Leaderboard

Then why replace it? -- The pot asked the kettle.

I agree with the desire for simplicity and also having one set of lenses, but there are some significant challenges to this approach: Having a single set of lenses that will work across multiple sensor sizes is difficult as the crop factor difference makes the lenses different focal lengths. If you're planning to mix footage from the different cameras then you'll get different 'looks' from the same lenses (the smaller crop factor will reveal the resolution limitations on the glass and the larger sensor will reveal the problems on the edges of the image circle from that lens). Even if you aren't planning on matching footage from multiple cameras, it still makes it difficult to get an ideal set as there aren't many rectilinear FF lenses that are wide enough to be a wide on a crop sensor (a 16mm is a 20mm lens on the GH5 and that's with the 0.64x SB so will be longer with any other configuration) You seem to be attached to face detection (you listed it in your post) but the GH5 has poor AF and BM have no AF-C etc.. Reading between the lines a bit, I suspect you're like the rest of us in that you want a camera that does everything, but unfortunately it just doesn't exist. Almost every discussion on these forums is about this issue - either us getting annoyed at the manufacturers for not making it, refusing to acknowledge that it doesn't exist, refusing to compromise, buying more equipment out of a hope that it will somehow magically side-step the issue, or talking about what the various compromises are that we have made. I'm no different. I started out wanting great AF and lamenting Canon for not having real 1080, and I shortlisted many cameras and did all sorts of testing and evaluation before realising what compromises I was willing to make and what priority each factor was for me and how I shoot. I ended up with a GH5 and native fully-manual lenses because that was the combo that suited my preferences best, but the A7iii + 24-105mm F4 lens was the runner up option and I was only able to come up with a better option by dropping AF completely. My advice is to accept that no perfect camera exists, prioritise what you want then work out what equipment fits that the best. Or, if I put it a little differently, work out your priorities BEFORE buying the gear, because I can guarantee you that if you buy the gear without doing it then you will still do it afterwards. and here's an observation for consideration - you're rejecting video from the GH5 and the A7iii as a hybrid camera. Both of these are in the top 3 options available for the situations you're using them for, and many would argue that they're the best in their categories, so I'd suggest that rejecting them is more about your expectations than it is about what is available in the marketplace.

I think Resolve is the future. The fact is that Resolve 16 is finally stable enough for pro users. I know people have been using it professionally for years, but having used all the versions starting with 12, it is finally ready for prime time, both feature wise and stability wise. It will become the industry standard in the next to 2 years, so learning it now will put you ahead of the game.

You've got an a7mk3 and GH5 and X-T3?? Three really nice cameras, all of the latest generation! Maybe slow down a bit and don't buy any new cameras this year? Perhaps even sell one or two of those camera bodies and focus your lenses into just one ecosystem? Ah that last part, I let myself fall into that trap now and then in the sound world! Oops But on one hand, I think it is handy to have solutions ready to go before a problem even presents itself. But on the other hand, I definitely spend too much.

What lenses do you have for your GH5? You can use exactly the same lenses on the BMD Pocket 4K? Also consider the Z Cam E2 6K has a big price bump! Not worth it in my eyes, 4K is plenty! And the EF mount is a negative about the 6K, as it will reduce your flexibility. (you won't be able to go as wide / shallow as you could with a 4K either , if you put a x0.64 focal reducer on the 4K) Once Sigma rolls out their full line up of Sigma lenses for L Mount then that will drop the costs of the L system a lot.

Is that screen still small and immovable?

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

Hallo and happy new year to everybody!!! Made with a7iii + Tamron 28 75 + Dji ronin sc gimbal. Is the very first time that i use gimbal by the way. This is a small video with the Honda monkey z50 but with engine from Supra 125. Made from my brother in as a present to my nephews. Isnt ready yet but the final profile is ready and it looks like this

There is no theoretical limit on bit depth relative to dynamic range, as they are two independent properties. On the other hand, there certainly are practical limits (and ideals) as to how much bit depth is mapped to the amplitude range (bit depth is mapped to the range in amplitude -- not to the dynamic range). Applying bit depth numbers that approximate the dynamic range has become standard practice for feasibility reasons. However, there is no connection between bit depth and dynamic range -- they are two independent properties. Bit depth is simply the number of digital intervals mapped to a amplitude range. Dynamic range is essentially the portion of the amplitude range without noise. Amplitude range is the total range of signal level (including the noise). One can have a camera with a bit depth of 3, but with a capture dynamic range of 16 stops. Likewise, one can have a camera with a bit depth of 16, but with a capture dynamic range of 3 stops. Indeed, there are many cameras with multiple, selectable bit depths, yet the capture dynamic range remains unchanged in each of those bit depths. By the way, the lack of beer functions was very disappointing.

Well... if it is objective, then:

I had crane m2 and returned it. It was extremely difficult to balance (even iPhone pro and gx85), because of its small arms. Subsequently, I purchased Ronin SC and have no problems with balancing.

Actually there is a theoretical limit of bit depth with dynamic range. Meaning that a camera with 12 bit will have 12 stops (which isn't true for the GH5 with its 13 approx stops). Maybe if Panasonic pushes it to 14-bit, highlight and shadow recovery could improve.

- DPAF (slaughters Panasonics DFD AF) - Native lens selection Nothing odd about it. If ain't broke don't fix it. 1D line has never been about resolution. And I'm pretty sure we're approaching mechanical limits for FPS. What does matter and has vastly improved in the Mark III is: 10-bit HEIF (vs 8-bit JPG) AF (28 times the resolution, almost 100% coverage, new deep learning AI tech, eye AF) MF Peaking, Focus Guide FPS (16 to 20 vs 14 to 16) CFExpress (five times the buffer depth) Twice file transfer speed ..etc This update is a lot more substantial than lets say the A9 II which rehashes the same sensor, AF system, burst rate.. and (8-bit) video specs!

I only have the 12-35 2.8 mkII, and the 25 1.7. Since I only use the GH5 for boring stuff like events, I haven’t put my money on lenses. About the Apsc EF mount, I’m sure someone will release a speedbooster to enjoy FF lenses. I’m not sure about that. what I usually read, is that for most, sony color science is not on par with Canon or Fuji. And with the 8bits limitation, it seems difficult to correct it properly. I personally disagree with that. First, the A7iii color science is far better than previous model. Second, if you shoot in HLG3/bt2020 with a perfect custom WB, and a color checker, colors will not be an issue. Even in neutral mode, you can get good results.

Yeah for someone starting out from scratch today in 2020, it wouldn't be a crazy as bet to just totally ignore Avid / Premiere / Final Cut, instead going all in on learning only Resolve. In the hope that five years from now Resolve will be a major player on equal footing to the rest in terms of employment demand. (Resolve is already top notch in terms of employment demand when comes to wanting graders, but we're discussing editors here) Yeah for the first year or two (or three plus...) then it doesn't really matter what you're using, as nobody is going to be hiring you likely to work within a large team where the software workflow matters. Instead you're probably mostly doing small one person jobs for indies / friends / etc. Thus you could use Resolve, or whatever the hell you like.

Interesting that you don’t like the GH5 and prefer the A7iii - for most it is the other way around. Are you shooting log and grading in post or are you shooting a rec709 preset? I know that the rec709 from the A7iii looks lovely, whereas the GH5 log files are very easy to grade and people struggle with Slog. In terms of the P4K vs P6K, I agree with @IronFilm about the P4K being the much more flexible option in terms of adapting lenses, but it depends on what lenses you use and like. For example if you’re going to just use the Sigma 18-35 and 50-100 f1.8 lenses and nothing else then maybe the 6K is a better fit. Like I say to everyone, get clear on what work you’re trying to do and how you like to work, make a list of your priorities and rank them in order (by asking yourself questions that force you to choose between two priorities) and only then consider what equipment you should buy. That way you will spend money on things you will use, rather than things that seem cool or that will solve problems you would like to have..

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

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

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.

I'm rocking X-T3 with a Zhongyi Speed Booster (Lens Turbo II) and it's an amazing hybrid for the price. Can't comment on AF, since all the lenses I own are totally manual (believe it or not). Manual focus assist modes are great and you can choose which you like best (read more about them here: https://www.jmpeltier.com/fujifilm-manual-focus-assist-modes/ ) Video files are a bit hefty (can't play them smoothly on my PC straight out of memory card) thanks to massive amounts of data they provide. It's really difficult to break them. Overall - it's the best camera I've ever had (coming from previous Sony, Panasonic and Samsung NX user).

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 ?

True! That happened! Though, you know, less interesting for me having the original set and all (except the oddball T2.6 19mm; if anything, as a proud early backer I thought I was getting a steal on cinema lenses and but now they really are, oh well, at least I can convert mine from MFT to E-mount I suppose, lol). I mean, it will be HELIOS 44-2 58mm f/2 still, I'm not going for personalization with coated elements and anamorfake inserts or anything, so the familiar look. But it will still be awesome to have it as a properly housed lens ready to survive a few more decades and a lens that's able to grow with you when your productions do too.

A good reason to have a new kid every year. Maximize that copyright potential!

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.....

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.

The mythical "Sharpene" is improving! I wonder how this "AI" product compares to typical wavelet sharpening. The Topaz Labs JPEG to RAW AI seems to get rid of macro-blocking. Topaz Labs offers six products, some with apparently overlapping functions. Yes, resolution can be traded for bit depth while maintaining the same color depth, but those figures are not mathematically correct. Keep in mind that bit depth is not actually color depth. Digital color depth is a product of resolution and bit depth: digital color depth = resolution x bit depth. The color depth of an image cannot be increased, unless something artificial is introduced (which is evidently what some of the Topaz Lab products do). So, scaling down the resolution of an image to increase bit depth won't add any color depth for grading. On the other hand, if you merely scaled down the resolution without summing the binned pixels and then just increased the bit depth, you likely threw away a lot of the color depth. The pixels have to be binned/summed (or averaged) to retain the image's color depth, when trading resolution for bit depth.

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.