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and the fact that things like Fusion comes with the free version of Resolve.... really now it's just down to how much work you put in to learn the skillset, the tools are basically free.

This is our reel for 2019... It's only a minute long and we were trying to highlight all the different types of projects that we worked on this year.

And here's the 1st one comparing with the OnePlus 7T which doesn't beat either low light nor for macro photography not represented in this test without mention contrast and DR: And here's another one with the previous model:

I would far rather shoot with the Fuji X-H1 in that price range. FAR more fun and much higher quality feel to it, much high-spec all-round.

A couple of quick screengrabs from a recent Jazz concert I shot. I must say I was super impressed with the GH5 on this one - not only it recorded for 1h30m straight with no issues but it did so on one single battery! Meanwhile Sony shooters that were there kept saying on the voice comms "I need to switch the battery" over and over again ?

I can confirm that it does not erase Cine D after update. I can also confirm that the camera can still load Cine D, Cine V and .MOV commands from @BTM_Pix's html file. Though the GX85 firmware update seems really minor. The other cameras got better updates.

You're not going to gain any increases in quality. The only benefit would be to improve performance when editing prores vs h264 or similar.

It would be nice to have LOG if you ever wanted to shoot non RAW for a project that didn't require it.

Earlier post:

Yes, drop them a line and ask. That's what i mean. Doesn't have to be log, the values they choose can match the data better - it could be a log with an s curve to distribute mid tones better. We will never see that curve, we will only ever see the results after the curve. Whilst the DAC is 14 bit i am pretty sure that the mode they are running the sensor in is 12 bit output for motion. And a 10 bit DNG with a linearisation table would hold everything a 12 bit linear file could - i see no reason for a 12 bit option at all. I think 4096 across should be an option though, even if it's scope (4096 x 1716) or 2:1 (netflix style 4096 x 2048) - the overall data rate would be roughly the same as UHD. I think a couple of wish list items. Yes, a user LUT to output baked formats would be useful in some cases. But tools to expose for RAW better - i'm still trying to wrap my head around the zebra at 100% and what that actually means. cheers Paul

Here's some proof why I'd rather take Sony IMX 586 to Samsung counterparts offer even at higher resolution any time:

Then you're good to go for Tribeca film festival?!

Nice find Lars. Log profile is utterly irrelevant on this camera and it won't expand the dynamic range. You have the RAW output - you will never get better than that. This is the whole point of this camera... RAW via HDMI is a nice idea. cheers Paul

Looks great excited to see more vids! Howling at the Moon seems to be getting popular...

There's a huge resource that @Tito Ferradans has put together about faking the anamorphic look... http://www.tferradans.com/blog/?page_id=15535 There's a quiz to test if you can tell the difference between fake and real anamorphic images. I'm rubbish at it but could spot some of them but not others. His guide is USD$30 but you can get a taste of it via this link: http://www.tferradans.com/anamorfake/TFerradans-AnamorfakeDemo.pdf I don't lust after the anamorphic look so it's not that enticing to me, but for those interested going fake seems to offer a much simpler approach, so it's worth a look.

According to Z Cam a third party is working on an E mount, supposedly with electronic connection, for the new cams. A FF with E mount would be killer - could mount practically anything, and use a speed booster for the cropped high frame rates.

I'd probably go with the S35 version that has the M43 mount over the S1H or F6

Yes, two very different cameras in form and slightly in function. For me I would still choose the S1H as I would value the pick-up-ability of it much more.

I'm not sure that every aspect ratio is compatible with every screen..... Here's a refresher in case you've forgotten some of the more exotic ratios:

New owner of the Z Cam E2 and I love it - with the two FF cameras in this test I may be biased but I'd go Z Cam again, if only for the internal ProRes. Hard to beat how run-n-gun the S1H is though. Both can do some great work just depends on how you'd use them.

The Z-cam looks really interesting, but it's already $1k more than the S1h, not to mention the necessary cost of still needing to add a monitor, and of course the lack of ibis and need for rigging to make it more suitably ergonomic, all of which the S1H can do out of the box, which is still a fantastic hybrid for still-use to boot. That being said, I'd love to see how much of an IQ and potentially DR-edge the Z-cam raw files give it over the Panasonic though. If it blows it out of the water, hopefully that can spur Panny in to giving us some raw-love as well. Gotta love competition!

Yeah the Flat profile is quite good. As long as you expose decently and get decent white balance you'll have no issues. Honestly I'd just stick to the recorder you have. Looks similar to the Zoom H1 which is a great little recorder. Nothing really wrong with 3.5mm jacks. You could get a preamp if you want to record sound right to your camera.

Thank you very much!

I succumbed and bought one. I will test more fully over the next week. Ergonomically from a stills view it's very much a urgh. No EVF makes life very difficult for me but i do have the VF on order so maybe that will change things. Cine mode. DNG. It's heaven. This is all you need from a camera. I've side by sided UHD 8bit onto SDXC vs A7sII UHD Slog2/Sgamut and there's no joke. It's almost comical. The low end and the highlights are literally playing in different ballparks. What crushes the A7sII footage is the compression. Simple as that. So that 8 bit UHD is remarkably good. I'm pushing and pulling it and comparing to the same thing shot FHD in 12 bit and it's incredibly robust - so much more than it should be. Over the next week i'll push and pull properly. I got it as I needed a lightweight B cam to my Red for a shoot - so i need to intercut and i'll be finding it's comfort zones side by side with everything. So far the best resolve post in in ACES. My fear with going into any 709 space is that the camera native spectral response will be outside of 709. All Sony sensors push red way out and it's easy to see with bright red subjects. If you don't debayer into a larger colourspace then those reds get clipped or mushed into gamut. I don't know enough about DNG support in Resolve but visually into ACES appears much better. The only other valid option i think is Linear in, certainly none of the BMD Presets as they're for very different sensors. Cheers Paul

IMHO the best Android out there...

Only video feature now... Pick your color! LOL : -)

I am also surprised with such outcome in so short time to be pretty straightforward on here. This comparison shows a bit of this progress: Take a look on this even along such casual and random shooting: Launched today by the way:

CONT'D on OnePlus 7T I wish some other cameras could have as efficient AF as these devices... LOL ; -) Seems their 720p 480fps curious too -- now go figure a Triptych on all its 2160p slowmo splendor... ; ) Not bad at all for what it is... OnePlus 7T Pro

I got the G9 (stills are more important for me) and it's like Christmas has come early! Really really like the G9, it's a fantastic camera and is such a joy to use.