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Shooting video at f22 is gonna be a thing. Yup, that shallow DOF is sooooooo 2021.

Over / under tests are not just literally about over and underexposing, they also give you information about what is happening at the various extremes of your normally exposed image. For example, if a camera performs badly in over tests with colour degradation, you can reasonably surmise it is going to have difficulty retaining highlight information in a properly exposed shot.

S1, S5 and S1H are low light beasts. They don´t show any mushyness because of codec mambo jumbo. A7s3 shows mushyness in very low light fi.

Yeah, I quickly tested that. It is much less pronounced with HLG rather than V-Log, which is not a good choice for underexposured images anyway and only starting to be visible with 5 or more stops of underexposure. In which point the image lacks so many details and contrast that is in my humble opinion unusable anyway even without the horizontal lines. When and why would anyone want to use an image underexposed by 5 or 6 stops is beyond me to tell you the truth. Not in my use scenario...thanks for pointing this out though, it was a fun experiment!

I'm inclined to agree with you. I think Patrick Tomasso said it best in his review (I've watched too many reviews to keep track)... essentially the GH5 was an absolute powerhouse because it could do things no other system could really do at the time. Now things have changed and full frame has caught up and surpassed in all the ways that matter to most shooters.

I think that's a smart decision. Financially, sure, but also for the final results. Better cameras are great. but only if you know them and know how they shoot and how to expose to get the best files, and any gotchas around annoying features or battery issues or whatever that can screw things up and lose footage over. The best camera in the world, used improperly, is worse than the camera you know and trust.

Yes, the intro no longer is appropriate given today's events. Going to re-do the video and post it later when had more time with the camera.

Wonder if Felipe used a Sony? Fucking reprehensible.

It does look like a darn nice camera other than the AF. It is just too bad it is priced so high. With all it has in it I think it really is worth it, but there a lot of other cameras in that price range that a good also. But as a Cine camera it probably is the best thing out there for the masses.

Wow great info @BTM_Pix which confirms my suspicions: Zoom's app is the Panasonic-autofocus of their system. I've considered buying a used F2 (not BT), opening it up and soldering the pins from a bluetooth arduino into the Rec button, but I don't have time for any more silly projects at the moment. I wish Deity would update the Connect with 32 bit. Their receiver is nice and bag friendly, and they've licensed dual transmit/rec technology already. AND they have both lav and XLR transmitters.

Mmmm.... So I've been looking further into this today and its actually a complete mess. And not just because of the app. First off, I should have been clearer in the original post regarding the requirement to use an UltraSync Blue unit (€150 approx) for syncing multiple Zoom, Atomos and iOS apps over BLE. Which brings us to an issue... The Zoom units with BLE functionality can use the connectivity for the app or for wireless timecode but not both simultaneously. This is a menu switched option (such as on my H3-VR and the new F3) but the F2-BT doesn't have an obvious mechanism to change this on the fly as it has neither a screen nor a switch to do it with. Unbelievably, Zoom's solution to this lack of UI on the the unit is that you have to connect it via USB to a Mac or a PC running Zoom's F2 Editor application to switch its mode. The F2BT unit has five physical buttons on it that Zoom could have used to control that switch on boot up (i.e. hold down Stop button when switching on for Control and hold down Play when booting for timecode mode) but instead have opted for an utterly ridiculous and clunky solution. So dynamically changing it on the hoof is completely impractical. In terms of control from the mobile app, it is inexplicable why it can't control more than one device at a time. I've had a bit of a hack around interrogating the H3VR this morning and I can see that there are enough BLE Services and Characteristics to make it happen to address units individually within the limits of how many simultaneous BLE devices can be connected. A more simplified app option for multi units that did basic rec start/stop and signal present leds rather than full metering and settings changes etc would be perfectly doable and adequate for at least four units. For now, in terms of rec start/stop its doable across multiple units if you close the app and re-open it to choose a different unit on the initial scan but thats clunky as hell too. So, as it stands, to do two timecode synced F2BTs and the F3 they would have to all be in timecode mode (and you'd have to have set the F2s up beforehand) and started manually because there is also no mechanism to do a record start/stop command for the whole group. OK, so considering that the F2BT has a run time of about 15 hours on batteries and an entire recording for that period would take up a fairly trivial (compared to video files) of about 8gb then the solution would be to sync it to the UltraSync Blue, put it in record and use the lock mechanism to keep it there and then pressing Record on the F3 and leaving it running all day. But you'd have to be careful with that too as what this guy shows in his video review is that it is easily possible to think the F2 is in record when it isn't due to the enormous delay after pressing the Rec button and it actually beginning the recording. In essence, I don't think any of this is insurmountable and can be filed under first world problems considering the amount of scope on offer here by having a couple of F2-BTs, an F3 and an UltraSync Blue but its infuriating that Zoom seem to have had such a massive failure in joined up thinking on how it hangs together as a full system. The easiest solution to fix this would be to have an option in the Zoom devices to start/stop recording on receipt/suspension of Bluetooth timecode and use the UltraSync Blue as master controller by using its start and stop run function. Maddening how short sighted Zoom have been here.

Ok I see, makes sense now.

Why invest in poor people which is always risky? Invest in their picture 😂

What in the actual fuck

I'm basing it on Sunny 16: f16, 1/100s, ISO 100 then counting the stops to f2.8, 1/50s, ISO 2000 It's 10.33 😭

What a terrible day. We humans show no signs of learning, progressing and stopping these thugs from coming to power and ruining everything. 😢

Horses for courses. One doesn't replace the other... But there are ones less than others and vice versa, hence my comment. What's the problem of external stuff attached to? I use my P4K as any other PROfessional device BTW. I have had them since GH1 and I wouldn't sell my P4K for any one of those. No matter how much I love them... Really :- )

I was looking at this when it was announced with the exact same thought about using F2's in conjunction. From what I can tell though, the app only pairs with a single recorder, so you can't simultaneously rec/stop all 3 units wirelessly, right?

Well quite. To use this camera I think you're going to need to buy a big stopper photographers ND filter because variable ND usually looks awful at high levels.

Yes, so it looks like in DR Boost mode the GH6 can't match the S series cameras in the highlights (as you would expect from looking at Panasonic's VLog graph a few pages back) but the shadows are completely free from that awful horizontal banding which I was surprised to see on the S cameras. And the GH6 does amazingly well in colour fidelity underexposed (again in Boost) From this test I think I'd be comfortable underexposing the GH6 in Boost mode by one stop to give an extra stop in the highlights when the scene requires it.

Yep, handheld wide open at f/2.

There aren't that many. Off the top of my head: Sony F35 - Super35 Sony SRW-9000PL - Super35 Sony Genesis - Super35 Digital Bolex D16 - Super16 Ikonoskop A-Cam dII - Super16 And then you get into 2/3" CCDs, and there are a ton of those. Here's a good place to look for the Sony models. On the Panasonic side, there were the HPX and Varicam bodies. Toshiba, JVC, and Ikegami also had 2/3 CCD cameras, but they were mostly standard definition. There were a handful of 1/2" CCD camcorders, mostly from Sony as I recall. 1/3" CCD sensors were mostly found in fixed zoom lens cameras like the HVX200, FX1, Z1U, DVX100, Canon XL/XH cameras, and some of the JVC GY cameras. But 1/3 sensors are pretty small. Compared to today's mirrorless cameras, these cameras were mostly very large and meant to be operated on shoulder or tripods. The smallest and most manageable of the bunch was the Digital Bolex, which now goes for around $7K used. The Sony F55 is a MOS sensor with global shutter, not a CCD camera. If you'd like to have a small CCD camera to try out, I'd recommend the diminutive and inexpensive Lumix FZ47 (FZ48 in the UK). It's fixed lens and can't record in 24P or 25P, but it does shoot in 1080P and the 1/2.3" sensor is larger than any of the 1/3" cameras. And the image stabilization is surprisingly good, which is useful for the ~600mm equivalent zoom. Here's some footage I shot: I personally love the camera, but I wouldn't say that the grain is good at all. If you freeze-frame the footage, you'll see a ton of temporal ghosting and macroblocking. But in motion, it's one of my favorites. And here are some of my photos with it (JPEG only, the camera does not shoot RAW): https://distanceandelevation.com/blog/2021/8/9/bandontoportorford