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Maybe then you should stop posting on this forum, telling bullshit about stuff you now even admit you don't know. And you're in no position of shouting.

Wanted to say that I have used the original A7s alongside the F3 and it actually worked pretty well. Color was not far off and you could easily cut them together if your not pushing the A7s to far.

I have! - look at this one touching beast with wide open Voigt eye (Especially regarding sensor size issue, problem with lenses with etc... Sometimes Voigtlander 17.5 wide open indeed approve itself as miracle for indie movie making. Such subtle nuances in color rendition even at f0.95 that allows just natural light and still freely play with shadows... Shane Carruth was not at all naive choosing Voigts.)

So why do you keep going on about it???

ProRes is factually a derivative of MPEG-2, that's why it's so light on CPUs. It compensates its old codec technology through high bitrates, thus the generally good quality. h264 and h265 will always be better than ProRes at the same bitrates, provided that a decent codec implementation (with high profile and 10bit color depth) is being used. So the question is whether 400 Mbit/s h265 (in the case of the Fuji XT-4) for 4K/25p video is visually as good as ProRes HQ at 737 Mbit/s for the same resolution and frame rate... EDIT: The real issue with h264 and h265 are not the codecs themselves, but that manufacturers - treating them as consumer codecs - bake all kinds of overdone image processing (aggressive denoising, artificial sharpening, pushed contrasts) into material recorded with them. ProRes, being conversely treated as a "pro" codec, doesn't get those over-processed images. This is why we think that ProRes is better...

I have. Improved a lot. Panning is very smooth now, but at the start, if the camera is not moving, there is a small delay were the camera first tries to keep the composition. But transition to panning is now pretty good. I'd say for video shooters this is a big one, IBIS is now extremely good.

Seems you @Super8 have a real obsession with super shallow DoF. Some of us went through that fad back during the early 5D HDSLR days many years ago, then left that phase behind when we grew up. But if you want to obsessively focus on this narrow aspect, then may I introduce to you the right lenses to use wide open with your GH5/P4K: https://www.bhphotovideo.com/c/products/Mirrorless-Lenses/ci/17912/phd/4291123839/cp/15293%2B15492%2B17912?filters=fct_lens-mount_3442%3Amicro-four-thirds

IBIS (just licence the one from your partners in Panasonic or buy one from JIP\Olympus) PDAF Internal BRAW 4k60p Record to SSD Big, bright, 5 inch flip-out screen 1.8 primes, like 20, 35, 50, 85 Don't mind camera to get bigger with all of that

I have H265 footage from my Drone and its a pain to playback and grade in DaVinci Resolve. With BRAW, thumbnails load quickly, smoother playback even after grade, less likely to crash when working with the files. When you're working multiple large projects on a deadline, codec isn't so much about image quality as it is about an easy time in the editing suite.

Biggest difference is that 10-bit H265 hammers PC's even with hardware decode. Prores just plays like butter. I run a RTX 2080 and it struggles on heavy grades in resolve with Fuji footage.

Thanks. I used the Blackmagic Design setting in both colour space and gamma. I find the FP CDNG footage very easy to basic grade (exposure, saturation etc). Then as I am usually looking for a stylised final look, I dropped someone's Kodakrome LUT on a final node - which gives it the darker contrast with richer colours. I'm often doing it quick and dirty for films on Instagram to support my music. The shirt has a weave pattern (as well as the check) I know I would have had moire problems with using my original BMD Pocket five or six years ago.

It seems a bit of a mystery as to why Atomos can't update their firmware at the same time as the camera manufacturer does There doesn't seem to be a firm date given for it yet. There is no 1080p RAW because the image in 1080p is so dodgy on the GFX 100 You have to go from 100MP to 2MP so the amount of binning is off the charts. I am also not sure who buys a $10k 4K medium format camera to shoot 1080p in 2020 so maybe that is another reason why they didn't bother with it. Personally I would sooner shoot with a more practical 2.8K internal RAW codec but there is no denying the appeal of the image out of the Ninja V. More thoughts on the blog: https://www.eoshd.com/raw-video/fuji-gfx-100-is-first-medium-format-camera-to-shoot-12bit-prores-raw-with-atomos-ninja-v/ @BTM_Pix Downloading the firmware now. I have a feeling the grain simulation is JPEG only but I'll give it a try!

Reminds me of Jannard’s “obsolescence obsolete” claim about the Hydrogen... I suppose RED have managed some degree of upgrading an existing unit but for lower priced items disposal and buying new is, unfortunately, here to stay. I remember the day when I could fix my Land Rover with some string and a bit of wire...

Agree that ProRes internal would be ideal just as BMD have used as a secondary codec to raw. Internal Compressed Raw Codec (such as Braw) even if it has to be a paid upgrade would be worth it as it prevents having to mount a top heavy monitor on a slim camera. attachable/detachable EVF is also something ive been waiting for in a Mirrorless camera. It would be great to be able to customize EVF placement when rigging up or using a slim (Unrigged) hand held mode.

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

The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features. NEW BLOG POST: https://www.eoshd.com/fuji/rumor-fuji-gfx-100-to-get-prores-raw-internal-recording-or-external/

It's because you completely 100% missed @noone's point, and tried to argue against him instead (even when you didn't even have an argument against him.... and you were kinda making his point instead). Smaller scales of economy = higher costs. It's a very simple rule.

Wonder if Long GOP codec is improved? Or is ALL-I still the way to go. I'll do some shooting tomorrow.

Andrew, do mention in your interview with Fuji that they should do the decent thing and give us a firmware upgrade for the X-T3, especially for AF/video improvements. It will buy a lot of customer goodwill when the X-H2 comes along... Customer choice will also include new Canon and Sony cameras at that point so customer goodwill will matter. Thanks!

He's on a camera forum.

People don't need to be informed of MFT; only you. I've been shooting MFT since 2012, GH2, GH3, Gh4, GX85, G85, GH5 and Pocket 4K. I don't need to be lectured on the strengths and weaknesses of either these cameras or MFT in general. Trust me, I know. They all have their weaknesses, but used correctly, their strengths too. Knowing these strengths, doesn't make me a fanboy; just an experienced user who knows how to get the best from my own gear. In both cases, with the Pocket 6K issues you recently spoke of, and the GH5, it sounds like you were employing people who didn't really appreciate the weaknesses of the camera before using them on a Professional shoot. However, many are aware. I was on Facebook today where stills from an upcoming web drama series was shared by the cameraman asked to use the Pocket 6K for the very first time; he had the good sense, after researching the camera first, to use IR Filters for the shoot. This was something your guys failed to do, leaving you with blacks looking a tad red. Its not hard then to see why you would also have potential issues when using the GH5, if you're not familiar with MFT. You can't start using a MFT camera and expect it to behave like a S35 or Fullframe. If you need that look, you should stick to using S35 or fullframe cameras. Anyone using MFT understands the compromises and is happy to work around them, rather than whine and complain about the limitations. In the same way, Sony fullframe users had to contend with overheating, Canon users dealing with limited video features or rolling shutter. Each camera brings its own problems that must be worked around. Of course its an issue, no one denies it. But as you say, there are ways around it. I use to use voigtlander lenses a lot before I went down the speedbooster route. However speedboosters are perhaps more about getting extra stops of lowlight. For me though, it was a chance to use the Sigma 18 to 35 mm lens everyone kept raving about, with the speedbooster helping to widen the 18mm that is designed for S35 rather than MFT. Before that I used a wide variety of primes from 12mm to 75mm, with low apertures. I only really went down the speedbooster when I got the Pocket December 2018, so its only a recent thing for me. Of course, if MFT was so great, we wouldn't be here debating its one day loss to the Photo and Video industry. As technology allows us to put the features once reserved for MFT into Fullframe, the need for MFT begins to die. You say the GH5 has lost is sparkle since its release in 2017, but it was only the latest in a long line of cameras. You should really instead look back to the day the GH2 was released to see what this line of MFT cameras have given to video users. In a few years time, maybe we shall all be shooting fullframe as the cost and features on them continue to make it practical for all of us. Unless Panasonic gives us a GH6 soon, I can see many Professional Video MFT users ditching this format, leaving it in the realm of newbies with cameras like the awful G100 .

Makes me wonder if this is LOG without the branding

I have the gx85 and love it as a travel camera. Went on a trip with the gx85, g7, 12-32mm, 45-150mm, 14mm, 25mm, and more all in a smaller/light backpack. Had a great time. The kit zooms are slow, but they really are nice and compact. Definitely worth having around IMO But I also have the nx1 and nx500. It doesn't make sense for most people to buy samsung nx stuff at this point, but you might be an exception. The nx500 is pretty sweet. It doesn't have all the feature of nx1, but feels very similar. It has the 16-50 PZ lens that is super tiny. It's slow, but it's a good kit lens. You could also get some of the NX Prime lenses, which are faster, but with slower/noisier AF. The nx500 also has a pretty crazy crop in 4k. It is hackable, but out of the box the 4k is really zoomed in. Again, it might not make sense for most to buy more NX gear, but it depends on how you like the nx1 and how long you plan on sticking with it, and also what samsung lenses you currently have. If you keep an eye out for a good deal, the nx500 may be a worth while addition to your NX gear

That's exactly what I did. I kept the X-T3 as it's a lovely camera to use and compact, but the S1 beats it in photo and video quality in every way (except autofocus...)

I think this is definitely true and has been for awhile. It seems with current production methods/ideas, the more electronics and software go into lenses the less serviceable they will be. I remember with the Samsung NX glass they did the same thing. You could go on Samsung parts website and buy 'Parts' lenses, which were just brown box replacement lenses for a much cheaper price. This was because they rarely or didn't service lenses, they just replaced them. Now the other side of this is that everything seems to be getting to this point. There are pretty nice 2x1 flexible bi-color LED panels like the 3060a that are like ~$150-200 bucks. That's what I'd call cheap enough to be almost disposable, or at least if I'm on a shoot and it goes down I wouldn't be as concerned as I would've been 8-10 years ago with a $2000 Kinoflo Diva or something.

I still want a GM5 myself! And I'd get one if only its price wasn't so high on eBay. But it is high exactly because so many people still want a GM5, even in 2020.

Thank you for the suggestions so far. I have sent a link to Mr Kazuto Yamaki-san and the Sigma Fp / Cine product manager Mr Wakamatsu-san.

LX100 isn't a M4/3 camera - it has a 16MP M4/3 sensor, but it doesn't use the whole area (it uses slightly different parts of it depending on the aspect ratio you select). That's why it's a maximum of 12.7MP stills. The lens needs to cover a smaller sensor area, so can be more compact. I think it relies very heavily on electronic correction of the lens distortions, as a trade-off for the small size - even so there is some barrel distortion visible at the wide end, and it's prone to flare sometimes.

DJI Osmo Pocket. Seriously, that camera is amazing for its price, and really fits the bill of an ultraportable run-and-gun camera. Its image is astonishingly good within the limitations of its small sensor and 8bit 4:2:0.

1. Better grip & Battery grip 2. Internal BRAW codec 3. Internal Nd 4. Tilting screen atleast 5. There should be no aliasing or moire

Before too many people get overly hyped on the redesign, consider that they introduce a new lens mount.... then you would have to buy all new glass! Either way, it's cool to see new tech coming out, but it's unbelievable how excited people get about 8k. This to me is pointless. I have the S1h and am soooo happy with it, because it has all the functions you need for video. Like for real. It makes everything so seamless and smooth when shooting. I think if camera companies want to really entice videographers, focus more on really important features like more dynamic range, better tools for exposing correctly (waveform/false colors), better button customization, and so on. But no, these companies really just seem to focus on resolution and people eat it up. Remember how much you want that 8k raw when you buy your C-fast cards.... whoa boyyy that's a lot of storage you'll need, and C-fast cards aren't cheap! I think 2020 will be a great year for tech, and I'm looking forward to seeing the footage from both of these cameras regardless. Thanks for the info!

@thebrothersthre3 Thanks for the files. I've played around with them a little bit. It's so close, I can't definitively say one looks to have more DR than the other. I do think that, although the FPN is subjectively displeasing in motion, the actual amount of noise looks slightly less on the Ursa... though it's obviously hard to say. One really interesting thing is just how different the colors are. The Ursa is very magenta. I can definitively say that from these images, I like the P6K version better. Just to go back against the other measurement, C5D puts the P6K at 11.8 in 6k at ISO 400, and the Ursa 4.6K at 12.5 when the 4.6k is downscaled to UHD in ISO 800. That's gotta be really close if you also downscale the P6K to UHD. Also worth noting that they measured at 400 instead of 800. I don't know which way that would change things--you'd expect worse DR in a non-native ISO, but it could also have different noise reduction. So overall I'd caution against saying this disproves the other measurement, but it is evidence against the Ursa having more DR than the P6K at any given setting. The other thing I will say about latitude is that while latitude does not equal DR, its is true that if Camera A has both more over- and under-exposure latitude than Camera B, then Camera A also has more dynamic range (discounting subjective opinions on one having a "nicer" noise pattern).

I want Sigma to go all the way and build a dedicated cinema camera. They already have a complete line of full frame lenses which have developed a cult following among young DPs. No other lens set comes close in terms of speed and quality for the price. A medium-sized modular box ( think Kinefinity/Komodo/Alexa Mini) with full frame sensor, internal RAW, built-in NDs, SSD media slot, XLR audio, SDI out, compact EVF, accessory power outputs, and of course, an L-mount. Under $10K of course. And if they manage to put in a Foveon sensor and make it work for video with a fast read-out, they'll have the best digital cinema camera out there for any price aside from the Alexa 65.

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!

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)

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.

Disagree. The stills on this tiny ILC are looking GREAT so far. Imaging Resource (not DP review this time) has their initial G100 "Comparometer" images up, and as expected, they look just about every bit as good as the G9 which, for me, is a win. https://www.imaging-resource.com/IMCOMP/COMPS01.HTM Sample shots are up too, which also are very nice https://www.imaging-resource.com/PRODS/panasonic-g100/panasonic-g100GALLERY.HTM For me, the fact that I can take this camera virtually anywhere (unlike my larger G9, and even GX85), and that can produce similar results while using the same lens system is significant and not a failure. I don't feel it's productive to compare launch pricing on new cameras with used pricing on older cameras. Discussion about all new products would be moot if we simply disregarded those releases by comparing them to older cameras that were a class above and initially double the price. Buying used bodies is hit or miss, especially when those cameras have deprecated to half their original cost (like the X-H1 has done in 2.5 years.) We all know the G100 will also come down in price (both used and new,) that doesn't really further this conversation. Lastly, whether or not you deem something a failure without openly considering dissenting opinions and other person's use cases is also up to you. In my life, those times have been the most productive when I stepped outside of myself, my opinion and carefully consider why the opposing opinion exists. I get what you and some others have said. There is little innovation here and fewer features than Panasonic's marketing team seemed to promise. What I'm saying is that the packaging and stills performance on the G100 is really good for certain photographers (like myself) and that viewpoint also matters. The fact that I don't agree with you and a handful of users in this thread doesn't seem to anger and affect me the way has some here. That's ok, I don't need to change that either. When searching the net for opinions about this release, I came across this forum, saw that many of the opinions were negative and added my positive opinion to it. I learned a lot about yours and others opinions in this thread and also a lot about the board itself. I'll poke around and learn more, but I honestly don't care to be badgered at instead of discussed with (especially by a mod.) There's a lot more civil and productive conversation to be had in other places.

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

You just have to appreciate how patents and technology transfers work Sony could be supplying for example the RED Komodo sensor. I am not saying they are, but if they are then RED obviously can pay for it in hard cash or they can offer to license the internal compressed RAW patent to Sony for certain products. If Sony were not asleep during RED's conception they may have patented internal compressed wavelet RAW themselves and perhaps be a lot richer. Innovation always pays!

My 2 cents for future fp In order of importance for me Phase Detection Auto Focus EVF or rear bright, high resolution OLED tilt screen Internal ND from 2 - 8 stops Internal 10-bit LOG ALL-I to CFExpress (ProRes preferably) Internal RAW to CFExpress (BM RAW would be nice) Sensor size not that important to me (ASP-C or FF) SDI out (HDMI is too bloated; licenses, implementations, patents) just give us fastest SDI data pipe out. I like physical dials front and back near hand grip Cellular modem with SIM slot (internal or some kind of slick attachment)

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.

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.

I'll try and find some samples to answer your questions above. Here's a comparison with his first example. You get the same view and perspective. the right side starts to not match up, not the guy but the bookshelf and table, basket.

Of course it is how it works. Even going to a site like AliBaba in China to buy small numbers of stuff the companies quote different prices for different order sizes. You really do not think Sony is going to sell sensors cheaper to companies who buy larger orders? That Oly would have got a better rate when they sold (made) many more cameras a few years ago? Look at cars? You never heard of fleet discounts? I give up.

Try this... think of a simple product, any product you can have made locally. Ring them up and ask for a quote for ONE, then a quote for 500 and then a quote for 15000. By your logic they will all be the same but I am betting it will be very different for each. Now a modern AF camera is a lot more complex and is made up of many parts and a lot of those parts are made by other companies. Olympus rings up Sony Semi Conductor and orders 200,000 20mp M43 sensors they are going to get a much better price per unit than if they just order 50,000 and the same thing will apply to all the other parts makers. As a result, a camera made with a run of 200,000 is going to be cheaper per camera to make than one made in a run of 50,000 even if the company makes the same profit per camera (though I would think they would want a larger profit per unit on smaller runs to justify making them). They are not going to make a larger run than they think they can sell.

The risk with comedy is that occasionally it falls flat ... or is off topic ... or does not work as intended. Deprecation ... sly stupid comments ... sense of timing ... Camera Conspiracies has it in spades ... rivals some of the best standup comics ... but really young, not battle tested ... put him in a comedy club scene for a year and could have a superstar ... or a very damaged ego. But much to love ... knows his stuff ... and appeals to those who are tired of being sold a sack of feathers ... marketed as best camera to come their way. But back to the original topic ... GU consistently defines strengths weaknesses and areas of concern ... pretty brand agnostic ... and well versed in those technical aspects that are important to the potential buyer. I like the fact that he does not pretend to be a media star, expert in film craft, or major corporate DP ... just does his due diligence and shares his thoughts. ZCam has made a great start ... but their response and ability to adapt to technical issues , marketplace desires and perception will define their future. One can get 95% of it right ... the 5% that you miss ... if it is of a critical nature will sink you. But as Gerald pointed out ... they can resolve most of this with a firmware update. If it is hardware related they will probably have two iterations to market before Sony releases the A7S dream camera.

There's that old adage, it's not what you say, its how you say it. No one likes being spoken down to. The tone in your posts often conveys you know better than us, which only puts peoples backs up. Now your recent post I gave a 'like' to is more on the level and a little less confrontational. Maybe you like it that way, but others don't. For the record, I'm a user of the GH5, GH5s, GH4 and loads of MFT lenses. I agree the writing is on the wall for MFTs, but I don't think that's a good thing. Not everyone wants or needs to shoot fullframe. I've met many who prefer a smaller sensors for various reasons, weight, size and smaller lenses being most quoted, plus their ability to adapt to almost any lens is a bonus. I also feel the GH5 colour isn't as consistent as say my Pocket 4K for example, especially in regard to skin tones. The GH5s is a bit better. That said, it takes experience with the camera and knowing the right lenses to use with it to bring the best out of it. I've always queried some users who work with it a few times and wonder why they're not getting good results. It needs pandering to, the GH5. That said, I'm trying to move away from MFT and the Panasonic brand myself. A GH6 could tempt me back if ever made, but it would need to add features I need and not just add say 8K to it and leave it at that. So yes, I do agree with some of your comments for the record; but they're let down by your attitude. Really, my best advice, stop treating forums as your personal battleground. The best people who post here add a touch of humility to their points.

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

If anything they have been pushing video quite hard since XT-3. I really do think, since they added IBIS to the XT series, that the XH series will lean in to video. They’ve already said they want it to do something different, and the XT4 has obviously slotted into what the XH1 offered. A potential XH2 could have a bigger, chunkier body which adds to ergonomics for video. Add in IBIS, beefy codec, new ASPC sensor, mini XLR, maybe SDI, Fuji colors and Flog. Better AF. Maybe high resolution tilt screen instead of a flip screen. An external monitor is better for sit down head shots or YouTube anyway. You wouldn’t vlog with it. That’s what an XT4 is for now. Could be a real competitor to C100 or C200 for the hipsters 😏

Ah, a little further elaboration... I use the 16-80 on one body with tripod, ie, static for ceremony & speeches only. The Sigma 18-35 is on another body and freestanding monopod for more considered work indoors. The Tamron 45 takes over outdoors and with both of the latter lenses, mostly shooting wide open ie f1.8. No client has ever mentioned blur, bokeh or any other technical/visual aspect. If they are ever going to want to talk about something, it will be music choices and can they have their Ed Sheeran first dance inserting somewhere 🤯