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I have the smallHD Focus. Helps with exposure also through false colors. I don't worry about the said car tire shadows, but you always want to expose skin correctly.

Well, one of the things they've said previously is that you can't have a proper heatsink on a free moving sensor. The whole thing is just limiting the access to the sensor in general of course, it's like de-boarding a full train through one door rather than all doors, or pretty much having a single lane highway between two major cities, rather than a multiple lanes one: limited flow, congestion, there's going to be more pushing, it's going to be slower/less efficient. Ofcourse it's going to depend on what you want to pull from it and what technology you're relying on. The Samsung NX1 was ahead of its time and was reported to have some sick data pulling capability for instance due to having the right chip infrastructure in place. Think that's the thing you need if you want to pull 4K60p 10-bit 400Mbit/s LOG format internally. Also, better wiring may also reduce noise. And less pixels might be easier to handle as well (with larger photosites = better lowlight in general). Then it's all about finding a harmony between processing, buffer and writespeeds. I can also see a scenario for ProRes/RAW DNG recording of some sort, where you could use the dual cardslots for alternate frame dumping. They would need to be combined after recording. Think that's one of the more intriguing things about it... they could really make it a proper cinema camera. An eVND solution would be pretty cool too, but might be in the way for certain lenses or speedboosters. But not having to cater for stills photography would allow them to greatly enhance the video capturing capability. Of course, for more serious video work, you'd see more folks going from handheld run 'n gunning to putting the camera on sticks, dolly, gimbal, shoulder rig, jib, crane, etc, so no IBIS shouldn't suddenly be something new for cinema style shooters and for new operators in that scene, it's a good lesson to learn, should they rent and operate a Blackmagic, RED, ARRI, etc one day. Of course there's something to say for people who aren't looking at all to shoot like that, that just want their MFT handheld powerhouse in a relatively compact package. From Panasonic's perspective it would also allow them to keep other cameras still interesting and sellable. Where the GH5 is the handheld allrounder and the G9 the stills flagship. Unfortunately the segmentation game is still played strong by all parties.

Luke, are these frame crabs from the ***** **** ?

Dec 15 is a Friday. It's such a curious time to announce anything. Some thoughts: 1 - This was a last minute decision to announce this before end of the year. And logistically Friday, Dec 15 was the only time available to their Marketing team. 2 - This is a non-consumer product so announcing it on Friday, while people are occupied with other things, etc. is not an issue for them. 3 - The timing is designed to steal thunder of another competing product (to be announced) or perhaps against an existing product in the market and the goal is to make some buyers put a pause on their purchasing decision before end of the year.

Hey all, I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras. In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film. Feel free to leave any feedback or questions and I'll do my best to help you out!

Max Yuryev did a very informative test. I thought I was biased with my videomicro but turns out if you own a camera with decent preamps (Not Canon or Olympus) then it is very a good and cheap solution. Not to mention the small size:

Fooling around With the new Apple clips app 2.0 version on the iPhone X. This thing is the most fun I’ve had in a long time. So easy to use I make instant music videos. I would love to see this thing on the rear facing camera also. BE205335-C2D1-4636-BAED-0E3B48CEB320.MOV

A63/6500 1080P quality is bad, especially when I cut with sharp cameras like C100MKII, the difference is sooo obvious! my old A5100 have sharper 1080p output.

There are certain circumstances in which UHD @100 mbps is a problem: Slog. Even if you bravely try to ETTR all the time, in the real world and in situations of wide dynamic range you'll nonetheless sometimes capture the noise floor. Not necessarily shadows beneath car tires but for instance parts of faces that happened to be heavily backlit. This noise then clots together as macroblocks with banding. You could live with a little noise, but those areas ruin the recording, and you usually see them when it's too late. The GH2 once had all-intra hacks with absurdly high data rates (like 172 instead of 24 mbps), and the fans raved about the added detail. But there wasn't more detail. The hack just preserved all of the noise. The shadows looked more natural, and if there was too much noise, you could perfectly Neat it. A ProRes capture means less compression artifacts, so I wouldn't say it's completely useless. Would I want to schlep a recorder on top of my compact little camera? Definitely not. I try to expose better, and I accept around 5 % rejects where I failed.

No, you won’t get any real benefits. The sony a6300/6500 1080p is awful. Worst than any other camera I own. Such a pity since it’s 4k is the better one. I had to buy a gh5 for work (long recording), and I can see that I lost something in IQ.

AFAIK, the biggest difference is the Videomicro isn't powered and doesn't work with the Canon C100 btw. However, I use it on every other camera and it's quite the nifty mic.

I am by no means an expert on this but don’t you only need 8mp for 4K Video? So a 12mp sensor would be more than enough for good 4K Video while also making it easier to downsample the 6K to 4K in camera for a clean 4K image free of artifacts? Isn’t that why the a7s has near perfect 1080p? With that being said, I believe the rumor states that the mystery camera will be geared towards high end video, so it’s quite possible that it is a S35mm sensor with an EF mount. Since the EVA1 has an EF mount and there seems to be a whole in their product line... then a $3500 S35mm 12mp GH5s could fill that gap. Just guessing here. Either way, it’s kinda exciting.

Wow! I can see 2 NX1 cameras there, I thought they had vanished from this dimension (the Trump one, where the world goes to hell!) My favorite is the Micro, it is the only Rode mic I ever owned! All the rest, I would rather use something else.

a6500 has clean 6400, easily. I would like to see those 1 and a half stops better low light performance on GH5 already. What I am saying is that Ibis is not a tripod - the image still moves, and not a gimbal, the IBIS system trying to compensate the movement usually fails miserably, just my 2 cents after a few days shooting entirely on GH5 with IBIS. Very curious about the announcement though. Good stuff NF!

I have to say, a new gh5s will bother me a lot, since I just bought a brand new GH5 3 weeks ago, And I won’t be able to return it. I choose a panasonic camera, because I lost faith in sony when they released the 6500 just a few months after the 6300. Hope I won’t be disapointed again.

I am the only one not getting crazy with IBIS? Obviously is good to have, than have not, but I do occasionally camera (GH5s) for a cars TV show, and when I ask time to set a tripod, everyone is looking at me strange, and they have the GH5s for not even 6 months, and already everything else is out of the question! My impression is that IBIS is something between a classic tripod/monopod and a stabilizer (Crane, or Ronin style), so for me it falls in "no MY land" territory. How much high ISO performance you can pull out of a small m43 sensor, I am wondering?

Yes...but they also weigh 20+ lbs, so you have the weight on your shoulder to keep things steady for handheld...IBIS effectively turns the GH5 into a 20lb camera without the weight...as for image degradation, early concerns expressed were that the IBIS would cause excessive heat which makes the sensor noisy...heat is clearly not a problem for the GH5 series...I've not read any thread that claims to decernably prove that IBIS degrades the image on either the GH, G or GX camera series.

The very same here. I do not care much about low light capabilities ... with voigländer 0.95 you can work around a lot. also speedboosters. But if, and that's a big IF... if it uses that new quad bayer HDR coding sensor layout ... i wouldn't be surprised to see 14 stops or more out of this baby. Lowlight has solutions... for run&gunning, i don't know anything but native sensor capabilities to maximise DR. (yes, i know i can stick a led panel on top of the cam).

My Mac does, but it uses Quicksync - and so does Resolve, obviously. It's a matter of configuration-optimization or so, I guess. I wouldn't worry. If you didn't already, use the one-month trial period of Kyno. The idea is that you browse your card, preview the clips, set in- and out-points, subclip them with "s", rename them, whatever, and afterwards batch-convert them to ProRes, which happens way faster than with Resolve. Kyno doesn't "import" anything. Yes, this does eat more disk space (depending on your shooting ratio of course), but you have your footage organized. I don't know for sure, but I think this will also be the perfect solution for the 10-bit clips which the free Resolve doesn't accept, for what reason ever ...

Wonder how much low light improvement will it get, will they use lower MP or use BSI or use that mysterious organic sensor to achieve it? Will 10bit 422 finally come to 4K60P? Wonder is it a pre-strike against A7SIII which is still no where to be seen or heard

It looks like to could be a GH5s https://www.43rumors.com/ft3-panasonic-gh5s-coming/

All good points, but dream as we may, it’s unlikely that anamorphic lenses are the “big announcement “.

Looks like that is not all their shotguns, just all with a 3.5mm connector.

Yes, few customers with GH5 only are considering $7k and up lenses. So there is a market for reasonably priced anamorphics. For the record SLR Magic are not Leica quality. And further more neither are Veydra mini primes. I have them all, so I know first hand. Additionally, I am invited to demo the Atlas Orion series and hope to take them up on the offer sometime in the next few months. I will share what I learn. Near as I can tell, the Orion is the best bang for buck. The SLR Magic’s are ok for fooling around though.

LX200 with the GH5 sensor, tilt screen and mic input, plz.

Sure it's not a fridge? :P

Yup. I think the main reason the LS300 didn't take off was simply due to JVC not being taken seriously in this space. Their pro rep is solidly in broadcast, and even their consumer camcorders were never anything special. So people looking for an affordable large-sensor camera from above or below just don't have JVC as a contender in their minds. Panasonic doing the APS-C sensor + m4/3 mount would have turned a lot of heads. Especially if they had included a nice solid m43-EF adapter that had the option of bolting to the camera body, for those who would just want to run the camera as strictly an EF mount. Maybe in a year or two they'll figure this out, and a new camera can slot into the wide space between the GH5 and the EVA.

Panasonic is the new Sony.

Even though I almost always agree with you Kisaha, in this exception I would say an F4/F8/MixPre6 is *NOT* a "middle solution". As MixPre6/F4/F8 are very clearly low end options (even if they're at the top end of the low end, and have many features that only a few years ago you'd have only seen in the higher end ones). The middle range of option is Sound Devices 600 series (664/688/633), Zaxcom Maxx, Sonosax SX-R4+, etc High end is Aaton Cantar X3, Zaxcom Deva 24, etc I still feel the F4/F8/MixPre6 are *EXCELLENT* recorders which are amazing for their price, but it is good to keep some perspective here, out of the whole wide range of options out there they are certainly not some middle ground, but instead very much so sit on the cheap side of the price spectrum. http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ http://ironfilm.co.nz/aputure-is-shipping-their-new-microphone-aputure-deity-meant-to-be-a-competitor-to-the-sennheiser-416-like-the-rode-ntg3-is/ Seems you've just been unlucky? If anything, I'd say Tascam has perhaps a better reputation than Zoom? (up until the last couple of years, Zoom had zero "pro recorders", while Tascam at least had a presence in that market) But if you really want to avoid Tascam, then consider Marantz? https://www.bhphotovideo.com/c/product/1340332-REG/marantz_professional_pmd_706_6_channel_dslr_recorder_recording.html

Is that trolling? Seriously though, people should be buying cameras based on their needs and if AF is a top priority, then don’t buy a Panasonic. If sensible menus are important, don’t buy a Sony. If 4K is important to a buyer with a $1000 dollar budget, don’t buy a Canon.

BTM is 1 month offline from this comunity. Hope he is OK, and only working hard on his projects.

@Dimitris Stasinos NTG3 is a great choice, Imhave extensively use it for years, 416 ain't that far away in price though, and I prefer its sound a lot better. NTG3 is more forgiving to not very experienced with sound people though, maybe that worthy a thing. Until recently, and the F4 series, Zoom was less appropriate for video productions. Tascam was more specialized towards video, I, and a lot of people, use Tascam for years and years, especially now that they had a mkII version on most of their classic designs, with even better mic pre amps. Good luck!

Seems like dead in the water. Sadly.

The video assist won't accept 4;4;4. It will probably give you a green tinted image if you send 4;4;4. for use with the video assist, set the f3's sdi out S-Log 4;2;2 Use SDI output A, not the 'Video Out' bnc connector. If you're set to 24p you should be sending 24p out of the sdi. the BM video assists seem to sometimes detect the wrong frame rate - on the A7 series they see a 25, 24 and 30p signal as 59.98, but when imported into the timeline you'll see the correct framerate. It's worth setting the camera to Cine EI mode since it locks you at 800iso and you get the most from the sensor. correctly exposed you can pull or push the 4;2;2 footage a lot before it breaks up. Amazing camera. ps. watch out for the 'shutter on/off' switch down near the bottom left in front of the flip out screen. Set to 'off' gives you 360degree and changing shutter angle won't change anything. catches you out sometimes.

"The Middle Path" A ***** **** Short", I count five starts followed by four stars. Making a five letter and four letter term? "A Lumix GH5S Short" then? GH5S, what could that be?:)

This thread got me thinking .The teasers Neumann Films does in his VLOG posts, plus his cryptic comments in this thread... might point to a new MFT cam with better low light capabilities. Funnily enough, 43rumors thinks a big MFT announcement is imminent in december (news posted today) In his vlog Neumann - after teasing us with a "Classified" after unboxing something unidentified - shows a lot of available light night shooting... possibly with that new cam? this rimes well with Cliff Totten's Analysis of the GH5 sensor and its successor, the IMX294CJK. That new sensor is 10megapix-ish, and high sensitivity. Please find the link to the sensor here. It features bigger photocells, and even a HDR mode on-chip. I'm not even getting started on 4k120p or anamorphic modes. It's all conjecture at this point and wishful thinking... but wouldn't a GH5s be damn nice?

Here is a trailer for my shortfilm I shot end of summer. It´s shot with the GH5 in 8bit 100mbps with natural profile. So should be similar to what a G85 can deliver if using its UHD mode. It´s a pity that not many people are sharing their shortfilm efforts on the web or not shooting any. I remember the GH4 launch and along with all the slomo, flowers, walking backs of heads, there was a variety of interesting and inspiring fictional shortfilms, pieces of fictional filmmaking. Little sidenote, my G6 video I posted above was kind of a concept quickshot for the shortfilm this trailer is from. I must say I am still very fond of the G6. But color rendition of the newer bunch of Lumix cams is impressive, when graded. So even more a pity, that the newer Lumix cams don´t seem to inspire to shoot shorts as much as they are used to film documentaries, webcontent, fashion ads, imagefilms, and stuff like that. Some wedding films with the GH5 are super impressive. Would love to see that in the fiction shortfilm area.

Is my way! :-D One tiny BP-U30 is plenty for a day's shooting.

XL was designed for GH4. Many users already had the XL and they bought the GH5, so you see the XL used more often. While XL accomplished its original mission and still did great with full frame lenses, GH5 had bigger coverage to begin with, having no 4k crop at all, and on top of that you need to give a little headroom for the IBIS to operate. You don't want an entire stripe of black to come up every now and then when you handhold (with XL and APS-C lens). If you don't want IBIS why didn't we stick with GH4? Everyone seems to be using the Sigma 18-35/1.8 and on GH5 an ULTRA is required. Of course XL if you use only full frame lenses.

If it's the same screen dimming as the A6300, it works okish on cloudy days but if it's sunny (imagine on a tropical beach, in the desert, etc.) it's invsible. You'll want to use the EVF then or a screen loupe. About the cage, just keep in mind that you will probably not be able to balance the camera with the native lenses (16-50mm kit, 35mm 1.8, etc) on a gimbal if you put it in a cage. At least I can't get the A6300 in SmallRig cage balanced on the Zhiyun Crane. By the way, the A6500 is supposed to show the overheating warning but not shut down like the A6300. That's how I use it, just waiting on my UltraThin HDMI cable at the moment: I have quick release plates on the camera and the crane so they can quickly go on my mini-tripod or tripod with fluid head. I also use some small quick releases specific for accessories so I can swap the arm with the monitor between the crane and my shoulder brace.