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As you know, I have been a fan of your work since your GH4 days, but I must say, your stuff has gotten exponentially better since you started using the G85 and the a6500. Your recent a6500 videos and this G85 stuff is next level. If I had any kind of real budget and was shooting something in the city, I would definitely try to hire you... I can only imagine what you could do with an Arri Mini.

I just got back from the store where I specifically went to put the 25 1.2 on to see if I would be able to use the similarly weighted Sigma 16 as a walk around lens. The weight is too much for me, so will have to try and justify keeping the PL15 too. I tried the snap focus [edit: I think this is the wrong term, it's the same focus pull back action as on the Oly 17mm 1.8], for the first time, which was nice. The build quality is great. Autofocus didnt seem much faster (if at all) than the Oly 25 1.8, which is already excellent. The bokeh is absolutely bananas, amazing. I think the only reason I would get the 25 or 45 is if I did portraits or weddings, for the bokeh. I agree with Jon's video that the Oly 25 is not worth 3-4 times the price of the Sigma 30. I am fully happy with the Sigma and always amazed by the images it produces and light gathering. It sounds like Sigma made the PL12 and possibly had a hand in the Oly 25 PRO (apparently they certainly designed the Oly 75mm which was the king for a while), which is great for those who need those premium features, plus reassuring for Sigma fans that they are making the best lenses as well as amazing affordable ones. I hope after they make the 50 that they attempt to make something along the lines of the 18-35mm f1.8, because at the moment Sigma is the most exciting thing in M43, now that the GH5 dust has settled.

Six minutes of untouched 4K VLOG straight from the camera. Will upload the individual clips for download later. Everything was shot with the Sigma 24-70mm f2.8 on the EVA1. Aperture was mostly at f/2.8. No autofoucs was used. I manual focused with the focus square feature (which I love BTW). The only light source was a small Hive light with a softbox over it. I measured it at about 500-700 lux where most people were standing in the video. All footage is untouched VLOG straight from the camera. The noise definitely looks worse on YouTube. If you apply a LUT to the raw footage it looks way better. 2:42 I compare ISOs 2500-25600 then down to 1000. 4:00 I turn on EIS and test it a bit.

The *only* viable option? I have shot hundreds of hours of documentary video on the A7RII and even *it* works very well. We also use the GH5 and do two-camera interviews with it and the A7RII. The GH5 is excellent but in the real world each has pros and cons. Interestingly both A7RII and GH5 share a feature the A7SII (and probably A7SIII) don't have: ability to shoot in a crop mode that gives 1.5x on the A7R series and 1.4x on the GH5. That is really handy because it's like a flawless tele-converter without changing lenses. From actual hands-on field documentary work, the biggest A7RII issues are not the 8-bit 100 mbps codec or lacking 4k/60. It is things like this: - Inability to rapidly switch between Super35 and full frame mode - Slow boot up to fully operational status - Intermittently laggy control input - Cumbersome menu system with limited customization - Poor button ergonomics and poor tactile feedback - Poor battery life (although the battery grip on the A7RII fixes much of that) - No 1080p/120 - Focus peaking could be better For stills the biggest issue is incredibly slow writing rate to the SD card and almost non-existent multi-tasking during those long periods. Most or all of these are addressed in the A7RIII. So I don't see the GH5 as "the only viable option", even though my doc team uses one. I would much rather have Eye AF in video mode than a 10-bit codec. These are the differences between real world use vs comparing specs. If you want to see informed, experienced commentary about the A7RIII and video, check out Max Yuryev's latest commentary. This is the difference between someone who owns and uses both GH5 and A7RII vs someone who looks at specs:

I wrote and directed this short film for halloween and I'd love some feedback on it if you get a few minutes. Hope you enjoy!

This is a very powerful impressive camera. However the motion cadence of my A7s annoys me and the video is good enough for me at the moment. So no buy, I still want a MKiii with Ml or a BMMCC for the look I want.

Great comparison video by ProAV here... Carl also made some of his clips available for download. https://www.dropbox.com/sh/wwa5kx5e4r9f8v8/AAAFDUA7OIXYRrK82FvtaZUXa?dl=0 I ran them thru ACES (Panasonic V35 -> Rec.709) in DaVinci and only made lift/gamma/gain adjustments. No color adjustments. First thing you'll notice is the scooter in the background appeared orange in Carl's contrast/saturation correction from V-Log. Here it is back to a more accurate red. Attaching a TIF of the ACES version here as well. EVA1ACES_1.1.1.tif

Sony and Canon just don’t mix. Wouldn’t recommend it.

@sondreg I unfortunately did not mess with the audio channel settings. The audio is from the internal mic. I would assume the combos available are either internal stereo, single XLR, or stereo from both XLRs. I did not confirm this in the menu, but it's a reasonable assumption.

A lot of other lenses have punchy contrast to 'help' with the sharpness. They also might be sharp where the sharpness hits, but lack actual resolving power of detail. Veydras are a little soft wide open, wouldn't say unusable, around f/2.8-3.5 it tightens up quice nicely, but I think they resolve fine detail way nicer than some others. Disregarding everying below f/4 I find a bit of an exaggeration though, but different folks, different strokes of course. About the whole 'charm'. I think Veydras are awesome for professional and commercial applications, where you want a clean and solid look that you can depend on, that you can shoot over and over again with the same results. That they match well amongst themselves. And of course, you get all those benefits of the build that true cinema primes have (so: being color matched, minimized focus breathing, all metal, gearing at the same places, smooth focus with large throw, clickless aperture ring, same diameter filterring, etc) at indeed a bargain price! And you can swap the mounts should you get a Sony or Fuji. But... do they have that Zeiss 3D pop? Do they have that Nocticron X-factor? Do they have Helios-44 swirly bokeh? Nah, they're just well-behaved lenses. I think Olympus PRO and Sigma have generally have well-behaved lenses as well, so don't necessarily take that as a bad thing. People are just establishing that it is 'different'. But you wouldn't really use Olympus PRO and Sigma lenses on every set either (don't know a lot of people that shoot Olympus PRO period, actually (unless it's stills), but there are some that refuse to take their Sigma 18-35mm offa their rig though xD). You can imagine that just like using a diffusion filter, people might opt for a different lens to get a certain vibe one would like to pursue for the piece that's being shot, because other lenses might convey a little more emotion because of their character. Lenses are tools as well and there needs to be the right occassion and application for each tool. So, none are bad, it just depends on what you're going after. And that also depends from one person to the next (you don't use filters/vintage lenses, do you?). So, all that matters is that you're happy with what you're getting out of 'em, really. Which I think everyone with one of a couple of these is. Yeah, I get that. I've walked around with the Olympus 7-14mm f/2.8 PRO quite a bit and to be honest, it's too big and heavy too. But then I look at what it can do, and I'm like, well... it's worth it though, especially if you're getting establishing shots, or heck, even doing landscape photography. Of course now you could say I'll just throw on the Laowa 7.5mm f/2 MFT for the really wide shots (without the need for third party/3D printed solutions to get some filters on there) and get the Panasonic Leica 15mm f/1.7 for those 14mm-ish end shots. Gimbal friendly too. Probably for less than the 7-14mm PRO as well. Don't have much problem with spending over a 1000 bucks for a flexible constant aperture zoomlens, just those single focal length primes that blow past that mark. Ouch. Of course they do have a pro build and you get either an aperture ring on the one hand or a manual focus de-clutch on the other... surely the sensitivity and results are stellar too, but... like you said, there already are a lot of excellent lenses with superb value, which raises the question: are these high-end primes worth it? Of course that depends on each individual's wants, needs and ca$h on hand. Think the Noctricon makes it a little easier, because bringing it back to character, that one might have something to set itself apart with, that X-factor people are looking for. I just can't sanely argue that is worth 1279,- EUR either. Fun for buck is just as good if not better in a couple of lower tier lenses. Very creamy! XL Speedbooster... so... shot on the Panasonic G85?

Only $500 back when it was on sale! Wish the Pocket or Micro would go on sale again.... Don't care! Better off to just talk about S35 instead. Sadly :-(

Here's the mother lode: 4K 10bit 422 clips from the EVA1 15 are in VLOG and 1 is in Rec709 Most of the shots are with the 2500 base ISO The white balance is wrong on all clips. The camera was set to 3200k with a 5500k light source. I didn't realize until I shot most of the clips (kinda hard to tell with VLOG). These are mainly just random shots I took while exploring the camera and testing out focus assists. Have fun playing around with them and look out for the cameo from Mitch Gross! https://gtvault-my.sharepoint.com/personal/rraj9_gatech_edu/_layouts/15/guestaccess.aspx?folderid=093103eddffad4d9290335742bb81c158&authkey=AS4oW0CV_wq099VsOGHOHKk

Off topic, but I'm 99% certain that that is the theatre where I saw The Good Thief with a post-screening Q&A with Nick Nolte the first time I visited LA. That was awesome. Ah, memories. This, absolutely.

What Max is saying is that A7rII is a very bad camera for video. For anyone care mainly for video it is a waste of money, to buy a photo orientated camera (and it should be very good at that) 4-6 months before the video orientated camera is out. The "industry" (from TV sets, to media, to everything) moves to HDR, which is 10bit in most standards (Dolby Vision is 12 bit, by the way), it is not hypothetical between 8 and 10, it has to be at least 10bit. All companies trying to "steal" with someway, Samsung has some amazing gaming monitors advertised as HDR ready, which isn't even close to even great normal monitors, HDR is the word right now, but cheap technology (like a 650$ 32" gaming monitor) ain't there yet, so companies are trying to steal the term, without delivering. It is not GH5's fault, that the whole industry moves to HDR, and people truly like it (unlike 3D, which was a complete failure), eventually we all are going to move there, right now, my older generation cameras (and workflow) do the job just fine, and I am not moving everything to 10 bit just instantly, but I wouldn't like to invest on last generation's stuff from now on.

Youtube upload h265. The quality it's supreme.

Sony release a high end stills camera with some video capability but astonishingly it's not a video orientated camera with some stills capability added on......................

Agreed. Here's why I think some perspective is needed in all this... To get 10 bit you need to pay: $1000 - Black Magic $2000 - Panasonic $4700 - Sony $10,000 - Canon (The C200 doesn't count - having to record raw at 800Mbps just to get a nice 10 bit codec is just unrealistic for too many people. Even still, that's $7500! Same with hacking a 5D) And to get full frame 4K: Sony - $2300 Nikon - $3300 Canon - $5700 BM - Nope Panasonic - Nope. Oh, and they don't even offer S35 4K unless you pay $7350. Not trying to bash any company, I just find it amazing that because one company offered 10 bit on a M43 sensor camera that it's now expected on every camera, regardless of sensor size or price. Don't get me wrong - I'd love a 10 bit mirrorless Sony as a B Cam to my FS5, but I wish this kind of enthusiasm were directed toward demanding higher quality color filters, EVFs, audio preamps, exposure guides, etc., all of which are important for getting a shot whereas an 8-bit C100 can nail the same shot as a 10-bit GH5 4/5 times. Every company is introducing firsts or offering way more in certain areas (canon is DPAF, Olympus with insane IBIS, Panasonic with 10 bit in mirrorless, Sony with Full frame mirrorless)... So I think @mercer is just saying that it's unrealistic to expect every other company to immediately follow suit and include the same features regardless of cost. At least, that's how I feel.

You do not dissapoint in your never ending ways of seeing a negative in Panasonic? Or just the GH5s?....so instead of Panasonic being the first to deliver 10bit 4:2:2 internal recording in a hybrid 2000 camera, you turn this into a must develope feature by Panasonic to make up for their failure in Vlog with the GH4....I glanced at a thread on the 5DM3 and ML once....a video clip in which the banding and rolling shutter was so bad as to be unusable IMO....as I have no interest in the camera, I saw no reason to comment on it....do you want a GH5 or do you just want to hate it?

I have two theaters, both local ones, my favorite: (great little doc on it here, albeit missing Victor the Super Manager...): https://la.curbed.com/2015/5/26/9956894/watch-a-brief-history-of-the-1923-vista-theatre-in-los-feliz and since I moved: I love both venues, but even they've been increasing the decibel levels of their exhibitions like inflation. I guess I just find it hard to believe that my ears are actually getting more sensitive in my 40's. One of my first sh*t jobs was in a theater, and never once had I heard anyone complain that the volume was too low. Anyway, Blade Runner I saw at the Vista and now my wife will never come with me again.

I saw this yesterday & yes, the sound was way too loud - so loud it felt that my eardrums were about to burst. I think the problem is definitely with modern sound mixing - there is too much contrast between the quiet & loud sequences. But in modern cineplexes, they have to raise the volume to drown out the air con, which i could still hear, and the other films, which i could also hear at times - real shame. The film itself was great Sci-Fi & my reasoning is that 24hrs later i'm still thinking about it - something i can't say about most Hollywood films ATM. There is so much detail in this film that most of the comments concerning this film have missed or ignored. I do believe that the original has been put on so high a pedestal that most people have overlooked the fact that it is a deeply flawed, imperfect film - it looks great & the story is ok. But.....it's very simplistic considering the original source material, which is rich with ideas & provokes so many interesting concepts - what great Sci-Fi should do since its a comment on our present society. But what really bugs me about the original is which version is everyone putting on a pedestal? There are how many versions? Personally, the Original version & the Final Cut are both great, but have slightly different ideas running through them & I have always regarded them in equal admiration - 2 for the price of 1. SPOILERS, BIG ONES! There's so much in this film, it's difficult to know how to unpack it all - the end seems as good a place as any to start. The fact that the daughter (the best freelance memory creator) has manipulated replicants in order to facilitate her search for her father is absolute genius. The falling snow on K's hand & then the cut to her creating the snow memory live, makes you realise that K really is her Pinocchio. He's her puppet that she's been manipulating, through her implanted memory of the horse story, along with the other rebel replicants who all think they are the miracle baby (or should that be Messiah - a common Sci-Fi concept) at some point in their journey towards manipulated enlightenment. The similiarites between the 2 films is also interesting: in the first, the replicants are striving for immortality & the meaning of mortality, which is a common human trait & Sci-Fi concept (the first reconisable Sci-Fi story, The Modern Prometheus aka Frankenstein dealt with issues of immortality/mortality & replacing God with science etc.); in the second, they can live as long as the buyer likes, but have been altered to become selfless to the requirements of humans (Asimov's laws of robotics), thus eradicating selfishness - a very human flaw. The replicants aren't "More Human, Than Human", that is just pure advertising - they are flawed precisely because their makers are flawed. I thought the best concept in the film was the interaction between the K & Joi - 2 AI's trying to communicate/interact with one another. Again the Pinocchio theme, when Joi supplants herself onto the body of the prostitute & it appears like she is a puppeteer, placing her hands on K. But what is most interesting about this relationship is that Joi is the one that feels & craves to be closer to K - she rents the prostitute, she feels the rain & most importantly, she says "I love you". K is not fully formed (his programming prohibits him because he is physically present), he's not a real boy & it is Joi that is trying to teach him because she hasn't had those emotional traits surpressed (she's a hologram designed to alleviate loneliness). Again, there is also the question of whether Joi is just a construct being used by someone else (the daughter or Wallace Corp) to manipulate K. Finally, this interaction reminds me of that recent discovery when programmers let 2 AI's talk to each other & found that they created a new language in order to communicate with each other more easily/effectively - begging the question of what would happen if they hadn't stopped the experiment. I could write about this film for hours, it really is such a rich film with so many interesting concepts that have been presented from differing points of view. Predictions for the future - if the film does well enough, they have left the door open for another film (probably a big action blockbuster), but as it is this film will only get more interesting with more viewings.

Panasonic GH5. We can close this thread now.

No more than 7.