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I don't know what's going on here but it's not like they have a cinema line to protect... Panasonic could have that excuse, but don't use it and just have the somewhat iffy AF issue. Canon are full of controversy. Sony have been criticised by only having 12mp for the A7S3 but it looks like when the A74 arrives, now that Sony have improved ergos, menus and colour, they are just going to walk over the whole lot. And I am no Sony fan but the electronics giant is stomping on the more established camera companies. It's like they all want to commit financial suicide and close their doors. Or are we some tiny minority that sees this, but 99% of the rest of the world don't give a shit and just hand over cash to any brand they recognise the name of or the fella in the shop sells them? I think if the answer to my question above is "no, the 4k 60p when it comes is 8 bit", then I'm on a course to see if the S5 will perform in ALL the roles I'd need it to. More than a bit pissed off with all the camera companies right now. Every single one cripples in some degree or another everything they are putting out for no apparent reason other than they can. It's just fucking weird! 🙄

I believe it is all 8bit internal, the 10bit is still reserved only for HDMI output. So no internal 10bit codec. It's one of the laziest half hearted re-releases I've ever witnessed. Sony going to be outselling them 10 to 1 at this rate.

Um yeah. I'm now going to sell all my Nikon gear. Colossally disappointing, especially have the RAW remain a paid upgrade and no 10-bit. Hell they couldn't even remove the goddamn 30 minute time limit. The fact this camera has NO VIDEO IMPROVMENT AT LAUNCH is tone deaf idiocy. Hell the 4K 60p being added later as a firmware upgrade and not being able to record it externally just feels like a final kick in the teeth.

That really did not look good to me. Pretty scenery sure, but the image itself didn't blow me away. Overly sharpened with a high shutter speed, surprised he didn't use an ND on it.

But then how will you put your photos on Instagram? What's the point in taking them if you can't get loads of likes.

No N-log internal No 10bit internal No 6k raw (full sensor readout) Paid raw update that too line skipped 4k DISAPPOINTING😔 I don't think they have taken any feedback from video users.

Possible answer, Dolby paid them. I'm someone who thinks the Dolby Vision workflow is incredible, doing HDR and SDR in single grading pass is witchcraft but their system pulls it off, only problem with it is it is proprietary and expensive.

What is your reference for that? Everything I've read talks about 42% for middle gray with a color chart but good luck using that at an event or a hybrid shoot. Every guide I have read is also always vague when it comes to scenes that should be dark. This is one of the best guides I've found and it is for cameras with 14 stops of dynamic range (like the S5) and VLOG. This guide says to set the zebras at 90%. https://na.panasonic.com/ns/253602_V-Log_Excerpt.pdf After watching a few videos though, I do have a new strategy for quickly getting exposure for the two toughest types of scenes that I typically encounter (events with changing lighting conditions where people need to be properly exposed, and venues with bright windows). - BASE / RANGE Zebras - I found another awesome feature in the S5 which is the BASE/RANGE option which lets you set a zebra pattern based on F stop which maps to a VLOG percentage. So from now on when exposing for people with no gray card I'm going to turn that one on until there are zebras on the people's faces which means they are properly exposed. For venues with bright windows I'll just expose to where the zebras are on most of the objects in the room. - Vertical Video - I found by accident that the S5 even does vertical video. So if you are shooting something that you only plan on showing on Instagram...something like a quick BTS for a shoot, you can film it vertically and it will play full screen on Instagram. I think gimbals definitely have their place, like @TomTheDPsaid, there's going to be shots that you simply cannot get any other way. Dolly in/out, Crane up/down, extended left/right trucks, follow, orbit, underslung.....you name it, there's simply no other way to get those shots quickly and in a way that is smooth without a gimbal. I use my monopod to the hilt to get every bit of organic motion that I can but its never going to replace a gimbal. I do think gimbals are overdone for a lot of things, just like drones; nothing more boring than your average drone video with nothing but drone shots, but they both can tell parts of a story in ways that are impossible any other way for a one man band. Also, maybe I am just way shakier than everyone else, but filming hand held for me is really difficult with these smaller cameras. No matter what technique I use, I always seem to need to add a little post stabilization or slow motion to get enough of the clip to use.

I actually like the IPhone 12 Mini the most. My favorite iPhone was the boxy 4S. I’m tired of paying $1200 for a huge phone. It’s a tool for me. It should slip in my pocket and disappear until I need to navigate, call, messaged, or lookup public transit times. So glad they went back to the boxy shape and smaller size with the mini. Price is still pretty high.

There's nothing with Arriraw per say, but it is pretty big files, which can be a problem for smaller productions. Redcode goes nice and small. ALEXA SXT Open Gate (3424x2202)ARRIRAW (.ari): 11.5 MB/frame & 996 GB/hour ARRIRAW-HDE (.arx): 6.9 MB/frame & 598 GB/hour ALEXA LF Open Gate (4448x3096)ARRIRAW (.ari): 20.9 MB/frame & 1.80 TB/hour ARRIRAW-HDE (.arx): 12.5 MB/frame & 1.08 TB/hour

Agree! I don't really fancy much of what's on offer. I'd think about getting a video only cam, but the blackmagic is M/3 or bloody eos mount. The z-cam has similar caveats. AN d besides I dont mind being pampered now and then with an auto mode that actually works. Or Ibis. Or autofocus. Oy vey! I think I better think it out again

The 2 year wait for it shapes expectations as well.

yep i was saying this was nikon's last attempt to keep me. HAving said that I'm editing some footage at the mo, and it's lovely, and very easy to work with, but there is too much that is amateurish with these cameras. If they'd given me full frame 60p I might even have hung around in 8bit. But no 10 bit internal? get futtocky fucked. And "planned for february": weasels. THe promised external raw was a mess. Nope, bugger 'em

I guess the camera does actually matter! 😬

Allthough it was not great. Looks like on the video side they are still some years behind mirrorless/dslr's and cinema camera's.

Canon EOS R5 Thermal Mod

Am I the only one saddened by AI? What ever happened to a good-old-fashioned camera? I don't want camera's inventing the experience, regardless the quality increase. I know you're going to say: "cameras already do that!" However, there's such a thing as the heavy-handed approach and the subtle approach- I prefer the latter. I'm actively trying to find ways to eliminate the smart phone completely from my life while others are trying to further (and willingly?) addict themselves.

🤣😂 I don't know. I did get some good film making deals year. Couple hundo off a Manfrotto Nitrotech fluidhead and sticks. Some other stuff too, probably. Maybe.

No. They're basically identical. The "deep learning" AF system exclusive to the EM1X doesn't work for video at all, which is disappointing. But single point continuous AF works a charm.

These specs always sound good, but when a client actually sends me video from their iPhone to use in a project it always looks soft. Granted, they're not professionals, but I've never really been blown away by video shot on any phone.

From the same set (Andrzej Fryda) :

It does hark back to Deezids point. Lots more aspects to investigate here yet. Interesting about the saturation of shadows - my impression was that film desaturated both shadows and highlights compared to digital, but maybe when people desaturate digital shadows and highlights they're always done overzealously? We absolutely want our images to be better than reality - the image of the guy in the car doesn't look like reality at all! One of the things that I see that makes an image 'cinematic' vs realistic is resolution and specifically the lack of it. If you're shooting with a compressed codec then I think some kind of image softening in post is a good strategy. I'm yet to systematically experiment with softening the image with blurs, but it's on my list. I'll let others comment on this in order to prevent groupthink, but with what I've recently learned about film which one is which is pretty obvious. When you say 'compression', what are you referring to specifically? Bit-rate? bit-depth? codec? chroma sub-sampling? Have you noticed exceptions to your 10-bit 422 14-stops rule where something 'lesser' had unexpected thickness, or where things above that threshold didn't? If so, do you have any ideas on what might have tipped the balance in those instances? Additive vs subtractive colours and mimicking subtractive colours with additive tools may well be relevant here, and I see some of the hallmarks of that mimicry almost everywhere I look. I did a colour test of the GH5 and BMMCC and I took shots of my face and a colour checker with both cameras, including every colour profile on the GH5. I then took the rec709 image from the GH5 and graded it to match the BMMCC as well as every other colour profile from the GH5. In EVERY instance I saw adjustments being made that (at least partially) mimicked subtractive colour. I highly encourage everyone to take their camera, point it at a colourful scene lit with natural light and take a RAW still image and then a short video clip in their favourite colour profile, and then try to match the RAW still to the colour profile. We talk about "just doing a conversion to rec709" or "applying the LUT" like it's nothing - it's actually applying a dozen or more finely crafted adjustments created by professional colour scientists. I have learned an incredible amount by reverse-engineering these things. It makes sense that the scopes draw lines instead of points, that's also why the vector scope looks like triangles and not points. One less mystery 🙂 I'm happy to re-post the images without the noise added, but you should know that I added the noise before the bit-depth reduction plugin, not after, so the 'dirtying' of the image happened during compression, not by adding the noise. I saw that. His comments about preferring what we're used to were interesting too. Blind testing is a tool that has its uses, and we don't use it nearly enough.

The AF will suck if its not phase detect.

C70 screengrab from FB group (Andrzej Fryda). Canon colour is magic source.

What good news! Really excited about : ) Best Panny AF performance ever to my eyes... WOW Need to check not under direct/key light now :- ) Wondering how AF will match or not under low light...

While that is a beautiful video, with a fantastic grade, I really dislike that these things are labelled "Dolby Vision." Youtube DOES NOT support Dolby Vision, only HLG, which is worse than HDR10 format in terms of image quality. It may have been graded in Dolby Vision but it is not Dolby Vision display on youtube.

Confusing? Please stop. This introduction is actually remarkable... I never discuss what some other people want. Don't neglect what you don't need. Enthusiastic product tester here... who knows probably adopter? ; ) I am looking this product since a decade ago at least... 3x GH1, 4X G7... does this say something to you?

Confusing, overpriced product. It’s clear L-Mount is the focus for traditional image capture at Panasonic now.

Sorry for the delay. The rig. Metabones BMMCC version, Shinobi, small rig wood grip, RADIOPROK HDMI , expansion box and button, small rig top grip and sony battery. I want to covert a couple of my FD lens to EF so I can use them at a better crop. The picture between my P4K and Micro work so well together. Some slight tweaks are needed but nothing hard. I personally like the Micro for closer shooting and the 4K for landscapes and distance shots. Sorry for the out of focus but here it is. Screen grab from the Micro on a native cutthroat from CO. -Dave

BRAW.

I think chivo earned a pretty penny for this one.