Leaderboard

Happy New Year lens friends... I have successfully whittled down my collection to a reasonable number and after my shoot the other day, I took a few more shots with the Samyang 50mm 1.4. This lens has been on the chopping block so many times, I now root for it as the underdog of my collection, but as BTM has said a bunch of times before... Samyang lenses punch a lot more than their weight.

I hope Sony announces the full frame little brother to the FX9, or Blackmagic announces a camera with a Full Frame sensor.

Not to be confused with the Nikon Coolpix 950! https://en.wikipedia.org/wiki/Nikon_Coolpix_950

The XT-3 likely has better; DR and gamut are interrelated (i.e. where r, g, and b clip). Sensor determines how much of both one can have. At ISO 400, the Alexa has more than the GH5 (more saturated, higher brightness clip point). The GH5 and P4K have rougher blue clipping (like Alexa red clipping under tungsten WB) The P4K has slightly less than the Alexa at 400, or including HR range, slightly more artifacted range. If image quality is primary, the P4K takes the cake (completely smooth codecs). The GH5 is best for its IBIS, or little things, like the viewfinder in sun. I intend to support the XT-3 directly this year, sooner rather than later.

If Olympus released a EM-1 Mark 3 with 10-bit 422 150Mbps longGOP 4K with PDAF and their excellent IBIS they would at least be on people’s radars for video. I’ve always wanted to mash the best from the GH5 and EM1 together into one MFT camera. I don’t even care if it’s called the OM-D EH-5 Mark 1.

I have the Voigtlander 40mm f1.2 LM as taking lens mounted with dumb LM-FX adapter on the X-T3. After that the Anamorphot Bolex 16/32/1.5x and Rectilux HCDNA for focussing. I filmed this during a photoshoot, not really intend to make a short commercial like film. The Voigtlander 40mm/f1.2 works pretty well. All shots filmed wide open, mixed light and with variable ND filter.

Within the month. Yes indeed - everything will be entirely new

If true, what an absolute load of horse shit. I knew this camera would have a cripple in there somewhere. They just can’t help themselves can they? Dealbreaker.

Best approach is to work out what you’re missing and then either fix that or give yourself a reality check.. For example, if you’re chasing good autofocus then you should consider why you need AF in the first place, and if using a deeper DoF would fix it, for example. The reality check is to assume you just bought an A7iii, so just donate $4K to charity to simulate the financial hit of being locked into the Sony lens rort, then take all your 10-bit footage and batch convert it to 8-bit and apply a sickly green WB to simulate the experience in post. There’s currently no FF camera that can do everything the GH5 does without giving up something. Even the S1H (which won’t fix your AF envy) will still hit the CC pretty hard and IIRC is bigger and heavier than the GH5. The grass always looks greener, but often it tastes just as bad, but in a different way.....

I'm hoping supply of used ones increases over there by the time I arrive as its a bit hit and miss when I check stores at the moment. God forbid I have to buy a new one and only save £800

@paulinventome those shots look gorgeous. What is your post workflow? I think an FP may be in my future if you keep posting more shots like this. Maybe @BTM_Pix will pick up an extra one for me when he heads Japan. Btw, that last shot is insanely good!!!

Speaking as a former a7iii user, I can echo what others have said. You don't gain anything from recording externally with the a7iii. Really, the only thing that the a7iii has over other cameras is video AF. It's a great camera but you're not going to gain much from rigging it up.

So i said i'd post some stills, these are basically ungraded. This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality. From a different point above. All shot on a 50mm M Summicron probably wide open. I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red! shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in A reverse of the above. Some fun shots. I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff. cheers Paul

At the end of the day the final product is what matters. I was referencing Kraig Adams because myself and thousands of others love the images in his videos which are predominantly a73 without any picture profile and little to no grading. The AF and image looks excellent.

Is that screen still small and immovable?

In that case, HLG will likely be the primary format. The idea of variant NLE flagging is a concern though

The blood comet must pass over the super blood moon before such a thing shall come to pass.

I (and many others) think Sony's color has improved considerably. I've done color work on a couple films shot with the A7 and A7s2, and those were the worst colors I've dealt with, especially SLog2. From what I've seen on the web, the A73 is a significant improvement. I don't think there's anything wrong with modern Sony color anymore.

Legend man! When will the update be available? also any update to the daylight version with the new system as well?

Simple: none of those cine cams can shoot stills. 1DX3 is for hybrid shooters who are invested in Canon ecosystem and will be using it as a A/B cam. Besides, the C200 can't shoot 10-bit, and the EVA1/FS7 can't do internal RAW nor do they have DPAF. The FX9 is $4.5K extra and can't do internal RAW either. So on the video level alone, the 1DX3 punches way above its weight/class despite what all the naysayers have to complain about it.

I don't know if this is helpful or not, but if you like the video image quality of your GH5, then maybe a Panasonic S1 might be usable for you? It is full frame, has 10-bit, 4K 30fps GOP at 150MBS (no all-i yet, but maybe in a firmware update down the road???). Has HLG-like and full VLOG similar to vericam / EVA1 Great stills camera. The lenses are pricey... VERY pricey, but good. The 24-105 kit lens is claimed by many to be parafocal and has no focus breathing. I am still testing out mine to confirm (only had it a day so can't say for sure). Autofocus is NOT in the same league as your a7 III, no matter what anyone says. It is not in the same league as my a6500, and the a7 III is better that the a6500 in terms of AF. There is a Sigma MC-21 adapter to adapt EF glass to the S1. I have only tested it personally with the Canon 16-35 f/4L and first impressions are that it works fine, except that... There is no AF-C when using Canon Glass on the MC-21. Only AF-S and Manual focus. Then again, the BM cameras don't have ANY af-c so there you go... Manual focus is pretty good when using a native L Mount lens, as it will magnify the area of focus. It isn't so great with a vintage lens. I tried with my Minolta MD Rokkor 50mm f.2 on a "dumb" adapter, and while the LCD screen and EVF are good, the focus peaking is very subtle, and when using a vintage lens on a dumb adapter, there s no magnification. The Bad News: It is HEAVY. Very heavy. S1 + 24-105 f/4 = 1,772 grams, or 3 pounds 15 ounces. The Good news: you can skip Arm Day at the gym now!!! There are other trade offs too but I don't know the exact technical specs of some of the trade offs. I could be wrong, but I think that the 4K 60p is in Super 35 instead of full frame and it is only 8-bit, but 10-bit if you output to a recorder. I might be totally wrong on this though. Otherwise, just go out and buy an X-T3 and be happy ?

You forgot whatever Veydra reissues Meike will be releasing for next to nothing!! I look forward to your ironglass lens impressions and footage...

I find the overall specs pretty impressive, especially for an action/sports DSLR. But it's clear that at this price point & form factor, 95% of the people on this forum are outside the target audience. If/When these specs trickle down to the Pro EOS R model with RF mount & IBIS, is when people here might take notice.. Btw... the only other hybrid cams that can do internal RAW are the BMPCC 4K/6K, both of which are crop sensors that can barely do stills and have zero AF & the Sigma FP, also a lousy stills shooter with no EVF and an AF so poor it makes Panasonic's DFD AF seem stellar. Again no AF during RAW shooting seems a reasonable compromise imo (most pros shooting 5.4K RAW will be using manual cine lenses anyways).

Honestly, probably not. I think the days of me spending that kinda money on cameras is gone, unless it made absolute sense. I still want the right kinda Canon but every single time, they omit something very important. Saying that, it’s still a strong video acquisition tool that I would try. I can’t help think the omission of DPAF in 4k60 is what most users of this video camera would want. Sports journalists? Wildlife? Absolutely. Big error.

That's very kind of you, thank you. Post is minimal at the moment however i think one 'trick' is that i have this as a Resolve project which is YRGB Color Managed, my timeline is 709, output colourspace is 709 but my Timeline to Output Gamut Mapping is RED IPP2, with medium and medium. (Input colourspace is RedWideGamut but AFAIK when dealing with RAW and DNGs this is ignored) This is because most of the project is Red based. BUT the sigma fp footage is debayering into 709 (So in Camera RAW for DNG is it Colourspace 709 and Gamma 709 with highlight recovery by default). What happens is that the DNGs are debayered correctly, with full data. But that IPP2 mapping is handling the contrast and highlight rolloff for my project as a whole, including the DNGs. IMHO i do this all the time with various footage, not least because it's easier to match different cameras but mostly because that IPP2 mapping is really nice. Whilst i'm sure you can massage your highlights to roll off softly, it makes more sense for me to push footage through the same pipeline. Take some footage and try. When you push the exposure underneath IPP2 mapping the results look natural and the colours and saturation exposes 'properly' Turn it off and then you're in the land of saturated highlights and all sorts of oddness that you have to deal with manually. This is not a fault of the footage but the workflow. Running any baked codec makes this more difficult - the success of this approach is based on the source being linear and natural. As i say the fp is like an old cine camera, the bells and whistles are minimal but if you're happy manual everything i think it can produce lovely images and it's so quick to pull out of a bag. If the above doesn't make sense let me know and i'll try to put together a sample. Cheers Paul insta: paul.inventome

I have seen users complaining about that but never had this issue with the older firmware (1.9).

No experience with the Olympus cameras, but I’d suggest that the best approach is just to google the various settings, do lots of tests and generally play with things. Sports and fast-moving things is difficult for AF, so you’ll need to dive in deep to get the best results. Good luck - i’ve heard that the Oly cameras have some real advantages over Panasonic but for some reason they don’t get the PR that the others get. I was considering an Olympus before I bought my GH5, but the 10-bit internal was more valuable to me than the superior AF or IBIS, but PDAF would sure be a huge advantage to have!

Looks good!

10-bit DCI 4K60p, 5.4K RAW.. etc yeah yeah another bad joke from Canon! Thank god Sony is here and will now include 10-bit in the A7S Unicorn. Get with the times, Sony is the new Canon. A7S3 should have dropped 18 months ago, hell they're already on mark IV generation with people still waiting for the mark 2 successor.. ?

Привет всем! Тест Astia XT3 18-55, без градации цвета. Только EXP, WB & SAT. Все настройки minus, DR400 все!

Been busy Directing a feature film shot on Arri Alexa Plus XR and Panasonic GH5 . I don't use Sony . This is not me !! I'm based in the UK my production company is busy with feature films.

The gotcha is: IT'S A DSLR! Why shoot with a DSLR in the era of Mirrorless 10bit?

kayleerumors is reporting that the log mode only works under a "blood moon", whatever that means

The A7iii is a good allround video camera and really excellent stills camera (I do own it), but no cinema camera because of its weak codecs and 8bit limitation, no matter how you rig it up.

No, the autofocus will. Canon users are happily paying $2300 for a 15-35 f/2.8! Canon RF 24-70 f/2.8 $2,300.....Lumix 24-70 f/2.8 S Pro $2,200 (with better IS)....Sigma 24-70 f/2.8...$1,099! Canon RF 24-105 f/4 $900.....The Lumix 24-105 S f/4 macro $1300 (doubles as a macro, unlike the RF, has better IS) Lumix 16-35 S Pro f/4...$1,500 (this one is slightly overpriced) I bet if the Lumix S series cameras had capable PDAF for video then it would have be extremely popular alternative to Sony and Canon. Canon RF lens prices are outrageous, but people pay to stay in the system because of Dual pixel autofocus. Panasonic should have taken the hit and used PDAF for at least the S1 and S1H. I think they made a mistake.

Shot this mini doc while on vacation in Mauritius. It's about those who work behind the scenes to uphold the illusion of paradise. Shot on GH5s, it was intended as a camera test as I wanted to see how 60p and V log play. So it's shot on either 4k 8bit or FHD 10bi at 60pt. In both cases, V log bands quite horribly even in 10 bit FHD. Unfortunately, being on vacation I didn't use an external monitor so I couldn't see the banding until I got it on my computer. I hope this is something Panasonic can fix, at least in 10bit (no excuse). I love Vlog in 10bit 4k non 60p. But I'll probably have to experiment with HGL settings which is a drag because I prefer Vlog overall and I'd hate to have to mix the two settings for a sequence. Also, I shot it with Olympus 12-40 2.8 and 40-150 2.8. Love both of these lenses as the manual focus is excellent. I used a monopod for the 40-150 and handheld for the 12-40. Coming from a film background, I don't miss the IS. A little camera shake doesn't kill me, especially for a doc. It was my first time using the 40-150. This lens is superb and worth every penny. But it's not a handheld lens. It has the reach of a 70-200 in FF and that extra 40 over the Panasonic 35-100 makes a huge difference. Also being able to switch to true manual (no fly by wire) is worth it. Here's the link. Enjoy. https://www.youtube.com/watch?time_continue=3&v=9O0cuTdsl8A

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L. https://imgur.com/a/FTy8OtI