Leaderboard

To the fully working in electric blue case with separate bluetooth remote controller stage thank you very much I'm looking for some bigger glass as there is currently a limitation on the size of lens it is suitable for. I did say I'd do a build along thread for it for anyone who wants to have a go as is (cost for the glass and controller is around £50-60) and I will get round to it.

You’re right. I know countless people using the GH5 for serious video work. I’m one of them and everybody is fine with it, and never questions it. I use it alongside the EVA1 and the GH5 performs brilliantly, every time.

There's an awful lot of people that rely on Lumix cameras for their professional video work and businesses, so I'd have to disagree. "Serious video work" shouldn't be based on the size or scope of the work. Certainly wedding filmmakers are doing serious video work? Or the indie filmmakers that shoot their films with Lumix cams.

It's not going in any pocket but with the Ikan it's starting to be quite slim.

You're not an old fossil. People have become accustomed to mediocrity. Composition, framing, and sequencing rarely exist. They've been supplemented by the "floaty" gimbal look. People are always chasing the next LUT, raw recording, but rarely "how do I improve" my work with intention. All of these tools are supposed to be chosen for a reason. Three medium-shots back to back in 120fps is not visually appealing. Great work still requires heavy rigs and heavy rigs mean: union sets, decent money, people being professionals, insurance, purpose, and making a living. The H1 is my vote for a great hybrid camera!

Some of these old cameras can flat get the job done. I think a lot of people think they have to have the latest and greatest. Not necessarily so. A Photo my son took of his dog with my Sony A7s shows what "only" 12mp can do. Even blown up on here it still has a ton of detail. They are a hell of a camera for a bargain price now. And for colors, that grass and that dog, a male Yorkie, is spot on right out of camera. That is probably the Sony FE 16-35mm f4 lens.

At little less than expected at $1,798 US. https://photorumors.com/2019/05/27/panasonic-leica-dg-vario-summilux-10-25mm-f-1-7-asph-mft-lens-specifications-leaked-online/

Didn't "our" BTM_Pix have something like this in works? It's hard to keep up...

Finally finished this project: More info: http://colorizer.net/index.php?op=xt3

Any camera that allows you to get the job done and get paid is a pro tool imo. Of course if you're doing high-end cinema, sports photography or have broadcast requirements, that may exclude most hybrid MILCs (at least as A-cams). The C200 is definitely pro gear even if it isn't Netflix approved or has a broadcast-friendly codec. There is a indie feature film presented at Cannes festival this year making buzz that was shot on 4 C200s, another one last year was shot on couple A7S2s.

I’ll go one even further and say you’re not a professional either because your not shooting on medium format Arri cameras like real professionals do in multi-million dollar productions. ? You can tease a masterpiece out of almost any modern camera regardless of sensor size. It’s art. The camera is a tool. Just like a chisel is a tool to a wood engraver. And we all know only real wood engravers use #8 sized chisels only ?

Lucky for me I am anti-social! At least when it comes to photo ops anyway.

Since it doesn’t include OIS, which is really unfortunate, then I would say no.

Thats a good illustration of the issue you run into with video versus stills as if you were shooting stills you would just take a huge liberty and crop it like this which makes it a more directed image. But with video you don't really have that luxury without a lot more work in post, although you could shoot 4K with the intention of it being for 1080p and do a blanket centre crop when you edit. You could also do the faux multi camera routine by having one track with the uncropped version and one with a punched in version to switch to, which would also give you some latitude for framing safety and some post stabilisation too. If you wanted to experiment with a 300mm prime, there are quite a lot of old f4 manual ones on eBay that won't hurt too much.

Yeah, the 300-800mm is not the sort of lens that I would have fancied smuggling in if I didn't have the accreditation. Even with accreditation, it still raised a few eyebrows at the security check at the press entrance !

Dual ISO 100/400 (I feel 100/800 is too aggressive) really helps heaps in tough situations and gets you 12.9-13 stops of DR. I haven't had any issues with Low light! Use a speed booster, keep ISO @100, and use a fast lens (at least f1.4 for the night). Cinema companies still use noise reduction software, so that can be included in the editing workflow if needed.

Hopefully Panasonic realizes it makes more sense to cannibalize your products, than to let someone else do it. Like Sony did with the FS7 vs F5 (or F35 vs F23, or F3 vs F35, or F55/F5 vs F3, etc). Also the Panasonic Varicam S35/LT are kinda getting old ish, so although they're still very capable and relevant, perhaps time for an update?

Hard to live without him anyways ; -)

Apologies if I have inadvertently offended you with that remark Don. It was just a failed attempt at some levity based on your personal ability to cause trouble in an empty house

Getting back on the topic would be good.

@DBounce the z7, a7rX, and s1r are high MP models, higher than most photographers need. Same as with more videocentric models, they have relatively special purpose, lower demand, so a higher price compared to the base model.

Yea we'll see how much the L-Mount camera will be, but the GH6 + 10-25mm f1.7 isn't that much different than an S1 + 24-70mm f2.8, which would be way heavier, more expensive, and losing that very useful 20-24mm range. That is, if the GH6 can make sure to have the low light capabilities of the GH5s. And, chances are, the GH6 will be the most feature-packed $2k camera out there.

Just watched the first four episodes. I was glad to take these things off afterwards I can tell you.

At least one aspect of new price-strategy of all big pro-xxx-ish A-G-S-E-X-M-Z+native lenses manufacturers seems to me on merciful therapeutic side: it's easier to find peace of mind and feel yourself as winner over attacks of GAS fever... and look at things as passenger through boutique. Especially in that regard, hearing that users such Oliver Daniel are achieving so remarkable results with superior and noble power over GAS snobbery - is one of the nicer experience to get in this wonderful forum!

So you disagree with the below statement that you omitted? Look, I full well know that many people use GH5/series cameras for weddings, corporate videos maybe even some commercial work. But for myself, I have always considered the GH5 cameras to be more, "prosumer" not professional cameras. I'll go one better than that, M43 in general IMO is not a professional format for stills or video. For still work I consider Full Frame or larger ideal for professional work. In video I look mainly to S35 or larger unless we are talking about ENG cameras... which is not something I am particularly interested in. But again, I will concede, professional work can be produced on any of the better modern cameras. I think part of what makes these hybrids great, is the fact that aspiring creators can use "prosumer" gear and achieve pro results. While Arri and Red are no doubt wonderful cameras. They work best when you have the budget for a crew. Generally productions will have more than one of these on hand as backups. Lenses will run $20K plus each. And that's not even anamorphic. It's exciting to see what Panasonic will bring in the next few days. And I know most here will hope Panasonic prices this body as "prosumer" not "pro".

If anyone will say this forum is not the best for hybrid world of all web, tell me where it is : ) Hope OP realizes you guys practically didn't forget any possible advice to address him : -)

My Viltrox allowed IS. Think it's a recent bug.

Its not the higher end stuff like 5D line and the new RF line that bring in the serious cash. Its the low end consumer cameras like the t5 (1200d), t6 (1300d), and 4000d that keep canon at the no.1 spot. Which that $300 - $500 price point/market is drastically dying out to smartphones with great cameras like the IPhone 10 and Pixel 3.

I am really curious about this, but I definitely do not need a full frame video camera, I do not even for pro photo work. The L mount doesn't seem like a strong mount for video so far. I wonder what the specs and the pricing and the form factor would be. Definitely the pressure from P4K and Z sales really affect the industry, and this L camera has to be responded by Canon/Sony somehow. Imagine that Canon has the XC15 and then the next one is the C100mkII! There is like a huge gap in between, with both these cameras needed a replacement a year or two ago, but, do they even have a replacement on track? And where is this new Sony?

well it for sure is not for everyday stuff. It was a pretty huge setup even on my AF100. But the quality of the lenses are beyond belief. They make a Canon L lens look kind of weak. The above picture was my 150 Dollar 19x Fujinon that was used in that video on my G7. This was the 13x on my AF100..

This is a very impressive price and weight. Depending on what the GH6 has will probably dictate whether I grab this or not. but I’d love something like this that is that much lighter than the Sigma/Metabones combo (which I stop down to f1.4-1.8 most of the time anyway). and the extra wide angle is amazing. Getting a 20-50mm (with AF) compared to something like 27-55mm is also very useful. Add on the GH5 1.4x punch in and you have a 20-75mm f1.7 - really impressive. Almost makes me want to stay with MFT, but that new L Mount camera coming is going to be sweeeeeet

Not since the Sony FS5 have my pants been so on fire for an ND filter. The Panavision LCND uses a similar concept, in a stand-alone drop-in filter designed for cinema use. Read the full article

If you buy a B4 lens with the 2x thingy on them they will cover m4/3 easy. The bummer is it also 2x on the Aperture. But a lot of the B4 lenses are a constant f1.7, especially the Fujinon ones which are way more common. For @kye And not all B4 lenses are huge. if you buy say a 10x one, and take the Zoom controller off of them, which most of the cheap ones you buy have the servo burnt out on them anyways, they are pretty small. And the zoom servo has a switch to let you use them if does work or not on MF. Yeah shooting kids around parents is a huge problem, especially when you get old like me. Crazy world. As to price I have found Adorama and ebay the cheapest place to buy used B4 lenses. Once in awhile B&H has a few cheap ones. By cheap I mean 200 dollars and less. One of the ones I have only cost 50 dollars, 13x from Adorama the other was 150 dollars, my 19x. neither had the servo that worked but you can buy them for 25 bucks at times. The 19x ends up being around 930mm on a m/43! Where you going to find a 29-900mm parfocal f1.7, f 3.5 in reality with the doubler on, lens for 150 bucks! The doubler doubles the focal length, and with the 2x crop on m4/3 you end up 4x. Talk about reach. And sharp as a tack on both ends. Not handheld mind you lol. This is a video I did with my 13x, first time I ever used it on my Panasonic AF100. Second time I ever used the camera lol. My rig at the time was pretty terrible compared to now but you can see how much reach, and how sharp they can be When you focus right lol. And the is the lens I paid 50 dollars for! https://vimeo.com/manage/207977557/general

Thanks. I'll definitely try that dual ISO. 12-13 stops of DR is very appealing too. I have wondered if there's something wrong with my copy of the EOS M because the noise is terrible indoors and without a lot of light. Hopefully it's user error.

Yeah, stills would be far easier, especially if you could find the money for a 45+ MP sensor which would give resolution to burn. I do shoot 4K and deliver 1080, so cropping in post is definitely an option. I kind of shoot to crop anyway, as things like stabilisation etc all crop to a certain extent. TBH I'm shooting a lot but not really editing all that much as I'm still working out what to do with the footage, but because the object is to document the family I can get away with editing later - it's pretty difficult to shoot later - even the 100+ MP cameras can't see backwards in time ??? To a certain extent by not editing I'm missing the feedback loop to improve my footage, but I do review the footage, and I'm working on it. Nice shot! Interesting about the 200mm limit. I didn't take a photo of it, which I now regret, but when I was in Bangkok at the golden palace there was a sign saying that personal cameras weren't to be more than 8mm film, so I figured that the GH5 not having any film was totally fine, and didn't put the Rode mic into the cold shoe until we'd gotten a few hundred metres inside the gates past security ??? That's a good description. Potentially an overriding factor is that the parents from one team all sit together, and moving elsewhere is a social statement of sorts. To that end I pretty much take what I can get, although the nature of the game is that the ball can move around very quickly and the players often roam freely too, so it's quite variable, which gives the edge to a zoom lens. When I was shooting on the 200mm prime I just figured that the closer people got the tighter the shot I got of them and the nicer the subject isolation was

Guys, don't waste your time, arguing with "the Skip" is a deep dive to nowhere, really...

lol calm down guys its too funny that trump gifs trigger ppl still i thought that was gonna be over by now

Please share if you go that direction! It's probably beyond my level but would be a fascinating setup to see ???

Thats something im looking into, FS5/FS7 has a center scan mode which is around 16mm. With that I can run a B4 mount adapter and lens.

If people got used to things they didn't like and stopped talking about them, newspapers and magazines would be 10% the size they are now!

Ahh it is a Eh! thing. I really am not sure why the US is busting your balls other than Trade deals I suppose. https://www.cbsnews.com/news/6-points-of-u-s-canada-trade-friction/ And this interview might clear up what Trump is looking to do in the long run on trade. It is Long overdue. You have to go the the end of that video and the one I am talking about starts. Weird you can't direct link it. https://www.yahoo.com/news/bannon-built-the-wall-over-the-weekend-140449962.html

XT3 for 10bits internal. You can add stabilisation with gimbal, steadycam, tripod... You can never add 10bits on the XH1.

I can not imagine trying to shoot sports video with prime lenses or even manual focus zooms. Easy with still photography (I would much rather a fast manual focus lens on a good low light camera than the latest greatest not so good low light and/or slow lens for stills) but for video? I think I would need/rather something like a decent AF point and shoot with a long lens for that (and just realise evening sports will suck). For pro use it would be more. That said, I have never really tried to video sports (just an old amateur but have had sports shots in a national greyhound racing paper and football shots in a decent size daily newspaper). Shot with my long dead A7s (may it rest in pieces) and my old Tamron 300 2.8 MF adaptall lens (that has followed me for decades between systems).

Despite what I'm going to say below, if I had to choose between the two cameras here I'd go for X-T3 and put it on some kind of mount to lock it onto my body for stabilisation. Blanket statements like that annoy me. It 100% depends on how you make your money. There are people with more money than I will ever have making YouTube videos and they sure as hell love IBIS and AF. I work in TV and the few shots I've used that have been shot with IBIS (GX80 as a C cam) have had a lot of praise from 'Knowledgeable people scrutinising it'. Even when matching it to an FS5/LS300 on sticks. Would I use it as an A-cam? No way, but the IBIS allowed me to get a shot I would have struggled with if I tried to use the other cameras. It's a very valuable tool, just like the microphones, lenses and lights you pack.

6k Photo Mode conformed to 23.976 with some correction in Premiere

One rumor says it is "built like a tank," so I would think they are following their S1 mode of creating true professional tools. I'm all for that. But definitely a fan of small-ish form factors (FS5/EVA) over something like Ursa Mini Pro or FS7. It is difficult to figure out where and how this will fit in the Panasonic lineup without hurting the EVA-1 or Varicam LT. Maybe Panasonic has decided it is better to have one massive hit and cannibalize yourself rather than wait for someone else to do it...

I'm very curious (and excited!) about what this will be, what it will look like, and where it will fit in Panasonic's lineup. If it is just an S1-C (cinema) with minor upgrades, that would be a bummer. However, if they could add internal NDs, I'm all in right away. Surely they'll add at least the higher-end codecs and All-I of the GH5, but that alone wouldn't excite me much. I tend to use the 10-bit 150mbps on the GH5 more often anyway for space reasons (and the S1 is already getting that with full V-Log). And, as Andrew noted, the H265 already on the camera is excellent. So, I would think this camera would have to be something quite a bit more to be appealing - hoping for a FS5-sized full frame camera or an XC-15 style camera. Internal NDs, IBIS, 120fps in 4K, and an efficient raw codec (please BM Raw and not ProRes Raw), are all high on my wish list. I just hope it's more of an FS5/EVA-1 form factor (or smaller, more LUMIX-y) and not a FS7 shoulder cam. -- Also excited that they'll have a working DP talking about her experience using it at CineGear, which may mean it is closer to being ready to roll than the GH5, EVA-1, or S1 were when they were announced (all announced with just basic details to sit there for 3-5 months).

I just want better timecode via BNC, and less lag time for external monitors, hopefully with SDI.

In ETC mode you'd just about get away with it with a small crop. If the OP wanted servo zoom as he's described though, he'd have to go for old B4 ENG lenses with an outboard 12V supply to drive it. You'd have to be quite mad to do something like that though. Like this weirdo attaching an Angenieux ENG lens to his GX80 and lashing a Sony battery to it. Oh hang on..... Thats mine