Leaderboard

A few more for the road. Damn does the F3 grade well.

You could've at least quoted or linked where you copied this information from... 😆 https://cinematography.com/index.php?/topic/51973-dynamic-range-vs-latitude/

I wonder if Sony will put S-Cinetone in the A7sIII/H or if they’ll just release a new version of the already weird colors, keeping the tradition of non consistency alive. This matters much more than 8K raw imho.

I hope their pizzas don't come out as half baked as their camera did.

Tinkering with lenses and hacking together stuff is what makes anamorphic fun to me, I think some people totally miss the point of why many of us do it.

I think you're over analysing this whole thing. You see issues that are not there. How far do you take this. Would you compare a 1" sensor to fullframe. Does a a fixed lens camera compare to an alexa. Does a £500 camcorder compare to a Red. I'm not defending the GH5. I just don't see the problem. You seem bothered that the GH5 can't produce results on the level of a C300. I don't. I am not asking it to. Maybe because I never use the high end cameras. I take it on its own terms. And yes, its not perfect, MFT has limitations compared to S35 and fullframe. It has advantages too. I use 60p not to deliver, but for slowmo in my shots. The fact that the C300 mark ii not having it, is not really an argument in defence of the GH5, more a casual observation. Pros and cons of different cameras. As for Photography, its not about that. Its about the fact the GH5 is designed to be a different tool than a C300. Its designed to do both stills and video. Again, its not an argument. Merely an observation. Like saying a spoon is not a fork, even though you use them both to eat with. As for the P6K, you're right, its not a hybrid. So what. I'm not sure I see why you're so worked up about it all. Accusations of fanboy do you no credit. At the end of the day, we work with what we can afford and what we like to use. If the GH5 doesn't work for you, don't use it. But for other users, it can be our bread and butter.

I am primarily concerned about the risk of losing your camera and more so about the hazard that the rig poses for motorists behind the hero vehicle. At minimum, replace the open hooks with strong carabiners or with removable chain links. The top carabiner needs to completely encompass that runner on the luggage rack, so that it cannot fall off during a bounce. In addition, to prevent the bounce/wobble, solidity could be added with two extra ratchet straps (or motorcycle straps) -- one strap tensioned between the camera platform and to the top of the car and the other strap tensioned between the camera platform and the bottom of the car. These extra straps would also increase safety.

The entire argument is silly. Countless low budget features, music videos, docs, short films, commercials, events, etc. have all been shot with a GH5 and other M43 cameras. The fact that major features aren't shot on M43 doesn't mean it's because the cameras aren't capable or that M43 isn't good enough, it merely means that films that have the budget are going to use the same cameras that always get used. They're not using Blackmagic or Z-Cam much either, despite their larger sensor offerings, which shows it goes beyond just sensor size. Heck, Canon has largely failed at getting their cinema line adopted by Hollywood, too. The power of the GH5/S, the Pocket 4K, etc. is that you CAN use it for a feature and get great results. You can use it for a run and gun documentary, or event too. That's the strength of the system. It's incredibly versatile. You're not limited by the camera, just your abilities. If you can't understand or see the benefit of all that, then there's really no point in arguing. Just write the system off and let the rest of us appreciate our tiny but powerful cameras in peace.

To put it simply: WOW. It takes some time for your eyes to adjust to this crazy aspect ratio, but after a short while you'll be fully immersed. Great vibe, it has that 'True Detective' feel to it. Not much really is shown directly, instead you have to rely on your imagination. That works for me. Overall: I was left longing for more. Much, much more. All shot on a GH5 and an anamorphic adapter that sometimes go for as low as 200$ - Schneider Cinelux WA (beware, it's huge and quite impractical).

Olympus isn't dead to me yet! I just purchased an Olympus lens yesterday: Is my first ever Olympus lens too. (if you don't count my Olympus bodycap lens)

Then how come... they are unable to do something as simple as selecting close to the right lens for a shot, as you said so yourself earlier: If a DoP doesn't have a basic grasp on sensor size, then they shouldn't really be a professional DoP

It would be funny if this turns out to be, spec-wise, the ultimate vlogging camera.

Horseback Hide Me? If I have to guess that this name was related to cameras, would say that was the leader of the G100 development.

Your closing remarks definitely resonate with me. While tempted by the specs of the new unreleased stuff - specifically I was looking at the R5 and RF glass, i decide to recommit to Fujifilm. Upgraded to the X-T4 and also completed the "holy trinity" with their recent sale by purchasing the 50-140mm. Such a great, affordable, chameleon-like system. Easy to go from street, to studio, to sports.

Now that's how to market a camera!

You're a funny guy. If there are contradictions in my post, its because I'm not taking this discussion as seriously as you. I'm lying in bed at 6.30am in the morning, passing time cos I can't sleep. 😄 I'm a happy user of the GH5, but would I recommend it now. No. There are better options now and like you, I feel MFT will be less supported as time goes on. Plus the features originally seen in MFT, like 10 bit recording are being passed now to fullframe hybrids, where arguably they are getting a better image as a result. Full vlog as opposed to vlog l for example. I've also never doubted that a C300 image holds up better than a GH5. If I could afford one, I'd happily own one. If I was looking for hybrid camera now to compliment my Pocket 4K and one day 6K, I'd go with Fuji. Though I'm looking to see what the R5 and R6 brings to the table. But I have to measure any money spent with the limited number of jobs where I'm shooting both photos and video, to justify any large expense. Back to Panasonic, I feel they crippled the GH5 more with a lack of decent AF rather than image quality in my opinion. As for 60p, its a bonus. If your client asks for slowmo shot in 4K and you own the Canon C300 Mark ii, what do you do? Argue that Canon is one of the 4 major brands in the filming industry. And has a much better image than a cheapy camera that can do 4K 60p. 😄 I'm teasing of course. You've spoken before of people you've hired using the 6K Pocket and you've not been happy with the results. You've now spoken of people you've hired using the GH5 and not been happy with the results. You've spoken also of your preference of the Canon image over the Pocket 6K and now over the GH5. That tells me one thing, you should maybe think of hiring people who actually use Canon cinema cameras. Its a novel approach for sure, but I'm gonna go out on a limb here and say, you might just be happier with the results.

I can send a google drive link for RAW files if anyone wants. But I think this demonstrates the dynamic range differences. Ursa 4.6k over exposed Pocket 6k over exposed Ursa 4.6k under exposed (zoomed in to show noise pattern better) Pocket 6k under exposed (zoomed in to show noise pattern better)

I shot one of my documentaries mostly with that lens. Unfortunately I thought I was filming with a field of view FF-equivalent of 45mm. Boy, was I wrong! Seriously though, it's a purty lens. Don't like the AF or focus-by-wire aspect of it as I'm partial to old manual glass, but it certainly rendered really nice images. Olympus is dead, long live Olympus!

It's not fan boy talk at all. Go on the Frugal Filmmaker Facebook group and ask how many have shot features on the GH5. Heck, the user escapes me right now, but I recall someone here posting a trailer for their feature shot on a GH5 and it was beautiful. It was even mostly shot at night! In a world where DV camcorders and iPhones have been used to shoot features with wide releases, it's asinine to act as though a GH5 couldn't be used to great effect. It's the art and artists, not the camera that matters.

They'll feel like the fool when they try to "upgrade" to the EOS RP and discover none of their lenses work on the EOS RP! Not even in crop mode.

Of course it matters, and were this a Photography dedicated forum, you may well find more opinions agreeing with you. However, this camera is being looked at more from a video point of view, as per the forum Which as Panasonic are noted for their video specs, and have marketed this as a camera for vloggers is quite fair. It remains to see if the G100 succeeds as a Photographic camera. However as a video tool, its lack of features essential to vlogging makes it an automatic failure from those of us who shoot video and sort of know a 🍋 when we see one. I appreciate that you see positives in this camera, but as most of your arguments supporting it apply just about to any MFT camera, its hard to understand what your point actually is as to why you feel this camera will be a success. Aside that it fits your camera bag a bit better than your other cameras. Its a shame Panasonic didn't choose to market the camera this way rather than advertise mediocre video specs as useful to vloggers.

Let's take it just as a stills camera... A GM6 if you like. Still a failure. What does it do as a stills camera that is particularly unique on the market? Aside from the fact it's $750? For that priced use you can get a Fuji X-H1!!!!!!!

I expect the A7S III to handily outperform the EOS R5 and EOS R6 for video. 10K Quad Bayer sensor (60 megapixel, 8K RAW, 4K Quad Bayer readout, no crop, good rolling shutter due to fast sensor architecture and multiple readout channels, a typical Sony strength) Whereas EOS R5 is traditional bayer, lower megapixel count and likely high rolling shutter. Also I can see on the codec side the Sony maybe doing something interesting with H.265 compressed RAW. I think right now if I were to only choose one flagship it would be the Sony. Doesn't mean I am going to bite the specs hype bullet though. EOSHD during both these launches will be an ANTI-hype machine Unless it is warranted and they put out a genuine marvel which is both practical to use not just with some dazzling high numbers on the box. I can see the A7S III, A7SH or A7H or whatever they will call it being the new flagship for stills above the A7R IV as well. There was a reason the A7R III and IV were just incremental evolutions.

No matter how you look at it the more you diffuse the more light you are going to loose. You could put a filter between two acrylic sheets, LEE 251 for example. But it's somewhat directional and have some bleed through but not much. Maybe two sheets separated by a space would give you decent diffuse with decent light transmission and only loose maybe a stop. Diffuse silicon put on acrylic could work but again, you are going to loose decent amount of like. The more even your light source is the less diffusion is needed to make it smooth. If you can find an older LCD TV that had back lit CFL, those had pretty good diffusion. Or if you can edge light a newer TV that would be pretty even too.

Again the advantage you speak of is MFT and its lenses, not unique to this camera. Its great that you think its a good purchase and will add value to your gear. That doesn't take away from the fact that the G100 suffers from a lack of features that would make the camera more successful if implemented. Why add vlog, which is a professional profile, yet deny IBIS, more useful than vlog, given theb8 bit codec. Why even bother with 4K at all, if you have to cripple it so much because you don't have IBIS. Why give a new and improved mic system, if you've screwed up other aspects of video recording. There are a tonne of inconsistencies with this camera. Making it a mess of features.

Wonderful; we just need another thousand or more of customers who have this exact and unusual set of circumstances and this camera will be a hit.. 😄

With cameras, and a rapidly shrinking market I think that has to be expected. I hope this is a huge success and maybe in ten years time i will be able to afford a 5th hand one (if I am still circling the sun by then).

Prices going way, way up is a current trend in electronics, sadly. Even PS5 according to many analysts will cost more than what PS4 cost at its launch date. Just take a look at all those new smartphones. Every subsequent iteration breaks the price record, yet people still buy them. It's only natural for ILC cameras, that begin to become a very niche product, to be more and more expensive. Re: Sony and the new A7S I'm cheering for them, seriously. Time to make a comeback. Even if they fail to do that, we'll have tons of new videos praising how unbelievably good and useful that new camera is on YouTube, hahahaha. And it's good that the main players here still feel somehow threatened by others. At least they're trying to stay competitive.

All the prices going up as expected. July should be interesting. This is the first time really Canon and Sony are coming out swinging at each other.

I would love both a 2.5k and a 6K pocket with micro 4/3 mount. I would also like to see a Micro Cinema Camera 6k. Probably have to have a slightly bigger body, but keep the m4/3 mount. You get more than 4k resolution when cropping the 6k sensor to micro 4/3 size if your lens only covers micro 4/3 so there is no harm in having the 6k sensor with a micro 4/3 mount. Any form factor of the 6k sensor and micro 4/3 mount and I will purchase.

If you're on a budget, definitely consider getting a smaller camera for glidecam/gimbal shots. I use an A7III for that on smaller jobs, and it cuts pretty well after a quick tweak in Resolve. The Pocket 4K is a better match for dynamic range and grade-ability, but tougher to match in skin tones and much clumsier as a camera body. The 6K is a GREAT match, but at that point you're spending twice as much as you did on the F3 and may as well make the 6K your A-cam. Haven't used all the newer DSLR/mirrorless bodies to know how well they'd line up, but all of them will take some secondary work to cut in a 2-camera setup.

The school lesson for today kids, is: 1. Jack by all means MUST apologise in a lengthy monologue at the end, brush the ice from his hair and making clear that in no way is he morally right to come after his wife with an axe. 2. The "problematic and triggering" child abuse must be balanced by an extra 30 minute scene inserted into the middle of the director's cut, where Danny has counselling. 3. Rather than Shelly brushing all this off as a bad day at the office for Jack, she should immediately leave the hotel at the beginning of the movie and bring Danny with her. I think the film would be improved immeasurably for contemporary audiences with just 3 simple changes.

Not exactly the same thing but a shoutout to the lesser spotted CR-41 remote for the fp which lets you do remote shutter/start/stop through the mic input port whilst still letting you plug a mic in as well. Its very useful for handheld stuff in RAW particularly as you aren't wasting card space with that second or so of the camera settling after you press the record button.

My wish list: Either bring the electronic shutter of the next fp to the performance level of the Sony A9 or add a mechanical shutter to make the camera more usable for stills photography, too. Get rid of the 0.1s shutter lag. Implement compressed CinemaDNG in non-US regions where RED's patents don't apply; in the US, simply block them in firmware. With compressed CinemaDNG, 6K RAW image recording could even work on SD cards. Implement Log, and apply the Log curve to 10bit and 8bit RAW so that its recorded values are more sensibly distributed (and the material can be better graded without falling apart). Work with software manufacturers to have the Log curve supported in their programs, including Resolve and its "Color Space Transform" function. Provide IDTs for ACES. Replace the back wheel with a more solid wheel that stays in place and doesn't accidentally rotate. Replace the AEL button with a wheel that can be pushed in - so that there would be 3 wheels in total, for shutter, aperture and ISO control, or alternatively audio level control. Allow simultaneous focus peaking and zebras, and focus magnification during recording. Replace, if possible, the micro HDMI port with a full-size HDMI port. Make the "Tone" and "Color" buttons user-definable. Make the photo shutter button user-definable in cine mode and vice versa. Stick to the same, tried-and-tested Sony 24MP FF sensor.

Modular (but no bigger) PAF Tilt screen EVF (can be a hot shoe plug in) 4k 60p Plug in SSD Ideally not electronic shutter only for stills but could live with it. Otherwise I like...nay, loved the concept but too many compromises for me with FP1.

I'd be very strongly tempted to buy a Blackmagic Pocket 2.5K MFT for $599 (I think $999 is too close in pricing to the Pocket 4K to be a success) or Pocket 6K MFT for $1999 with an identical feature set/body as the current Pocket 4K/6K body design.

Back again with this spamming even after you were collared doing it last time ? Really ? On the off chance you are not spamming then have the courtesy to respond to the people who made the effort to reply to your first thread before starting a new one.

Not familiar with Glidecam (as much as Steadicam), but there has to be a Glidecam model with enough capacity for a Sony F3. Be aware that Steadicam-style stabilizers are not something that the typical gimbal-kiddie can just pick up and instantly start shooting -- it takes a bit of practice and training. The best Steadicam operators have years of experience. On the other hand, I would bet that gimbals exist that could hold an F3 with an FD prime. I see two alarming problems with the rig pictured: That tag line with the hooks should be replaced with a solid strut (or, even better, two "triangulated" struts). Every significant bump will cause the camera to bounce up and down (ruining that part of the take). There is no backup "safety" portion of the rig -- a rig that uses suction cups and a tag line with open hooks. With each bounce, there is a possibility that one of those open hooks could fall off of its pick point, and if that happens, "that's all she wrote" for the camera (and possibly for a motorcyclist following the car). If they had to go with the tag line (instead of a strut), those open hooks should have been carabiners. Regardless, any car rig should have separate, properly-tensioned safety straps, and the pictured rig has nothing in that regard. A typical grip hostess tray with risers and a head would be more secure and would be easier to rig and adjust. Also, I am not an audio person, but why is that mic mounted like that on the camera with a car rig? I strongly urge you to go review several different tutorials on how to properly and safely rig car mounts, before trying to do so yourself.

Yes! On a lower level, just paid $60 Australian for an adapter from China that if it was for for something more common would have cost me less than $10 including postage (and has done in the past). They charge the extra in part because they can but in part because it is produced in smaller runs and more expensive to make.

"When the market shrinks to one tenth its current size, yes, more expensive because the cost per unit to make anything will be dearer and in order to make a profit it will just have to be. While there is lower stuff to sell in volume they can make higher end stuff a bit cheaper than it otherwise would be but once that lower stuff is swallowed up by phones ...well look at Leica....otherwise it will be cheap rubbish." Absolutely this. The reason Zacuto can charge hundreds of dollars for pieces of shaped metal with threaded holes in them is precisely because - in manufacturing terms - the market for those bits of metal is almost undetectably small.

An opinion from another dedicated MFT user. Most of the backlash is well deserved. In 2016 Panasonic gave us the GX85 and then the G95; both cameras were more innovative and deserving of purchase over this camera, even today. Most of your arguments on how useful the G100 can be refers to MFT in general and not the G100 specifically. Yes, it takes the smaller MFT lenses, just as any other MFT camera. But even with IS lens, IBIS is still needed once you go above 50mm in say the 35mm to 100mm. This applies as much to photo as video. Entry level vloggers shouldn't be denied IBIS, which I'm sure they would find very useful, more so, being entry level. And not having it, when a 4 year old GX85 had it, is so stupid, its laughable. 4K so badly cropped, makes one wonder why add it at all, except to tick a marketing box. Again, who are Panasonic to decide how entry level vloggers choose to film. The 10 min clip limit, when their 4 year old GX85 was able to do 29 mins, is another so stupid, its laughable decision. The G100 doesn't need to be as professional as the GH5. It certainly doesn't need vlog, esepcialy with that 8 bit limited codec. Again, I must ask, why did I as a GH5 buyer have to pay an extra £100 to get the more professional vlog, when this cheap unprofessional camera gets it included as standard. Frankly this camera is all over the place, as is Panasonic to be honest. I use to love them for their consistent approach to their MFT cameras. Again, back to the GX85, it introduced me to IBIS. For me, it was groundbreaking in a way. 4 years later, the G100 is noted more for what it doesn't include. Not a good step forward and for those who feel MFT is on limited life, ammunition to support it.

Solution: Abolish Facebook.

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

His note is not only about diopters, but the oval disks and anamorfakes. If you want more info on how to recreate the anamorphic look without anamorphic glass, I wrote an entire guide about it. www.anamorfakeit.com

micro HDMI out? 😅 😥 Still great updates though.

So does the ARRI Alexa

Thanks, and yes I love the files as well.

Couple more with the Nikon 24-70 2.8G and Sony F3 Combo

Tamron 45mm with Formatt Supermist Black 1/8 Filter on Sony F3.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.