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Yes, this is a big claim. Allow me to explain how I came to this conclusion, and prove it to you. First off, the evidence. This is a video containing 5 compositions that were each shot with either 2K, 2K (and processed in post), or 4K. It should be easy to tell the difference - so see if you can tell! Not so obvious is it.... In the video I encourage you to download the video and pixel peep, please do. I have pixel peeped the shots directly on the timeline in Resolve, in the output file I uploaded and the YouTube file I downloaded. It took me zooming in to 200% and finding the place in the video with the finest details, to be able to see the differences, and I know which is which! Now, the details, to show that the test is valid. I shot each scene with the GH5 and 42.5mm Voigtlander (stopped down several stops) in either: 4K 422 10-bit ALL-I 400Mbps mode 2K 422 10-bit ALL-I 200Mbps mode (with Resolves Super Scale) 2K 422 10-bit ALL-I 200Mbps mode (with no processing) I exported the timeline to an RGB Uncompressed 10-bit file (65GB - 6,500Mbps!!) and compressed that file using ffmpeg to a 4K 10-bit 422 IPB 225Mbps h265 file, which was then uploaded. I tried uploading an 10-bit 422 ALL-I file but YT only interpreted that as 1080p. YouTube then compressed that 225Mbps file to the pathetic 10.42Mbps file you see if you watch the above YT video in 4K. As far as I can tell, there's nothing I could have done differently to get a higher quality result out of YouTube. But what about other platforms or delivery methods? This is just YT. If you pay for Vimeo, or deliver via any other mechanism that has a higher bitrate than YT this thread should make you feel better about that! But 4K is useful for things like cropping in post! Yes, and this test doesn't apply to doing that. I've tested how much you can upscale an image without it being visible in another thread / test (spoiler, it's something like 150%) but let's leave that aside for now. But YouTube supports 6K and 8K and ...... Sure, and when people start watching YouTube with their 6K and 8K TVs then they'll start to benefit from that. Until then, they're getting the 10Mbps file above. Are you saying that a 4K camera is not required? There are advantages to having a >1080p sensor. Downscaled video is much nicer, and there are times when shooting in 4K or higher can have advantages..... So, when IS it useful to shoot in >1080p? Lots of times: Cropping (significantly) in post Overcapture for things like stabilisation If your cameras 1080p isn't that great (which is most cameras TBH) etc. I have nothing against 4K or higher resolutions except that I think most people are making their life harder than it should be thinking that they're somehow getting better results when for many people it simply doesn't matter if they shoot in 4K or not. This was me. I fell for the hype, and have gradually been doing tests like this to actually see for myself what is true and what matters - rather than just believing the marketing hype from the camera industry. Ultimately, the lesson here is that what matters is that you publish in 4K, not that you shoot in it. Let the questions and comments (and flame wars from resolution fanboys and fangirls) begin...

I'd like to welcome Kazuto Yamaki, CEO of Sigma and the product manager of the Sigma Fp and Cinema lenses, Takuma Wakamatsu to the pages of EOSHD for this long interview! I have recently been shooting with anamorphic with my Sigma Fp - the video you can see above is shot with the Rapido Technologies FVD-16A focus module housing a tiny Bolex Moller 8/19 anamorphic. I have more on this soon, as well as how ProRes RAW performs on the Sigma Fp attached to Atomos Ninja V. Ever since the Sigma embarked on the high quality ART lenses the company's factory has output higher and higher quality products, even industry leading lenses in fact. Now the Sigma Fp marks their entry into filmmaking cameras too with internal 4K RAW recording, external ProRes RAW and even BRAW - as well as being the smallest interchangeable lens full frame camera available on the market. Read the full interview: https://www.eoshd.com/news/the-eoshd-interview-kazuto-yamaki-ceo-of-sigma-and-takuma-wakamatsu-sigma-fp-product-manager/

I can tell the difference between 4K YouTube and 1080p. Just not in Safari!

Love me some 1080p! A fortnight ago, I shot 5 hrs of interviews for a 5 minute corporate video. 1080p 100mbps all the way. I do lots of jobs like this and like to keep everything I shoot in case a client wants to use it again. I hate when hard drives fill up and I have to deal with offloading projects to external backup. Give me clean 1080p every day of the week! I shudder when I see specs like "8k, 960mbps". Where is all this footage gonna go?

I agree. And I primarily take photos and have an A7riv with 63MP. Sure those MP are nice to have and come in handy for cropping or shooting birds - but 90% of the time they are not strictly necessary. As for printing - the largest print I have in my house is 210cm x 210cm and that print was created from an 8MP photo!!

Ah, beautiful video. The art of making the seemingly ordinary visible as something extraordinarily beautiful. The unprentious rhythm, the photographic gestalt. Well, fantastic. Thanks for going the extra mile! Schloss Charlottenburg! Some shots are breathtaking!

Unlike contrast based AF systems, the lock speed of the AFX system remains consistent across different lighting conditions. The benefits of this are particularly apparent in low light or low contrast situations where contrast based systems will have to hunt to achieve lock. These examples compare the performance of the internal BMPCC contrast based AF with the AFX to illustrate how each system deals with different challenging (too challenging for YouTube's shitty compression by the looks of it) low light and mixed contrast scenes.

The GH6 will need to be an absolute monster now the A7SIII offers up to 4k120 10bit full frame with no cripple hammer, and ProRes RAW. I think they should use a Super35 sensor but with MFT mount with 6k60p 10bit, external RAW and internal ND filters for less than $2000. That would be very relevant and head turning enough.

I have no problem if the GH6 is $2,000 as long as it has the features to justify the price tag. If Panasonic ignores/abandons their loyal M43 user base, particularly those of us in the enthusiast and professional community, I would also likely end up with Sony or Fuji, instead of their full frame offerings, out of principle alone. I couldn't justify supporting a company that abandoned me; I see people that stick by Canon no matter what and that will never be me.

"The forgotten art of sticking it on a tripod" - BTM_Pix

First if you're editing high bitrate footage from an external HDD make sure that's not the bottleneck. A 7200 RPM drive reads at 120 MB/s, even even two uncompressed 14 bit HD raw streams would go over that. I have a GTX 1080 and use Resolve Studio. Earlier this year I upgraded from an i7 4770 to a Ryzen 3600, and got an enormous performance boost when editing HEVC. So while the decoding is done on the GPU, it's clear that the CPU can bottleneck as well. When I edit 4K H.264 or Raw my 1080 rarely maxes out. Overall I'd be pretty surprised if you need another/a new GPU for basic editing and color grading. Resolve studio is a better investment imo than a second 1080.

@BTM_Pix Thanks! Looking forward to the feature announcement of the pro version. I am hoping there will be the ability to correlate and link the zoom motor value with the focus motor value so there is some type of auto framing mode ( or Zolly mode).

Honestly just save up for new rig mate it would be better option Or get another ti and have it sli .

Using my em10iii today on a paying gig.

Just keep on using them! But buy one more extra lenses: on the wide end (such as Tokina 11-20mm f2.8), to keep your covered for the smaller APS-C/MFT sensors. Really don't get all the complaints about non-FF cameras, just because of the lenses they own currently. It is one of the easiest problems to solve!

They'd surely need to use a different mount? And having three mounts for three different sensor sizes, each only a stop apart, is the heights of insanity.

Me too, I really like the dynamic range of these Panasonic FF cameras. About the IBIS, Gerald Undone used a 50mm without walking on his video and the footage looked jerky.

They're all relatively wide shots, so not too taxing for IBIS. As long as you're using it to steady handheld shots, like here, I'm sure it'll be fine. But Wong's videos show that it's just not a substitute for a gimbal in the same way that a GH5 or S1 might be - if you really need to do a walking shot but don't have a gimbal. I'm impressed by the highlight retention in the market scene - mixed light, low light and garish light sources that tend to blow out are all handled nicely and it looks very natural.

I will post something on Monday probably that gives a hint of it in operation. With regard to tracking, just to clarify that the first version does have AF-C so will keep lock as a subject approaches or moves away in the focus zone. Obviously I think you should buy all of them 😉 For manual focus lenses you will need a version with the motor interface module so you will have to sit tight for that one for a while longer. There will be a motor version option of this one following not too far behind.

@BTM_Pix very impressive! I have Nucleus M Follow focus and a GH5 or URSA Mini Pro 4.6k both are adapting b4 lenses with the follow focus. Will I be able to use the first less expensive version or will I want to wait and purchase the more expensive more advanced 2nd version? Thanks! Mark

Same here. I have a Canon imagePROGRAF PRO-2000 printer, a 12 catridge (1,100 mL each) 24" wide printer and will absolutely be printing full 24" prints from my a7SIII as well as posting them. I too had a D3 back in the wedding photography days and many times printed A3 and A2 size prints (I still have a nervous twitch from weddings, lol). Just to prove a point, I will be doing some 3 to 5 shot panorama's in portrait mode and guarantee you I will get beautiful 24" x 48" pano prints. I have a small color lab, where I have 2 BenQ SW320's that I keep calibrated weekly (with XRite i1 Studio) and I use Color Byte's ImagePrint Blank RIP software to manage print jobs to the PRO-2000 and currently stock 10 different paper types that are all calibrated with my paper supplier and RIP software. Even ImagePrint Black allows me to upscale. Most of the time I print 300dpi, but TBH the sweet spot is 240dpi, with little gained after that. The most important thing is High Quality image with excellent colors, proper focus and exposure, and high dynamic range helps create realism in the prints. I print out a lot of my photo's, making calendar's, selling prints for walls, etc. And have a lot of experience printing 8 to 12 MP camera's. Unless you are going 36" or greater, or need to crop in, 12MP is more than enough. Most people don't even print out their work, and when they do, they do like 11x17 or A2, max. There are a very few number that can actually justify it for printing at least. So that leaves the other place they consume their work, which is online. Like LightShooter said, most places don't take above 2,048 pixels (~2MP), so that's no argument. One place that make a little sense is for cropping. But again, majority of people who get prints done are usually professionals, who usually frame the shot properly and don't crop much. Most cropping is just for fun. The small amount that is actually done at a pro level is wildlife photography and maybe landscape photography and some astro. Those fields are the most likely ones that can actually justify the extra MP. I would rather have a 12MP image to print from an old D3 or the new A7SIII any day over a 104MP smart phone camera any day. I am just making my point here, that MP size isn't everything. Image Quality is. And the way that 99% + of photo's are used today, a good quality 12MP image is more than is used AND you use less disk space, the images load faster, they process faster, etc.. I guess I don't get it either, lmao!!

Man, I am impressed, so I'm eager for your news on the Pro version to include the tracking mode.

Great interview! Very cool of them to participate. Although I am confused by the answer to the question about a cine range of the f/1.4 primes... Mr. Takuma must have been refering to PL-mount? Sigma is doing great things.

Mr. Yamaki is a really cool guy. It would be great if the Foveon video camera were released even without a high iso. Andrew, your video looks stunning to my eye. 🙂

There's an excellent guide to these lenses from cinematographer Uli Plank here: https://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide The 85mm Rokkor Varisoft is kind a precursor to some of the Lensbaby lenses in fact! Also some useful reviews from Philip Reeve (from a stills-photographer perspective) here: https://phillipreeve.net/blog/lenses/minolta-mcmd/

I'm afraid that this thread actually approves something that Panasonic management is highly afraid of (although loudly claiming the opposite) - that hypothetical GH6 and S line indeed severely overlapped in most critical user/buyers base that is left to Panasonic as slightly comparative advantage. Most of us who'd buy an great-specs-provided GH6 will never look at unnecessarily expensive S(H) line for next 3 years... and actually we are the main targeted group of potential buyers whom Panasonic stuff mostly tries to allure to FF line. Unfortunately, from indefinite phrases as "we will consider", "we will see or still evaluate" etc. it seems to me that development of GH6 is not at all in progress, as also that they'd rather connect eventual/suspectful dying future of m43 to some low level type of camera for lighter consumer usage. Needless to say that I disagree with such decision even from economic side. And same as previous posters already noted their favorite alternative choices, without GH6 in plan I feel BM as main provider for my personal needs. Till now it is clear that FF line is total selling fiasco in Europe and not too better elsewhere. I simply can't understand why Panasonic don't choose rather to make and sell tones of swan song model of GH6, catch proper moment to attracts all Pocket 4k and/or Olympus users and keep enormous base of loyal GH5 users....

I dont understand the whole concern about 12MP photos. 2048 pixels is the max res that the large majority of places that people publish their work. As far as the very few times most people with print their work, I have printed size A3 all day long from my Nikon D3 and even A2 (23.5" x 16.5") with simple upRes technology that most print shops have. Question is are the very few times that people are actually getting prints done above 24", then if so, ok.. Yeah 18MP or 24MP. But seriously, short of poor composition or not having long enough lenses, where crop is involved, but even then that is going to be rare AND rarer that they need to print that larger than 24". Don't even get me started on needing more storage space. For a very large majority, 12MP is more than enough for photos. So I dont get the argument

Tripod eh? You radical bastard 😉

More to come from this beast!

We need to rename this topic to GH6 whishlist 🤓

Holy user!! I’m starting to think this is like the plot from “Oldboy” and you’ll reveal you are my elementary school friend from 4th grade...and out to kill me!

There's only one way to understand the world And that is through the insight of mystics.

I was just talking to my buddy about how sad it was that Samsung never released an nx2. Could you image a 10 bit nx1? Amazingness

No, Lensbaby’s are not naff. The problem is too many people don’t understand their purpose. They are all about isolating the subject in different ways. They have a steep learning curve, but for the right use cases, the results can be spectacular. And no, you can’t replicate what they do in post. My favourite ones are the Sweet 35 and Sweet 50, plus the Sol45. I also love the Omni Filter Kit, which again, so many people dismiss as an Instagram gimmick, but when you actually use it, you realise it’s not. It’s very clever actually. These are not the type of lenses you keep on your body and do an entire shoot with. I use them for specific shots where the aesthetic will contribute to the story. I would try before you but too, they aren’t for everyone. For actual character lenses, check out Iron Glass Adapters or search for modified Helios 44-2 on eBay. The Mir 1B 37mm. Trioplan 100m. Vivitar 28mm. Helios 85mm. There’s also lenses from Lomography and new ones from Dulens.

2020 and Panasonic still hasn't sorted out their af smh