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I've built prototypes of an iscorama-style single-focus adapter, but its really only suitable for shorter focal lengths in the 35mm to 75mm range. Also, its a bit large, and the front element moves during focusing, which may cause some issues with matte boxes. I'm also building a second type better suited for longer focal lengths in the 75 to 200mm range. I'm still debating whether to modify these for internal focusing, which would be good for heavy-duty cine use, but would make the adapters larger, heavier, and more expensive. To be honest, I've put the adapter project on hold until I get a few focal lengths in my anamorphic prime series completed.

Well stated. Like I said since this GH5s has proved you don't Need FF to get decent low light I see no reason to buy a Sony A7xxx camera anymore new to be honest. I doubt Sony is going to come out with Anything that is going to top the Gh5s features wise. How can they. It, other than IBIS, has everything but the kitchen sink in it now. And it is surely cheaper than any A7s mk iii will be. I doubt a Plain Jane A7 mk III will be tons cheaper. I mean Sony is not stupid, but Panasonic in the last year, and now with the GH5s have given "Normal" people 3 cameras that are pretty much unbelievable for what they can do. They have given people a upward path from a G7 to hell, up with the big boys with the EVA1. There is no real reason, other than if you are Glenn and you HAVE to have Raw LoL, that you need some camera other than the 3 that have just come out as a average, or even half serious Pro. Sure a Arri is IT, but we ain't ever buying one of them, but you can buy a GH5s that in reality ain't far from it, for peanuts price wise, to a Arri. We all ought to be happy as hell on here, and some people act on here like the GH5s is a piece of shit. A Downgrade of sorts. Hell I say it is a nearly a Arri for 2500 bucks! What can't you really shoot with it? What else , other than Raw, is it missing that would stop you from making a feature film on it? This ain't no Barbie Cam, this thing is the real deal, for people that want to make the real deal. I think anyone that is serious about this stuff will have no reason Not to buy one I don't give a shit what the New Sony A7s mk III has. I say it Can Not beat this camera, unless like I said, some crazy ass breakthrough and you know that would go to the high end F55, F5, FS7, Etc. first.. The Only thing I see the Sony A7s mk III having is cleaner 52,000 ISO and above even over what they have now. But that is the reason Thomas Edison invented light people. I don't see that a big enough reason to buy it over the GH5s. That sort of ISO is not used very often to give up what the GH5s has to offer. But I am sure the new A7s will be a great product either way. I am not a Sony hater that is for sure.

@webrunner5 honestly, having grown up shooting Super 8 and VHS, I am blown away by what any of these cameras are capable of. Hell, a t2i and a GH1 are insanely better than the mini DV I used for my first short and that was monumentally better than the Hi-8 camera I had before that. We’re really lucky.

I hope they make compact and greaterforming lenses, leica style, not these horrible penis compensation crap you have to buy on the other systems (otherwise what's the point of removing the mirror)

Yes, aps-c/FF is a custom button function and you can now switch between them. Its awesome - I wish Sony would add it in a FW update but the r2 is now left for dead. I do it a lot on my a7r2 - that's my #1 complaint about the r2, #2 is UHS-1 on a camera writing 42mp raws. I have the r2/s2 - in FF 4k there is a world of difference, the r2 is softer and gets really noisy/mushy above 1600, the s2 is clean to 25600 or so. APS-c on the r2 closes the gap and is sharper since its oversampled, but its still noisier above 6400. Rolling shutter is bad on both. The r3 has improved that dramatically. It would be an easy buy for me if it had 4k60p. AF on the r3 looks vastly improved, but I'm still holding off to see what NAB brings - a 10-bit a7s3 with the new body, updated sensor with faster readout/less RS, and PADF would be my ideal video camera. But Sony will likely gimp it in some frustrating way. Chris

I would say Sony Has to do it now between the GH5 and the GH5s. They Can't come out with 8bit anymore ,and they need to up the FPS just like he said. Sony's tit is in a ringer if this new A7s mk III doesn't have all that, not sure about the Anamorphic, but they had better pick up the pace because Panny has pushed them hard this week. You know and I know the A7s will be bumping on 4 grand. It Has to be good, I say Way better than the A7r mk III. Now that the GH5s proves is doesn't Have to be FF to be good in low light the pressure is on. The FF myth has lost a Lot of it's edge this week. You don't Have to buy a Sony now. And m4/3 having I argue better DoF, by that I mean more, and damn near as good low light, why do you Need a FF Sony now, and pay more money. I argue even Panny Color Science now is as good or even better than Sony. This new GH5s is a Game Changer that is for sure. Canon and Nikon trying to bring out a FF mirrorless probably pooped their pants when the heard abut it on the video side. They will sell them to Photographers but for video, hmm good luck.

Something seemed odd with the claims floating around the speed booster brings it to almost FF FOV, its closer than the gh5 since there's no crop on the gh5s when shooting video, but its still basically 1.3 (1.28) relative to FF. If my math is correct, but no guarantees since I was a journalism major and skipped algebra for statistics. Cheers Chris

Would love to see a Metabones single focus anamorphic adapter in one way or another. Veydra had looked into it, but weren't sure where Panasonic would go with the next gen sensor specs.

I just want them to hurry up and release the thing, but beyond that I absolutely do not want it to be as small as the A7/A9 -- it's uncomfortably small and doesn't balance well in the hand, especially with the G Master zooms. A thinner D750 size would be ideal for me.

A little Leica R action from a recent short. Not final color.

As anybody who reads my comments already know, I bought a 5D3 last Spring and instantly fell in love with the images I was getting. After almost two years of searching for the right camera for the stuff I was looking to shoot, I found it in the 5D3. But... I am the first person to admit that the post process of ML Raw can be a little tedious and requires a massive amount of storage. Since I am a hobbyist with narrative dreams, I’ve been searching for a second camera to shoot fun little vignettes in between shooting days with my 5D3. Shooting is a form of meditation for me and instantly calms me. After a couple of cameras, I ended buying an RX10ii on the cheap. Now I had the camera last year but struggled with getting good color from it. This time around, I’ve decided to mostly shoot in sLog2 and Cine2 with monochrome and I am pleasantly surprised by how good the images turned out on my first outing with it. I’ve always loved B&W photos and movies, but I’ve never really shot much with it, so I look forward to learning and experimenting more with it. Now, I have been posting around here for a few years and color science, correction and grading are all popular discussions but there is rarely mention of B&W. Does anyone shoot in B&W anymore? Does anyone have any video or screengrabs that were captured in B&W or turned to B&W in post that they’d like to share? Or even strong opinions for or against it? I’ll start off with a few screengrabs. The first two were shot in sLog2... And this one was shot in Cine2...

Anyone guess what might be going on here then?

Not a method I would want to Overuse in a video, but defiantly able to do unique stuff the break up the Same O Same O routine. https://nofilmschool.com/2017/12/check-out-awesome-method-making-your-own-camera-transitions

well there you have it: different cameras for different types of shooters. lotta people can only afford and want a single body for both photo & video. a lot of people also like FF aesthetic & super shallow DOF (casey neistat even switched back from 4K GH5S to 1080p on Canon simply for the FF look -not sure that was the best choice but it does say something-). there are also advantages of being able to use native glass for your APS-C & FF needs without having to rely on speed boosters. DPAF/PDAF comes in very handy for a variety of situations from run & gun, gimbal use or if your stuck with internal 3" displays, especially with resolution/detail becoming so high. it just makes your life easier. sony have addressed a lot of their ergonomics, battery life etc.. issues with the A9/A7R3. AF is getting real solid. on the photo side A7R3 is basically camera of the year. the only thing that was still their biggest issue was the color science & weak AWB. so the fact this is now fixed and on par with Canon is quite big news imo. If the A7S3 has 10-bit, then it might just be game over for the competition. In the meantime i'm definitely going to rent an A7R3 and test all this out for myself..

24-35 is like having a 24-50 F2 constant on the A7R III due to Super 35mm crop mode.

Cut it out Emanuel The forum is not about you. Sick of reading the argument stuff.

At the moment I am waiting for DJI announcement on Jan 23. I am tired of the shitty image quality of my Mavic. It's a pain in the ass but has given me good money which is why I kept it. Why on earth are they not releasing a drone with the 1inch sensor camera of P4 Pro, with folding concept like mavic?! Be sure I will be here to comment what seems to be a new kind of Mavic next week Come on, I was sold and you come here and depress me. You are true... Sony sucks, most of what constitute their product sucks: reliability, weather sealing, menus, ergonomics, heating, long exposure... In fact usability sucks VS Canikon. Yet they are the only one giving us a well specced line of hybrid video photo FF mirrorless. As of Jan 2018, this out-weights usability issues for me. Pray for no dead pixel or deal with it. Don't put the camera in heavy rain (I would not do it with a 5DIV either), and deal with the menus man. There is nothing on the market competing with A7RIII now. D850 is a 1kg brick. I tried it the other day with a 24-70mm at B&H and the combo was so heavy, I was not confortable after 3min. Others are tiny sensors and/or tiny resolutions or damn expensive (medium format). For A7SIII, one could argue that GH5S competes because even if the sensor is small, it has great low light and so on. Yet shitty AF and no IBIS, and no FF for depth of field, so still not exactly comparable. We miss more companies in the FF mirrorless market

Excellent review, Andrew, Thank You so much. There is a way to do this "AF-S in video" function with the excellent Touch to Spot Focus this feature is available only on touch screen Sony cameras: A5100, A6500, A9, A7RIII. This does exactly what you just described. When you gently touch/tap the screen in Wide, Center, Zone focus area modes, the camera performs a hunting-free rack focus to the touched position with a speed depending on the AF transition speed you configured (fast, normal, slow). While establishing the focus the camera screen is blinking a label Spot Focus. After the focus is established, it changes to MF (see the left hand side indicator icon), and the focus plane remains locked there until you touch again or cancel Spot Focus. You can touch another point to relocate the focus position and the focus is transitioned to that point with Spot Focus. Or, you can touch the Spot Focus Cancellation icon (a finger with an x) or press the Center Button to return back to regular continuous AF. It would be great, if Sony implemented a no-touch version of Spot Focus function with the joystick and half-pressing the shutter/joystick or AF-ON button, I fully agree. Can you communicate this wish of ours to Sony, please? Thank you so much.

I was all set to buy an A7RIII. The technology is amazing, but then the issues starting coming in, and coming in, and coming in. Then I started seeing people sell their A7RIIIs. Way too many engineering and quality issues. It appears Sony rushed this out the door to take away some D850 sales, and beat Christmas. Things like Sony lenses that would fit an A7RII, but were too tight to mount on an A7RIII were reported by multiple people. One guy bought an A7RIII, and it had a stuck pixel in the EVF. He sent it back, got another one, same thing. Sent that one back, got another, and third one had two stuck pixels. Game over! Then we have the reports of EVF and LCD pixels that turn on for no reason when you go into focus magnify mode, similar to stuck pixels or sensor hot pixels but they are not. Extended exposures show tons of sensor hot pixels. This is with Sony still not fixing the star eater issue. I started looking at video, and people's skin looks like cardboard. Or check out Sony's so called "weather resistant" body. And there is more. As far as I am concerned the A7RIII is a prototype that got pushed into production on an uncontrolled assembly line. Now contrast this with the D850 or the GH5. You have to really dig to find any quality issues.

Yeah with the same body size I think you are correct. But, but one thing this new sensor that is in the GH5s, which seems to be a Sony, is that it is more efficient ,so less heat .If that is true that it Might be possible to squeeze 10bit out of the same body?? It would be pushing it to the max I think for Sony. I really don't think Sony wants any more negative print in forums about overheating any more.

Just to add... Sony needs to step up their game for another reason too - that is, to sway the people that bought a gh5 or gh5s or both to buy an a7siii. Now....There are people that have one system or both, but if Sony wants to continue its current reign at whatever position they are in and want to climb that ladder to number 1 (if they aren’t already in whatever sub-segment of the market this belongs in)... they need to sway people who are in Sony, who have left Sony, or who are invested in their competition... and to do that... it can’t just match their competition i.e. Gh5/gh5s, 1dx mark 2, etc. If you already had gh5/gh5s and Sony brought in a FF version of it in the a7siii... would that really sway you to buy it???? Even if you had both Sony and Panasonic systems (lenses, flashes,etc.) would you still get it??? Not really right? Even if you weren’t invested in either system... say you were in Canon/Nikon’s camp...and you were planning to buy either gh5/gh5s or a7siii... the price would likely motivate most to go Panasonic... especially if they had the same features. So the question is... given that the gh5/gh5s is the minimum... cause that’s the baseline right now... what features will they ‘add’ to sway us?

With the Z-mount or whatever it winds up being called - it would make sense to start with 3 primes and a zoom or two. And I think it'll definitely be FF, a new line with low margin bodies makes no sense. It would be nice if they did some combo of the 21/24/28/35/50/85 right off the bat. Make them all 1.8's, the uber 1.4 G's can come later. And a mirrorless version of the 24-120/4. A 70-200/4 would be a smart move too - that way you can get a relatively complete kit with a wide range right off the bat. Sony had the 28/2, 35/2.8, 55/1.8, 24-70 & 70-200/4 when the a7 was released. Plus that crappy plastic kit lens. Also, publish a damn roadmap so early adopters can have a little sense of what's coming in the next year or so. Put a long tele, a few fast primes and the 2.8 zoom holy trinity of 14-24, 24-70, 70-200 on it. P.S. Nikon should call the new mount 'MF' for mirrorless F mount. The tagline possibilities are limitless. Chris

I guess for me, with the whole IBIS vs low light thing - stabilisation is not a *problem* at the moment, whereas sensitivity often is. IBIS would give me an improvement in an area that I'm currently comfortable with, whereas the improved ISO performance will remove the biggest problematic limitation I currently have with my setup (and in fact, only serious drawback to using the system IMO).

Today I grabbed my DSLR and went for a short walk around the neighbourhood to take some pics. I wanted to get some shots to test a film look DCP profile I've been working on. As part of my research for this I discovered that most contemporary DSLRs deliberately underexpose when using in-camera metering. This is because for most sensors there aren't actually that many stops between middle grey and totally blown out. For example, my 5D3 will clip at around 3.3 stops above middle grey. I know this because if I shoot a white sheet of paper at 1/3 stop increments and examine the linear RAW values, the exposure that gives me 18% of the maximum RAW value is around 3.3 stops below the one that clips... and that, by definition, is middle grey. However, this leaves very little room in the highlights. The DR of the 5D3 is around 11.5 stops. So there's three and a bit above middle grey, and around eight below. If you were to meter correctly, you would be very much in danger of blowing out highlights. To help combat this, it appears that most camera manufacturers use 12% grey as the basis for metering. The effect of this is to provide an extra stop or so of highlight headroom. And in fact, this is borne out by checking values in ACR, where actual 18% grey sits at around 185 and 12% grey sits at around 119 (the given RGB number for middle grey in a 2.2 gamma). Anyway, that's all very interesting or very dull, depending on your point of view. But for some reason it inspired me to shoot on auto exposure on my walk. Even though I normally think of manual exposure control as being the absolute best, I was now considering that Canon have probably tested this a lot and perhaps auto isn't so bad. So I put the camera on aperture priority with auto ISO and started snapping. At first I was kind of worried as I could immediately see two things happening that I would have rectified straight away if I had been shooting manual: Low contrast shots were looking a bit underexposed (I would normally ETTR in these situations to minimise noise) In high contrast scenes some sky was getting blown out (I would normally protect highlights as much as I can) However, I just went with it. When I got back to my computer I also did something that I never usually do and that was to click the "Auto" button on the ACR exposure tab. I was really surprised with how well everything turned out. ACR's best guess did a great job at expanding or contracting shadows and highlights automatically. All I had to do was tweak overall exposure, and sometimes highlights or blacks as well. Here are some of the results: Are there clipped highlights and crushed blacks? Absolutely. But the pics still look good. Now, I don't know if I would shoot this way for a client. However, I've got to say that it was such a blessed relief to not be constantly chimping the histogram and re-taking shots to get the ideal exposure. And it was also a very good feeling to get the processing done in two or three clicks. It made both shooting and processing a lot more fun. Who knows, maybe I'm ready for auto white balance next!

Well, this is the image they posted on their article, which kinda looks suspicious (doubt the article image actually reflects proper test result). And this is the one in the database for the GH5: Here a comparison on DPReview: https://***URL removed***/reviews/image-comparison/fullscreen?attr18=daylight&attr13_0=panasonic_dcgh5&attr13_1=panasonic_dcgh5s&attr13_2=sony_a6500&attr13_3=sony_a7sii&attr15_0=jpeg&attr15_1=jpeg&attr15_2=jpeg&attr15_3=jpeg&attr16_0=400&attr16_1=400&attr16_2=400&attr16_3=400&normalization=full&widget=1&x=0&y=0 Here you can compare some still life shots: http://www.imaging-resource.com/IMCOMP/COMPS01.HTM

Doubt it. Probably D5600 form factor regardless of FF or APS-C. Because, that's what Nikon users like. They'll start out with 0 lenses. Well, probably a 18-55 not so sensitive (like f/3.5-5.6), maybe a 16-35 sensitive (f/2.8(-4)), then perhaps a 35 and 50mm prime (f/1.8, the 50mm perhaps as f/1.4) that are native to the mirrorless game and more compact than anything they've come out with before. But mainly people are initially going to want to use their existing lenses, which Nikon will provide a smart adapter for (like Sony has done for Sony Alpha lenses and Canon for the EOS-M). So... myself, for example, my lenses include the Nikon mount 18-55mm II, 35mm f/1.8 DX, AF(-S) Nikkor ED 17-35mm f/2.8 D, 28-70mm f/2.8 D, 80-200mm f/2.8 D, 28mm f/2.8 AI-s MF & 35-70mm f/3.5 AI-s, Tokina AT-X PRO DX 11-16mm f/2.8 II, AT-X PRO FX 16-28mm f/2.8, AT-X 535 PRO DX 50-135mm f/2.8 & AT-X PRO II 28-70mm f/2.6-2.8, Walimex Pro 8mm f/3.5 II fisheye & 24mm f/3.5 Tilt-Shift and then Sigma ART 18-35mm f/1.8 of course. Those are not the kind of lenses you pair up with a cute tiny little camera with poor ergonomics... ... plus we've seen what happens if you make a compact body the headline selling point... ergos are poor, hardware interface is limited... no dual cardslots, no dedicated headphone jack, quite bad battery life, they've once mentioned that they didn't want a vari-angle screen on there, because it would make for a bulkier design... space is so tight it isn't able to dissipate heat properly, so the screen dims, overheat protection kicks in, or with a raised threshold for it to do so leaving the camera so unfomfortably hot that they call it 'tripod' mode. Suboptimal chip infrastructure, mad rolling shutter, etc. Do you really think that Nikon, that makes pretty rugged workhorse cameras, will stand for that? Especially with hardly to no development of a dedicated compact lens line-up, it's just useless. So, expect and sure hope not. I'm very pro GH5, E-M1 Mark II, NX1 and X-T2 style and size bodies and very against what Sony is doing. Now with the A9/A7RIII it seems they're starting to realize this too, though, so maybe things are looking up from here on out.

No no no no no to 35-100mm... Have you ever used this lens? The ois is absolutely worse than useless for video because of the micro jitters or in the case of V2 the shakes when panning. IF someone made a decent 35-100 f2.8 with ois, m43 without Ibis would be palatable for those needing IS. As it is there is no good 35-100 lens with IS for video.

If the FS5ii have all those feature with updated sensor it will be a killer (still keep super 35mm) I much prefer fs5 body over a6x00

The YUNEEC Typhoon H Plus however is much more appealing than this.

Yeah but the A7s model is really Only bought by people mostly for Video. I can't see how a few might not be swayed toward the GH5s. The A7r mkIII is 3300 bucks. What if it isn't 10 bit. That HDMI shit to me sucks on a mirrorless camera. Hell you want a small package and not Have to add a Atomos to it. That is why you bought a small camera, to stay small. Not counting how much that cost. Sure on a Arri Alexa who cares if a 7" monitor is hanging off of it. I somewhat doubt Sony can get 10 bit out of the same body size without it overheating every 5 minutes. I think Sony keep screwing themselves making the body so dam small. If you are over 200 pounds you can barely put your hand between the grip and a faster, or longer lens. It is like my RX10 I bought, hell I can't even use it. The knurling on the lens kills my index finger. You can make stuff too damn small. But I am pretty sure the A7s mk III will probably be using a sensor type like that is in the GH5s. But I have no clue how gaining even more ISO is going to make them that much better than they are now for the average ISO you normally use. I guess 25.000 could look like 1600 ISO. Sure that would be nice. But I guess we will see. I am sure it will not be junk. They Have to pick up the pace with this new GH5s. And most mirrorless cameras are bought by 12 years old girls in Japan. I doubt they are worried about 10 bit. They are worried if you can get it in Pink or Yellow. What are you doing up this late Glenn!

Yeah if you're getting a full time income from video then it is a no brainer to get something better, such as a Panasonic EVA1 and adapt all your Nikon lenses to it.

@Trek of Joy No, you sound right! I hadn't thought about it. I was lazy and took the value from @Mattias Burling without thinking twice. My bad.

Question, where are you getting 1.15x crop? 2 x 0.64 = 1.28, or about aps-h. The image circle in DCI doesn't change the crop factor, its still 2, same for 4/3 or 3/2, the diagonal is alway the same - the diameter of the circle. The m43 diagonal in all aspect ratios is 21.63mm, that never changes, right? You can see from the image below, all the aspect ratios are still within the m43 image circle, so they all have the same diagonal. Unless I'm looking at this wrong, but people seem to be calculating things based on the horizontal width, not the diagonal. p.s. There's a mint GH5 'Classic' (my new name for the original) for $1500 on Fred Miranda if you prefer IBIS. This is a good time to buy. http://www.fredmiranda.com/forum/topic/1525431

Andrew, great article! I never tested HLG! I need to try that. Seems promising. I did a review of the camera after shooting a doc, a wedding, and vlog and really believe that it’s one of the best all around cameras right now.

What 2.8 zooms with IS would be a good pairing?

Which is *exactly* what I've been wishing for.

I'd say ISO12800 is the 3200 on GH5, that is, the new territory to avoid, so ISO10000 on GH5S the new 1600 limit on GH5; as my most optimistic bet... about 2 stops and a half for lowlight, not bad. Imagine a f2.8 to let you see light as could be a f1.2 pick. With about 1.15x of crop coupled to SB 0.64x XL version, the new GH5S is the new FF* in town! Even though, from other samples I've seen I'd even include 12800 (where others have also compared 12800 on GH5S to 3200 from GH5 too, so I believe I should not be too much optimistic over here). * Sorry guys but I love to provoke a few minds from these boards... LOL :-)

a more elegant solution

If you live from making videos...it might be the time to get a Video Camera instead and keep your nikon for stills, I have heard from this forum good words for Sony F3, FS5 perhaps Canon C200,C300 Mi, or MII, or blackmagic ones. It will be hard to find one camera that do everything that you want, it will never exist. Every time we get an excellent new camera then suddenly the competition make something different, new feature the other doesn't has and the wheel start again...

Same reason why on land

On every post I read about a camera (not just Sony!), here or on other sites, there is a comment like this. I'm just not sure what you mean. Can you post a link to a digital video image that doesn't look fake to you and elaborate on what looks "fake" to you in this video?

A7SIII should be 10bit. Anyway, 10 bit is nice but not more important for me than things like good video AF or IBIS. I have found 8 bit easily gradable and people have posted master piece 8 bit cinematic videos where you would not tell the difference with 10bit. It does not really change how people see your content. IBIS and AF does. A shaky video is trash, focus hunting is trash. @Andrew Reid I found the HLG different profile significations: HLG: Gamma curve for HDR recording. Equivalent to the HDR standard Hybrid Log-Gamma, ITU-R BT.2100. HLG1: Gamma curve for HDR recording. Emphasizes noise reduction. However, shooting is restricted to a narrower dynamic range than with [HLG2] or [HLG3]. HLG2: Gamma curve for HDR recording. Provides a balance of dynamic range and noise reduction. HLG3: Gamma curve for HDR recording. Wider dynamic range than [HLG2]. However, noise may increase. [HLG1], [HLG2], and [HLG3] all apply a gamma curve with the same characteristics, but each offers a different balance between dynamic range and noise reduction. Each has a different maximum video output level, as follows: [HLG1]: approx. 87%, [HLG2]: approx. 95%, [HLG3]: approx. 100%. AS seen here http://helpguide.sony.net/ilc/1710/v1/en/contents/TP0001211745.html @Andrew Reid which one did you like?

I would love to see Panasonics new sensor make it’s way into the GH6... that would be ground breaking. I think the way the GH5S implements the Starvis IMX294 is not ideal. This dual ISO business clearly has merits, but the idea of capturing both high and low ISO at once and combining them in real time to create a HDR video is more appealing to me. I wonder if this could be enabled in firmware? After all, this is what the sensor was originally designed to do. Instead Panasonic chose to disable this dual capture mode and use them independently... which while somewhat useful, is actually bastardizing the sensor.

At CES a rep said it's an "all new sensor," which got me excited... but finally found a video where a rep says 12MP stills so it's not looking like a 1" EDIT: Looks like there will be two sensor options!

You as filmmakers are referring to my honest and very positive feedback in a way that does not do anything to give me a smile as well. Did you get me argumentation? You both know the power and craft of silent film. To judge the visual interest of a very short clip is to concentrate on the visuality of a film, espcially when it´s only 1min long. To do a 480p test on Jons video was a compliment and trust towards the very high resolving lens. It´s the only time I have seen such good 480p on youtube. Hey Mattias, great find! It would be awesome, to get this pony running with a Bmpcc speed booster: 0.58x1.796= 1.04, plus 1.7 stops increase in light gathering!

IIRC you can do scope (eg: 1920 x 804) RAW at 60fps, but it's not continuous. Shooting compressed and a lower bit depth will help here with recording times.

I engaged with it as part of the discussion on one of the tech forums, probably the Adobe forums.

For the people using the built in mic. I posted some photo's and another video a while back. I just uploaded my video on the 3D printed version of the windbreaker. Still have to get used to making these videos and talking into the mic. But for people who want, the files are free to download.

Looks good. It’s about time the entered the space. Wonder if the will integrate the crystal sky monitor with it.

This is just pornography to me : Too bad the price is too high (and I already have 3+ anamorphic projection lenses :D )