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That's how I shoot all the time, grabbing a quick shot then running to catch up. Or getting shots of the family while they're doing their thing. For me the strengths of the GH5 really help with that. IBIS for walking while shooting (trying to simultaneously do the ninja walk and also not walk into a pole or anything) or for standing and grabbing a faux tripod shot. The 10-bit for being able to significantly push the image due to no control of lighting and little to no time to work the scene. Etc... My other approach is just to get volume, as not only does it mean you get lucky more often, but the practice increases your hit rate too. Here's some random GH5 shots from filming at the speed of life...

The great thing is, Speed Booster GH5S outperforms the 6K EF Pocket in low light as well. Unless you can get one of Luca's rather nice Magic Boosters. Who's for a GH5/GH5S Shooter's Guide?

It is 2020, a year which marks 10 years of EOSHD this month! Those 10 years have flown by. I'm wondering how the filmmaking landscape for gear has changed since the GH2 days. What are you shooting with now?

I can't believe the poor NX1 is relegated to the "Something weird" category Actually on second thought that's pretty accurate. Carry on.

An interesting watch from Media Division: Zeiss Super Speeds vs Contax Zeiss Literally hours and hours poured into a video like this. The total opposite of the Northrups.

I'm rocking the GH5, the G85 and the GX85 for my multicamera shoots these days. My original plan was to sell the G85 and buy a second GH5 but then I got the GX85 for a steal used and decided to also get the 35-100mm f/2.8 when I found it in pristine condition for an absolute bargain. I still use my JVC LS300 too, though I'm considering selling it. It's hard to part with, as I really do love it, but I also feel bad not putting it to use more. I instinctively just grab my Panasonic kit most of the time. I think a lot of people have gotten caught up on full frame, which I understand, but I still love M43 and see so much more upside in the system than full frame. I want a small, compact kit. It's literally what I dreamed of way back when. If you told me 10 years ago that I'd be able to fit my entire multicamera kit in one small Pelican case AND get the quality that I'm able to get, I don't know that I'd have believed you. Using the GX85 has really reignited my love for the system and reminded me of the possibilities. It's so tiny and lightweight! But the image! It's lovely! And slap that 35-100mm on there! It's insane! I won't hold my breath, but if they could pack all the features of a GH5 into a small body like that? Gimme!

Good to see such loyalty round here. So many Panasonic users ? Maybe I should concentrate on more GH5 coverage. I have been more focussed on the full frame cameras since a few years ago now. GH5S and GH5 deserve more articles.

Well, since I am getting back into my GH5 / GH5S, I'll be doing my own tests but it's not looking good for the Blackmagic. Is 10bit LOG at 400Mbit ALL-I all most of us ever need? What is the point of sacrificing so many features, battery life, and so much ergonomic niceness for a Pocket 4K?

To anyone wondering about exposure controllers in Resolve: You can use the offset wheel in ACES, it's very close to a true exposure controller, but only in ACES. In normal Davinci YRGB mode you can linearize the clip using the Color Space Transform plugin, and once in linear mode you just grab the top right part of the curves and grab it along the top or right border. Because you're in linear mode this will be simple multiplication, so it's an easy way to control exposure. Then you use the same plugin to convert back to log.

EOS M for the win

The production value of those media division bids is incredible, only topped by the content quality. They are easily my fav channel concerning video on YouTube, alongside Juan melara.

10 years ago, all the documentary films I made for TV, I shot them with a shoulder camera. The image was sharp and the bokeh invisible. At the same time, I discovered the Canon 5DmII, and I started (me and my colleagues French journalists) my first films with a cine image. Obviously it was a revolution! French TV and production companies immediately adopted Canon despite many new constraints related to DSLR. So what? The tool was incredible and the images broadcast magnificent! None of us saw fit to return to the previous tools, which were much more practical to use! Over time, we groaned against Canon, like all of you because it seemed to us that the company never listened to our remarks to improve its cameras. So, rebels, we adopted Panasonic, Sony or Fuji recently. Alas, in the end, the image was always less beautiful, the colors less real, and the editors pointed out to us that only the final result with the diffusion counted. TV editors have also lamented the Pana and Sony colors. We are in January 2020, I can certify that 95% of DSLR filming for French TV is done with the Canon 5Dm4. It is not snobbery, it is just the result of a collective reflection (Red Chef, JRI, Op Chef, Director, editor ...) which unanimously goes in the direction of Canon images. I also 100% agree with this reflection. However, I used GH2, GH3, GH4, Sony A7SII, Fuji XT3 ... See today that Canon is putting RAW internally in a DSLR! 4K 10 bit 422 in 60P, etc etc with Canon color science is just MAGNIFICENT. Yes there are still reasons to shoot Canon on sight for quite a few reasons, yes it is still imperfect ... but 95% of French TV and Productions will be delighted to use this 1DXMIII.

One of these days, DJI pops up with a new VR360 acquisition drone everyone will not resist to buy... The future for aerial photography is there... Just a comment line. In a word to say the least: Impressive. The best bang for the buck today : -)

https://www.kandaovr.com/qoocam-8k/ This could be it. 8K. 1/1.7-inch sensor 10-bit video. 12-bit stills.

LETS USE THE WORD “BLUR” HOW ABOUT THAT everyone knows how to say the word blur, and knows what it means, right? #INSTEADOFARGUINGABOUTHOWTOPRONOUNCEBOKEHJUSTSAYBLUR2020 whos with me

Have watched entire video now and the bit about the Contax 35-70mm F3.5 Check out these shots from it. A multi-talented lens if ever I saw one and still quite compact & lightweight. And last but not least the 15mm F3.5 got to be worth a look as well judging by the character of this shot...

Can one really make an evaluation of a tool, such as a camera, purely on a single video by a user many here don't seem to care for? I think there is plenty of examples of good images coming from Sony A7 III etc. but can also agree that SOOC of XT2/3 is typically more appealing. If you don't AB the heck out of it and just watch quality filmmakers with any camera the images look good. Sometimes its more of a limitation of the user than the tool.

Andrew, I agree that there ARE a lot of stills pros STILL with Canon and Nikon (I actually do not think the number with Leica is huge at all and many of those that DO actually use dual systems) but there ARE an increasing number using Sony (or rather an increasing percentage in a shrinking market). I also think a LOT of Pros that use Sony are also dual system users including quite a few Canon users who investigate Sony (while keeping their lenses still though that is dropping off a bit now maybe or some have settled on Sony and selling off their canon gear). Again though there is an increasing number, at least around here. It also depends on what you mean by "pro" as around here at least there are a LOT of people who hang out a shingle and shoot weddings on the weekend...many of those are still "serious" photographers and seriously good. Then there are those using APSC cameras to take Santa pics/portraits at the mall. I would also take the work of many high end "enthusiasts" over many pros too and are clearly "serious photographers". This is the bit i objected to especially... "Most of these users are not serious photographers or videographers either. If they do video then they know how much work goes into fixing Sony color. I've seen professional photographers that use Sony and post work with horrible unnatural skin tones that can't be fixed by shooting RAW. Sony is not being used by serious professionals." And THAT is as ridiculous as it would be to say that ONLY Sony users are serious photographers/videographers....it is rubbish!

Well Sony hasn't had a video-centric camera since A7S2 came out.. that was 5 years ago in 2015!! A7III was hardly an improvement over that (same codec/resolution, oversampling but with massive NR). So they are seriously lagging while the competition has never been so strong in the FF mirrorless sector. As for BMD, they are imo the people's champ and the reason why we're seeing RAW & ProRes RAW in other consumer cams. BRAW is also quite an accomplishment & even the fact they bundle DaVinci is a very strong incentive to get switch to their system. What I find interesting is how few have adopted S1/S1R/S1H despite Panny being #1 overall. Another interesting poll idea would be what lenses people use (focal length, brand, prime/zoom/cine etc).

I currently shoot most of my work with two Panasonic GX80’s with occasional use of a GoPro Hero Black 7. For sound I use a Zoom recorder. Apart from interviews, most filming is handheld with no rigs. Bradgate Park Archaeology Field School Ancient History What is Sociology Live?

I had to snap that up. Good find mate Now I am waiting for my Fp to arrive. Sent the previous one back, and bought it for £1650 inc. 45mm F2.8. Yes, it may be an import. But if it breaks I can fly out, get it repaired in Japan, have a holiday, and still be £100 up vs the ridiculous UK price Hopefully we will see some juicy firmware updates soon including Sigma-LOG Or they might just call it V-LOG and nick it from Panasonic

Seems the 4k of the fp is not perfect, but I knew that, still its nice to see some test.

Was odd how the step from GH2 to GH3 wasn't THAT massive (I guess some people might have thought it was?). Likewise the GH1 to GH2 step up I don't think was huge either. I used to have a theory that Panasonic was going on a cycle with the GH series of alternative "BIG improve" vs "small improvement". (thus after the big splash of the GH5, I'd expect the GH6 to be a smaller improvement, before the GH7 which would then be massive) Then the GH5 came out and made a big splash, ruining my theory by breaking the pattern! As it followed up so strongly after the GH4, which had itself made a big impact.

i kno rite. ive got my fingers crossed for fully articulated flippy ?

Fuji is coming on strong for the underdog Super 38/APS-C mirrorless. The X-T3 is mighty tasty to shoot with a few choice accessories. And now the X-T4 is about to drop. I'm sure curious to see what it's like. I'll almost certainly rent one for a job on the week of March 18 if the rental houses have them by then. I did that last year with the T3 and my 80D's been pretty much collecting dust ever since. Anyone want to buy a used 80D? It's got pretty low mileage, the tires are still good and it doesn't leak any oil ?

I meant an example showing how the P4K is better than the GH5s in the same conditions. As long as you white balance in linear gamma, I've found no benefit to shooting raw in terms of ability to white balance in post. I have edited quite a bit of material shot in 400 mbps on a GH5s and never really ran into any compression issues even on extreme grades, so I'm curious to see any examples where the P4K does better. Same with exposure. You can correct exposure with any camera with the same results as raw if there aren't compression artifacts, and you can do it in linear. Since they share the same sensor, I would be very surprised if noise levels were different, and in my experience I haven't run into compression issues with GH5s footage.

Fundamentally your camera is one of the worst for rolling shutter though, is it worth it?

Actually, no one should watch that Tony Northrup video unless they ARE drunk...

Pentax fanboys: Even WE have IBIS!

The older the Sony, the better the skintones. F35 = CCD beauty Alpha A900 = Minolta goodness F3 = Looks great from this test And then came the NEX VG900. It was all downhill from 2012 on!!

Indeed : )

Keep'em coming, people! A quick transcript from Polish: 0:05 → "We've got 7 film sets, 27 dancers and there's alot going on." 2:22 → "We're finishing up!" A link to the video:

It must've been really taxing on the whole production team, wow. This BTS definitely comes to my mind: Though, truth be told, I enjoy more watching some small BTSes on Vimeo. Simply because they are not AAA titles, which have all the money and resources in the world. Here is one of my favorites (still, it's one of the fancy ones - burning down houses? being able to cast ~100 extras?)

So far I have looked at a total of one lens for this. For stills jpegs (I did shoot a video of the band but I deleted it by accident before I could look at it). An ancient Canon 20-35 2.8 L (probably the most updated lens around with 17-35 2.8 L, 16-35 2.8L 16-35 2.8L ii, 16-35 2.8 L iii all following on). This battered old thing is something I love more and more even though I usually prefer primes. It might not hold up for high pixel count cameras now or for 8k video. Both these are f4 (24mm and 35mm) I do like how this lens renders at f4 to f8.

Yeah that is why most of the video pros i see with a "proper" camera and not a DSLR or mirrorless ILC are actually using Sony. As for not being serious photographers (and increasingly serious hybrid shooters) You really need to get out more....there are more that i see with Sony than other brands around here now with quite a few who switched from 5D mk whatevers. Again, to many there IS an issue with Sony colour and its seems I am not alone in thinking a LOT of that is due to auto white balance but it is hard to take you seriously with what seems an extreme bias against Sony.

I haven't tested myself personally,. but I think that 1080p is supposed to have significantly less rolling shutter than 4K. (But I always shoot 4K on a gimbal with my Sony cameras, so I am not an authority on this.) I don't think that adding sheer weight is the solution, to be honest. Maybe a small rig cage might help, but I think it would help by adding various grips to the cage so that ergonomically it is easier to hold. And the other thing is to move at the waist or at the legs, instead of moving with your hands / arms, unless you have to. But as @mercer and @IronFilm mentioned, the Sony a6500 is not a good camera if you want to minimize RS.

I feel like this is the MAJOR missing opportunity that all the camera companies are missing out on. Open up their cameras to the maximum extent, let people put any of their own apps on it. Just look at how much better smartphones are than the "feature phones" which went before them! Who'd buy today a "smartphone" which can't install any new apps?? @Mattias Burling should do the Barbie Cam as well one day.

Honestly, I think you should revisit your GH5 idea. You can only fight these cameras so much. They are good at what they're good at. If you were using a gimbal and needed the AF, then yeah roll with the a6500 but if you want to go handheld and do movement... the GH5 is the way to go unless you want an Olympus which would be even more steady.

HDMI 2.0 would have a sufficient data rate at 14.4 Gbps and supports up to 16bits (but not at 4K). HDMI 2.1 can do up to 42.6 Gbps. How Atomos is using that bandwidth I’m not sure...

This looks like a sincere question to me. I withdraw my claim you‘re trolling and apologize. I for myself have a professionally printed A2 version of my test chart. However, for a zone plate chart, even that shows signs of remaining printing artifacts. And Marc doesn‘t have any usable printed version. However and because we only needed a small fraction of the test pattern, there is an established alternative in the testing scene: monitors! As odd as it may seem at first glance, they can be put to good use if a number of rules are respected. I know about at least one professional lens calibration company which is using monitors to display test charts. The most important rule is that monitor subpixels (their projection when photographed or filmed) must be MUCH smaller than a sensor pixel. Other rules are that the test pattern must be resolved with no aliasing, and that there is no flicker. We obeyed these rules. Which is also why we know to have no extra moiré effects from the pixel grid. It is also the reason why: 1. the monitor shows a small fraction of the test chart only, such that the remaining part is fully resolved by the 3840px wide monitor. The original test chart is 8400px wide and 9.6MB large. It‘s pixels are displayed at 100% or 1:1. There is no moiré in the screen display to the naked eye. The test chart file was carefully created to avoid aliasing as much as possible, by myself. Which is no easy task for a zone plate chart. 2. the monitor appears so small in the video, as it is far away. This makes the monitor pixels and subpixels disappear completely, there are more than 10 monitor pixels per camera pixel ... Hard to beat with any printed chart! It also ensures that we have spatial frequencies beyond 4k to test for. This is crucial for the test and any attempt to reproduce our results! 3. minor sources of blur (lens, focus, motion) destroy results as we depend on high spatial frequencies being resolved. Btw, the article DOES contain a link to a test video before cropping.

A monitor causes extra moire effects because of the pixel grid

A few years back I came to the conclusion that GH5 10bit 422 VLog was pushable enough without losing quality for me to make the leap from ML RAW and not feel I was missing out.

Is this topic about that atrocious Northrup video, with 3 cm of depth of field, and with the image blurring in different places every 3 seconds with the poor lens trying to focus on him? I had to use a breathalyzer after saw it to certify that I was not drunk.

Well, since the GH2 days I've been pretty true to MFT. Skipped the GH3. Then gotten the OM-D E-M1. Then the GH4. D5300. Z CAM E1. BMPCC. G7. YI M1. GX80. G80. G9. GH5. BMPCC4K. GX9. The oddball was the D5300, but I sold it due to its traditional DSLR quirks. A bunch I sold again, some are collecting dust. Still actually have the GH2. For nostalgia's sake, I can't get rid of it. Primarily these days I use the G9 and GH5 when the objective is to shoot some schtuff. Whenever the occassion is more casual, like city trips in the company of people that might not be the most patient, the GX9 will do. The steps GH2 < GH4 < GH5 have been quite remarkable and I really don't want to get myself into fullframe systems. So I for sure hope MFT really ain't dead yet and that the GH6 will be marvelous. Maybe they'll drop the top line separation and encapsulate the G9/GH5(S)' individual strengths in a single body.

Panasonic fanboys will tell ya: Real Men don’t use AF. Canon fanboys will say: FF is overrated, crop brings you closer to S35 ciné standards. Sony fanboys over any criticism: My favorite company is #1. Na-na-nana-na.

Well in the quote from you - you mention 'Sony photographers' so in a sense I can. Sony's success is really built around 'photographers' rather than videographers as I see it. Clearly for video guys out of camera color is way more important. But my real point is this. I dont think there are swathes of delusional Sony users out there believing that Sony's color is great much in the same way as I dont think their are swathes of Panasonic users out there thinking their cameras have great autofocus.

I agree, AWB on Sony still needs work.

The 'brand loyalty' argument is both naive and simplistic. Afterall, almost by definition, a Sony user has 'switched' from another brand over the past 5 years. The fact is that Sony has a lot of strengths for photography especially mirrorless - it just so happens that 'color' isnt one of them. Also straight out of camera color isnt that important to most photographers as with raw it is always something that you can easily adjust in post. And for those that straight out of camera color is important - they probably arent using Sony. My feeling with Sony though is that their color problems are mostly to do with their 'auto white balance'....