. You mention others cameras to use 10% for Netflix, could I use The GH5 as a B camera and S1H as A for 90%?
Kind of a loaded question. If you aren't invested in Canon, I'd definitely consider the S1H. Personally, the ergonomics of the S1H I think far better than the 1DX mark III. The S1H is smaller, has a flip screen, and it's cheaper as well. The biggest advantage the 1DX mark III has is the Dual Pixel autofocus. It'll destroy the S1H. So if autofocus is important and you are okay with the bigger body, higher price, and not as intuitive design, 1DX Mark III. If you are comfortable dealing with the bad autofocus and having to go manual focus a lot, I think the S1H is a much better value. This doesn't factor a lot of things but hopefully helps with your decision. Good luck🙏
So you can use footage from any camera for Netflix shows but I think 90% or some sort it needs to be shot on a camera that is approved by Netflix and I don't believe the S5 is
he covers the timecode situation. the whole video, and the damn camera itself, are aimed at the pro-sumer market. it's for making movies with. if you're looking at this camera you likely don't care about on-board sound. if you want to be a v-tuber go look elsewhere.
@@DustinArmstrongPro sorry i present my statement wrong ha i meant to say i wonder if it fits the requirements, has 12bit cinema DNG & MOV and shoots 8-12bit UHD.
@@patrickcazer I understood👍 There are cameras out there that should technically be approved by Netflix but aren't for weird reasons. Just my understanding I'm not an expert