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You really are a clown, or are you trolling... hard to tell with the amount of crap you constantly come out with

A shame about Olympus. Investment is about returns. My GH5 has been a great investment and has made me a lot of money. I recently bought a GH5S (only used a couple of times) with a cage, 2 extra batteries and rapid charger for 1290€. Paid it off on the first job I used it on. I have a 3 camera MFT set up that can film 4K until the cards fill up (with a back up recording!). They fit into a backpack. Pro work but not cine. Lots of events, conferences, training videos etc including stuff that has appeared on TV. I can see myself using it for another 2-3 years. Coming from a full video production background I have found MFT to be the only all rounder up till now. We will see what happens next!

"Crop factor" usage of cameras with obvious issue from DP's perspective... that found their way to different Cannes 2019 selection sections: MAIN COMPETITION (Palme d’Or Contenders) - “Sorry We Missed You” Dir: Ken Loach, DoP: Robbie Ryan Format: Arri 16mm Camera: Arri416 16mm DIRECTORS’ FORTNIGHT - “The Halt” Dir: Lav Diaz, DoP: Daniel Uy Format: 4k Camera: GH5S Panasonic Camera Lens: 18mm-50mm zoom lens Panasonic, 70mm-100mm zoom lens Panasonic - “Lillian” Dir/DoP: Andreas Horwath Format: Digital, 2K, Lossless CinemaDNG RAW — and 4K for the drone footage Camera: Blackmagic Pocket Cinema Camera Lens: Voigtländer Nokton Series - “The Orphanage” Dir: Shahrbanoo Sadat, DoP: Virginie Surdej Format: Alexa Mini-S16 HD mode/ prores Camera: Alexa mini S16 HD mode UN CERTAIN REGARD - “A Brother’s Love” Dir: Monia Chokri, DoP: Josée Deshayes Format: Super 16mm, 7219 Kodak Camera: Arri 416 - “Liberte” Dir: Albert Serra, DoP: Artur Tort Format: 2K Camera: Canon C300 Mark ii (crop mode) Lens: Canon 11-138 (S16) OUT OF COMPETITION - “Let It Be Law” Dir/DoP: Juan Solanas Format: UHD 3840×2160 Camera: Panasonic GH5 Lens: Leica 12-60mm 2.8/4

Personally I would certainly trust a Bloom review. Indeed he is one of the few I actually listen to when making a buying decision. I suspect most purchasers use YT channels post purchase for affirmation and reassurance that they bought wisely (and joined the right “crowd”) rather than as an important guide pre-purchase. The majority of us buy according to other prejudices and habits and brand loyalties. Or for specific feature sets.

Maybe you could help a basement dweller out and reply to the grading questions I asked about the GH5 image not holding up? It was a genuine question and however basement-y you think I am, a gracious individual would realise that for every person who comments, there are dozens more who follow along silently, and we could all do with learning more. It would help us to understand your perspective as well. Lots of people blow through these forums and when they have a different perspective or different requirements or standards then it's easy to get riled up, but it's worth it if they manage to explain their perspective and then the rest of us can understand why they have particular requirements or opinions. Sometimes it even happens that when they share theirs, we can share ours and very very occasionally, we all learn something.

Boy, all those great films shot on Super35 suddenly look like shit when FF DSLRs came out. That Zombie movie, 28 Days later, I liked it until I learned some of it was shot on a Canon DV1. WTF! They should have used an ARRI for that most iconic bridge shot. Ruined it for me. Most of the new blade runner 2049 was shot with a Zeiss T1 lenses but was stopped down to f2.8, 4, and 5.6. Deakins must be an idiot. This obsession, and yes it’s an obsession, with FF and max aperture shallow DoF lust is missing the forest for the trees. Very little of that shit matters in cinema. You can slap a Vintage FF lens on a GH5 and hand it to Deakins and he would shoot a Hollywood movie with it and the audience wouldn’t give a shit what it was shot on if the story, lighting, acting, and production are good. The camera is peanuts. Only people that care are the sensor gear obsessives and the industry snobs. I’m also still waiting for that FF 24-200 f4 that fits in a cargo pants pocket....who will make it first? And before you bandwagon the notion that I think MFT is somehow inherently better than some other format (like a lot of FF zealots do for whatever reason) I like MFT because it’s a CHOICE. I get a choice of format to shoot in with unique advantages. But instead we have this pervasive FF “green-blue algae bloom” sucking all the oxygen out of the discussion. I can also guarantee you when the first smartphone puts a MFT sized sensor on the back suddenly MFT will be the bees-knees again...funny how they works.

I can adapt pretty much every lens ever made onto my GH5; I've never felt like I had to settle in that regard, outside of budget or availability. I find it easy to get the color I want, with minimal tweaking unless I'm looking for something more stylized. Getting the kind of DOF that I want also has never been a problem for me. Ultimately it all comes down to personal preference. I've never been happier with a camera. I've never felt limited by it, at least not to the extent that there wasn't anything I could to get around it. I originally got it for event shooting, and have started to dabble in more narrative style stuff and I credit the GH5 for that.

Some fair points in this

Don’t worry, Canon will cripple the 8K camera and 2020 will make sense again.

GH5 is a 3 year old camera, and a hybrid (not dedicated to video like the E and P4K), and still being used today successfully for lots of things. I just think people like to hate. The GH4R was used in Top Gear for years. They have used GH5S as well. Not one person cared. Zip. They probably didn’t even know it was shot with a GH5S. Crop factor wasn’t a problem for that production, mostly because it very often doesn’t. People say you can’t use MFT for stills. Yet, the 1DXIII and A9 have roughly 20MP sensors. I bet if you took a photo, printed it, and stood at normal viewing distance you couldn’t tell. Should you even care? It’s ART. And of course we’ve been taking 20MP stills with FF, APSC, and MFT for years. And finally, the people that think MFT is dead (it could be). Why do you take the 5-10 minutes to write some post about how it’s dead and how FF is king? I rarely see MFT users coming on a board and saying FF is dead because it doesn’t have a 300mm f4 lenses they is lightweight. They are always defending their choice of gear to make something with. Olmypus fell apart for many reasons. It’s a loss to the community as a whole. It’s one less choice in the market. It’s one less potential innovator in the market. That is the real loss. Olympus brought IBIS to mirrorless and guess what? Now everybody wants it on their cameras! Arguing wether the most successfully MFT camera Panasonic has ever released is trash is a waste of time.

Back then though you went into it knowing that there was a business relationship between the press and companies, and also that most of those journalists went to journalism school and practiced standard journalism ethics. As things moved to the internet, there was an influx of blogs much like this one, where you could get honest opinions. YouTube/Vimeo/etc too. The people writing and creating content were just like us, and you went into it knowing that. Now we're where we are today, where the dynamic has changed. And once neutral parties that you trusted can overnight turn into shills. It's incredibly frustrating and damaging.

You're right and... oh yes, affiliate links are a plague of these days.

They could do a lot of things, I think, to help but I think companies in general have a problem thinking outside the box, especially if it means giving up control. I mean, even the current YouTube / influencer model was something that was literally thrown into their lap and was only embraced given how beneficial/one sided it was to them. "You mean we can send these people stuff and they'll make enthusiastic 'reviews' even if the product isn't great? That they'll do it almost exclusively for free stuff, access to us , and the revenue they can make from affiliate links?!" Long term it'd be for everyone's benefit to properly fund journalist and art programs that can help grow the video / photography community, but I can't see a scenario where they'd do it because it'd mean giving up a level of control that they're not comfortable with.

Stills from some past F3 projects, all with Leica R's and the 5" Video Assist. Such a remarkable camera: lovely to use, easy to grade, solid in low light, lots of dynamic range...for the money I paid, it's earned its keep 50 times over.

To be fair, that might have been the mice that had obviously been living in your one before it arrived.

The crop factor stills reduces the market for a stills camera, because full frame is the pro standard. It doesn't mean to say there is not a place for S16 and M43 in cinema, or even in stills. It does mean to say that customer choice is important and Olympus never stepped outside the one sensor size fits all bracket.

Well if JIP are in fact a bunch of cowboys then they couldn't have a more aptly named President & CEO.

Certainly. And why not? From Bloom’s FX9 review ”So although I got paid by Sony to initially assess their camera in November this is NOT a sponsored review. They had no editorial control of this video at all. They did see it when it was finished as I wanted to make sure everything I said about the camera was 100% factually and technically accurate, in every way. The only thing they asked was for me to correct a couple of typos!” It is at least purporting to be transparent. And that is important. Of course one can still decide whether to take his comments at face value, with a pinch of salt or dismiss them as paid hyperbole but at least he has experience in the industry and therefore knows what he is talking about. Different from the majority of YT review channels? Not having had years of working in the industry, I’d say that most things I know about cameras are derived from here or Bloom. At least we are free to choose our own Oracles!

Bloom is a paid influencer. About five years ago, colleagues of mine organized a seminar on influencer marketing when this was still a new phenomenon. They showed us a subscription-only, non-public B2B matchmaking website consisting of a database of social media influencers who offered their services. I searched his name and found his listing/pitch in it. (Unfortunately, forgot the name of that database website.)

I sometimes feel that I'm having a weird dream with 2020. Aside from most of my work being postponed or cancelled due to a flu virus, we have Canon giving us an 8K camera and Panasonic giving us a crippled 4K camera. Frankly I'm waiting now to see if I wake up and experience a 2020 that makes more sense.

Absolutely. One thing I really like about MFT is that I can use my f0.95 primes to stop-down to f1.4 and get a bump in sharpness, I get an exposure about T1.4, and a DoF equivalent to a FF f2.8. Of course, FF has the advantage with lower ISO noise, but getting a higher FF equivalent T-stop while keeping a FF equivalent F-stop makes up for the difference in many ways. I am also a bit in love with a shallower DoF, I'll admit it. However, it's part of a larger creative context, which I'll elaborate on a bit. There are a number of things that make an image look 'cinematic', or if you don't like that word (some don't), make an image have a higher level of production value. These include things like lighting the talent brighter than the background (or the other way around), creating colour contrast with things like orange/teal grades that provide more subject/background contrast, fog to make distant objects less contrasted and also create rays if desired, using out-of-focus backgrounds, using subject and camera movement which outline the varying planes in the scene, etc. One thing that all of these things has in common is that they all emphasise depth in the image. I think that creating depth in the image is a fundamental goal of the medium due to the fact that photography and videography is the attempt to replicate a 3D world on a 2D medium. To this end, Deakin and I operate in very different worlds. Deakin will use all of the above and more to create depth, whereas I operate in completely uncontrolled conditions, with available light, and often without the ability to even move the camera around that much to manage subject to background distance. So I am interested in having a slightly shallower DoF in my images in order to partly compensate for the less ideal other factors, and also in situations where I have a greater subject distance (or a higher ratio of camera/subject distance : subject/background distance than Deakin would choose) I want a lens that goes faster so that I can get the same amount of background defocus under the more challenging situation. This is kind of like when we've talked in other threads about shutter angle and someone said that they like having a >180 shutter angle in order to compensate for other areas where their image is a bit lacking. I bang on about tech on these forums probably more than the average member, but I do so in the context of the creative output. I do it so I can get nice images, and my learning journey has been one where I work out what matters more, what matters less, and what doesn't matter at all, to me at least. I'm aware of smartphones getting better in low light and also in the folded camera modules with longer focal lengths. I had a few long conversations with my dad about the Light L16 as had it lived up to its claims of being a DSLR replacement (it didn't) he would have bought one. His primary interest was using it in very high dust environments which due to it being completely sealed would have been a great fit. He's killed a number of cameras and has now basically given up due to this. We talked about those P&S 'tough' cameras that have a standard zoom but are completely waterproof, but the image never stacked up. The A7 series are definitely quite small, and I was considering an A7iii + 24-105/4 setup against the GH5 back when I bought the GH5. From memory it was the 10-bit and better IBIS that sealed the deal for me. I was interested in the better low-light of the A7iii, but in the end the GH5 with fast primes sees slightly better in the dark than I do, and that's good enough for me. If I can't see it, I won't miss shooting it. I've said above that I think that a mid-sized sensor will hang on. I don't know if it will be MFT or 1inch but considering there aren't a lot of ILC 1" cameras, I think MFT has the edge in that situation, although the RX series sure seems to have made a lot of sales. The advancements in smartphone low light and performance will trickle into the mid-sized sensor format, so in that sense it will benefit from the tiny smartphone sensor market, and the mum and dad taking photos of junior running around in normal indoor lighting, which places very high but completely practical requirements on low-light performance.

What case study have you got to say i am wrong? OF course if something is made in smaller numbers it will cost more. R&D costs to the companies are not going to get cheaper (unless they cut back) and the cost per unit will have to be more expensive to pay for it. Same with the equipment to make it, it has to pay its way. Olympus has been selling plenty of cameras but they have not made a profit very often in the last decade. As to the market shrinking, ten percent was just a figure for argument stake. Nobody knows what it will shrink to but the trend is down, nothing but down and as phones get better and people who grew up with real cameras gets older and weaker, demand will diminish further. I just went to a major store that includes cameras as part of its range to get a SD card and they are still selling the RX100 FIRST version new and for silly money with a version iii also for more than it is worth and a recent model for more than many DSLRs. For most people a phone will do as good a job at photos and video now for what they want as well as a lot more things and for less money.

Ability of a lens to gather light and the lens DOF aesthetic have always been intertwined --but are definitely different things. Hobbyist really crawl up their own butt with this stuff sometimes. Having masterful wisdom of the nuances of technical craft is important and nice to have. But, let's be honest, it's not the end-all-be-all. Many other decisions are much more impactful when solving movie making problems.

I don't even understand why they would send this camera out to people to preview / review. I haven't seen one positive video.

It already did: https://www.statista.com/chart/5782/digital-camera-shipments/ But one shouldn't even reply to you since you're bullshitting this list.

Quick Screen grabs from Lens testing Today. Superb Kipon Mamiya 645 Speedbooster with the Mamiya 55mm F2,8. All handheld wide open. LUIX S1/Iso 1000, 4K 10 bit. VLOG

As an erstwhile tech-oriented ad salesman I have to tell you that any such person - on finding out that editorial were devoting 3 or 4 pages to a favourable review of a particular camera would, within milliseconds, be on the phone to a decision maker at the manufacturer's HQ. There's nothing corrupt about that process, it's just how it works.

The forum has a new feature. It's an argue amongst yourself privately and save the EOSHD audience pages of off topic bullshit button. https://www.eoshd.com/comments/messenger/compose/

It seems to be some sort of flat profile now in the Off mode. Desaturated, brings the shadows up. Definitely seems to be more "Flat profile" than LOG but still interesting to further experiment with.

That would be a great initiative, Andrew and I recall Kodak as for instance to have offered something similar in the past, but are they willing to offer it ever, today? There are many players in the digital realm, the world is different nowadays. Sony, for example, has changed in twenty years as far as my memory serves the way their marketing was used to work twenty years ago. No need to go back, even though, a decade earlier when I started my career their commercial practices didn't much differ. Seems we live in another century now. I think that's where also comes part of my weakness for brands like Fuji Film, only to mention their case. Old school : ) No idea if they stand their former programmes anyhow, they probably have to adapt themselves to the other contenders' policies.

It was quite loose on mine and there's no positive locking adapter for EF that I know of at least.

Here is an idea for all the camera companies. How about instead of flying everybody to Hawaii they start a fund for proper journalists and artists. From that fund, lots of great resources about cameras will spring and it will inspire others to take up the hobby or career of photos / videos. The shilling thing will eat itself eventually anyway and kill YouTube completely as a trustworthy website.

I wonder what prompted that interesting choice of name? My hope is they shrink back to the Japanese market where they already do well. I think part of their profitability problem was too many management employees from the mirrorless boom time. So maybe slimming back will help cut losses, cost of global marketing, etc...but that means jobs lost. The biggest hurtle is JIP doesn’t have much cash for R&D and continued investment. It seems most likely they will slim down, contract to Japanese market and then try to sell. Hopefully someone competent buys it. They have all the ingredients to release a, yes, “vlogging camera”, that is small and light with serious photography chops behind it. Maybe Panasonic will feel more comfortable in MFT now? Who knows. MFT is likely to die like all formats probably will. That will be a loss of choice for the consumer. I hope GH6 comes, even if it’s the last serious MFT camera, because it will be used by myself for years to come until one day I flick the power switch and it doesn’t work.

I”m posting becouse this thread pops up on Google. 2 years have gone since you opened this thread but we are still limited to these options: Manfrotto Befree MVH400AH = 370 gram, <90$ Sirui VA-5 = 530 gram, 150$ FEISOL VH-40 = 600 gram, 135$ Benro S2 = 400 gram, 80$ iFootage Komodo K5 = 700gr, 159$ To be honest none of them provide superb smooth fluid pan and tilt. If you want superb smooth pan and tilt for affordable price I would recommend Komodo K7, which is till hard to get. if you want something very lightweight and which makes pan and tilt easier, I recommend Manfrotto BeFree. It’s not superbly smooth bat smooth enough for average fast mobile video production. I have used it with tripods and monopods as well and even if it isn’t the most perfect you will get get better video with your very lightweight equipment. if you need superb smooth pan and tilt you shal use a lot heavier equipment or alternatively to use some motorised video head, which might be even better solution than any video head mentioned above.

It really is asanine. They could literally have taken the GX85, just added a mic jack and a flip up screen, and they'd of had a more compelling "vlogging" camera. The 4K on the G100 looks so soft, not to mention the crop. It really is like Panasonic decided to do the exact opposite of everything that helped them become popular. Remember how insane it was when they released the G7? And how crazier it was when they released the G85, which is STILL an excellent camera almost 4 years later? Really can't imagine what they were thinking here.

Hey guys, I wanted to share a film with you that I just finished and released. It is also a project I've been very passionate about, as it is the retelling of a true story. A short excerpt out of the life of a good friend of mine. A while ago a severe fire destroyed many houses inside the neighborhood of San Andres, Manila. Everything was raised to the ground. My friend took literally his destiny in his own hands and they were able to rebuild the houses just by them and the community. Everything was shot handheld on the OG Pocket, with the old MFT-Speedbooster and a vintage Nikol 35mm f2 and a very old Nikol 50mm f1.4. No artificial light, was really like run and gun. I shot all formats, CinemaDNG, ProRes - even LT - depending on how much space was left on the SD card. This little thing was really a workhorse! The archival footage is from different mobile phones. I hope you like the film! Enjoy

So for other Sony F3 users definitely adjust your flange focal length from time to time. My wide angle shots were not up to snuff sharpness wise and I figured out it was because my mount fallen far out of alignment.

haha, I figured. A little bit more regarding the P1: Seems pretty stable and all. Just the motion/transition in movements seems a bit robotic on/off, rather than organic. But I believe he said he had the same feedback and that they were trying to see to address that with firmware. Btw. Is it me or does it seem like Sirui's been sending gear to try to relatively small channels? A bunch under 2k subs, this particular dude 67:

Etc... https://www.youtube.com/results?search_query=sirui+anamorphic&sp=CAI%3D

Aw yeah! ?

Not so sure about that. Crowdfunding drums up hype. It's just good business practice to capitalize on that. Don't think there's much more to it than that. That's the sorta thing Elon Musk is all about. Spending less on actual promotion and advertising... and just create hype and make people talk about it themselves. In Pokémon terms 'it's super effective!'. Also cutting out the middleman and the need for physical stores/showrooms. That's just where this is all heading imho. The JBL project that just launched is already over goal and they only ship US/DE (where usually campaigns are run worldwide; that's also how you can guage demographics and markets to focus on if you decide to go retail). The Philips campaign reached 11000% its target goal (of course the bar set low on these campaigns on purpose, they know they're likely going to get enough sales to warrant production, but here again it sounds better if you're reaching 11000% over target (creating even more hype and articles being written about you) opposed to fully funded at 101%, which is only just making it). Thing is. They already put in the market research + R&D. They can't afford to be publicly disgraced by flopping a crowdfunding campaign, that hurts more than it would gain. The products of these established companies are probably already production ready. They don't come out with a cardboard prototype and go like 'so... this is version 1.0, we'll make some more iterations as we continue to tweak the concept, let's embark on this journey together! We're looking forward to your support to make this idea a reality!'. They know what they've got and that it will be a banger... the question is just... will it be a small fire cracker or will it blow up like TNT. Crowdfunding can elevate its success for them with very little effort from their side. These sharks are just trying new waters to fish... _______________________________________________________________________________________________ But anyways... Some more Tom Antos perhaps? New vid:

I disagree. It might be that the defects are a common reason that people shoot anamorphic, but it's not everyone. Here's a video that includes the Zeiss / ARRI Master Anamorphic and it renders an image almost as technically perfect wide open at T1.9 as other cine lenses at T4. I suspect that shooting anamorphic because you want the flaws is a low budget thing (and because at low budget you can't get sharp well-behaved optics so there's no choice). It's like saying that people only shoot FF to have shallow DoF. Or MFT because they want a small camera. You might make the point that Hollywood cinematographers often like vintage glass because of the softness and rendering, which is true, but there's also a large segment of Hollywood that have the attitude of capturing things in the highest quality possible (meaning highest resolution and most neutral rendering) so that they can push the image around in post later on. It's not a POV you hear a lot, but lots of big movies are shot with this principle.

Before watching this, I was quite sceptical about the lens. A lot of fuss, IndieGoGo, many popular YouTubers involved, etc. I don't really appreciate campaigns like this. But @Tito Ferradans managed to convert me. ( : Great job!