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I love the output from my 16MP Gx85. If it had 12MP with anything else staying the same I would still love it. Most mft lenses dont resolve more than 12MP. A lot of affordable FF lenses dont resolve more in their center crop. The Oly Pl1 is one sharp 12 MP cam due to its lack of an Oplf filter. Can be had for 30 bucks i bet.

A camera with a lower megapixel count might also be intentionally designed to be a high speed sports camera, such as a Nikon D500 or D5.

Let's shoot some quick a dirty dynamic range tests Here's mine, on the balcony First is Sigma Fp-L in 8bit Cinema DNG RAW Second is OM System OM-1 in 10bit LOG 4K: A clear win for the Sigma Fp-L You will need a bigger effort to get the best out of the OM-LOG The Fp-L RAW seems to have that creamy RED EPIC / ALEXA look to me straight out of the can And it doesn't sacrifice a boat load of colour to achieve such a wide DR. This was in full frame mode to SD card. I am sure the external 10bit and 12bit is even better in the highlights.

Our own @Mattias Burling recently showed what one can do with a 6.3 megapixel, 19-year-old Canon 300D: Gunpowder!

I think AI and computational math are sort of changing our idea of Physics. Smartphones are punching way above their size in this day and age. If they get really good zoom lenses to work on smartphones I think it might really even the playing field. To me that is the limitation as of now. Sure, it can apply to a FF camera also but I bet the gains would be less.

Yeah, I had a A7s and a A7s mk II. I liked them a lot. The ability to be able to shoot in low light, night scenes opening up opportunities that other cameras can't accomplish. It adds a whole new area your abilities, you are not just limited to daylight stuff. The original A7s color output is a bit wonky compared to today, but it does have a unique character to it. I li ked it. And now with the Enhance thingy in Lightroom, Photoshop you can make smaller 12mp files pretty huge. Even BM Resolve has an enhance thing for video in it that works well also. And the original A7s camera is just tiny for a FF camera with a small lens on it. I had an original A7r and it was damn near impossible to get a sharp image without using a tripod. But also was a neat camera.

Not this mad bastard though.

Wait, wait, what, this was shot in NZ? Cool! *randomly clicks through the video* *hear him talking* Ahhh... clearly a kiwi accent! Yes, am sure Fuji is feeling the squeeze from smaller and more affordable FF such as the S5, EOS RP, & a7c But if Fuji hangs around long enough for Medium Format to become affordable then they've got a bright future ahead for themselves!

You will get all sorts of answers to this question, but fundamentally, the physics of the way that cameras work means that larger sensor cameras will always be better. Smartphone cameras can (and do) look great in the right circumstances, matching larger cameras. But when you start trying to use these tiny cameras in anything other than the ideal circumstances then they either can't do something (eg, optically shallow DoF, lens choice) or they do it very poorly (eg, low light video).

What you start harming all of mankind I think the patent system needs overhauled. Sure, maybe when tech moved at a snail's pace it wasn't so invasive, now that stuff is moving at light speed, bottlenecks effect one heck of a lot of people and ideals. I think Red's patents were more of a heck, lets screw everyone more than just helping out themselves to some advantage for several years down the road. Ergo I think it was more of a malicious thing, carefully thought out than a protection of an original idea. Corporations are un feeling beings, but they are also run by some pretty uncaring bastards also. Making huge amounts of money is rarely run by grandmothers with babies bouncing on their knee. The pursuit of money is a pretty god damn ruthless business.

Yup, that's another example of what B.S. the RED patent is. "oh noes, someone else is already doing 1080, guess we'll just have to make our patent be for everything 2K and over!" Bet the OG Pocket Cinema Camera could have given us 2K raw (rather than maxing out at 1080) if not for RED. "oh noes, someone else is already doing 5:1, guess we'll just have to make our patent be for everything 6:1 and greater!" Not really, is there a massive difference between 24fps or 23fps?? Or 22fps and 21fps? Or 18fps and 17fps? Or 9fps and 8fps? That's why by a simple process of induction, I say no. Sony already had on offer 12bit 444 And there were already numerous cameras shooting raw such as SI-2K & Viper Proves the point that we wouldn't be all lost without hope if not for RED's "innovation", when they were merely hours earlier in filing a similar patent than someone else. Clearly this was all in the minds and familiar to numerous people around the world back then. Yes, I fully give credit to RED for launching the revolutionary RED ONE! (just like how the D90/5Dmk2 were all revolutionary as well! But that doesn't mean Nikon should have got a patent for HDSLRs just because they were "first"! Yikes, imagine a world where only Nikon could make HDSLRs?? 😮 ) And also the EPIC after the RED ONE was another leap forward for RED. Excellent stuff. But I can't buy the argument that RED has overall been a net positive rather than a net negative, I find that a little difficult argument to buy as it is on tenuous grounds. Because whatever good they did with RED ONE and DSMC1, I feel that has been greatly undone by the barriers RED has put up and stifling of the industry they've also created. Where might Blackmagic be today if not for the landmines they've had to step around which RED has placed? How much stronger might Kinefinity (& Z Cam) might be today if they could have had proper USA distribution and servicing of their cameras? (as that has undoubtedly been their biggest roadblock in getting widespread adoption in America / Hollywood. I've even had friends who in the past who looked into being a distributor for Kinefinity, but didn't because of RED. Of course now Kinefinity finally does have representation in USA, but imagine if they'd got this back in the early 2010's instead of only finally now? And without the limits RED placed upon them) Might AJA or Digital Bolex had a second chance of success with another follow up camera if they first camera didn't have to worry about strife from RED lawyers? Even worse, what is the unseen? How many companies don't even exist and never tried because of RED?

It's not the distance between the mount and the sensor, but the circular size of the mount itself. There's not a ton of room for the sensor to move left, right, up and down because the mount is so small. This limits how much the IBIS can work. I think they'd need a pretty substantial crop in order to get comparable results as Panny, Canon, and Nikon. I think this is why Sony has moved towards post-stabilization options with Catalyst Browse. It was simultaneously a very smart and very dumb move to use the same mount for FF. It is more of a positive, but it'll probably be a long time and require a lot of processing power if they're ever going to catch up in the stabilization department. It's nice that they've offered an alternative with Catalyst Browse but it's not ideal. I wonder if Fuji is having similar problems because of the mount size? I'm also curious why there has been such a drop off in AF performance since the X-T3 and whether the IBIS is responsible?

One thing is for sure to me. I mean no offense. I just don´t see a way to enjoy the first video you posted. 🙂 @SRV1981 Sorry, friends, these hyperhyper youtubers have an unpleasant way for the rest of humanity who are none of their 500.000 subscribers. Shreeeeek. This topic makes me want to use my Oly Peni E-PL1. Screen sucks for manual focussing, think it´s 322x240pix, auto focus, forget it for street photography. GF1 is way better in that regard, but the jpegs don´t compare at all. Anyway, vintage gear still inspires to be used. This is what this forum is about to me, inspiration and some interesting choices regarding gear. Well, also about the companionship and fun we are all sharing. That´s no.1!:) Lol, talking about old school and such, I used to love to read DXOmarks sensor tests and charts. 🙂 @webrunner5 A7S was a milestone. That colour palette would be just great for some beautiful BW video for sure.

And those 5D Mark III become dirt cheap now. Just bought myself a 5D3 with 300k clicks and some battery/memory cards for just €200 😎

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck. Here are a couple of videos a friend and I shot last year on the S5 and S1:

My guess is, given how few lenses there were to begin with, they probably figured it was better to just start from scratch. I've used the A7Siii and I don't think it's as good as the S5's stabilization, but I'd have to do a side by side comparison to be sure.

He looks perfectly sane to me.

That's the problem with LOG. It always has a look baked in and it takes serious effort to get the best out of it and tailoring to a particularly scene. Whereas with RAW it is so much easier to get it looking cinematic. Magic Lantern RAW on the 5D Mark III in 3.5K still ranks above 95% of the camera market in terms of just image quality. Will do a test later in low light and see if the Fp-L holds up at high ISOs because it is a 9.5K sensor. The most data at 24fps it can do is 7K crop at 30ms rolling shutter, but the pixel binned 4K from full frame 9.5K has held up really well so far, it doesn't really have any moire or aliasing and dynamic range is fully intact.

Which means they're guarding the act of compression itself. Frame rates and level of compression are also stupid. Its like to patent a CPU with 8 cores to prevent anyone else making any CPU with more than 7 cores. Nobody should be allowed to patent the scale of something.

On my PC, night and day. But I'd expect that... It's actually very useful because it pushes me further away from any consideration to ever going back to 4/3rds as much as I have a very decent business case for an OM-1 or GH6 based kit. And at the same time...you twat, makes me more interested in the FP-L again 😜 As I mentioned the other day, Ninja V hinged at the rear plus 24-105mm f4 for OIS and that could be a pretty fabulous, still pretty compact cine beast... Not DR related, but how's the electronic stab on the FP-L and how is it in combo with the OIS of the 24-105mm? I know they do not directly play together like say Panny's IBIS and OIS, but do they work together at all? I'm not bothered by a bit of cropping as I tend to shoot longer anyway. One other option that makes the proposition even more tasty, but slightly different and that is with the Fotodiox EF-L mount adapter with VND between the lens and body, EF mount has a lot more OIS lens options... Damn damn damn you Reid, you have my brain pondering again...

I got a S1, but want the swivel screen from the S5 but not its micro Hdmi. The swivel screen on my Gx85 feels totally fine to me. On the S1 the Evf is often in the way when filming low angles and it feels "grumpy":) and scratchy to move. So I can relate to @SRV1981 's ongoing search. All I want is a S5 with full hdmi. I just dont enjoy it so much to use my S1 as my take everywhere camera unfortunately.

Yes, I'm finding the time of use similar (though I haven't timed it or anything). The old batteries seem fine really.

Or have larger pixels for light gathering such as the Sony A7s series.

Andrew your tweet is sort of going against what you are defending. That is what I don't like about the patent, it stifles people's choices. I think it is Way too broad. https://twitter.com/EOSHD/status/1533123090552594433/photo/1

hahaha! Well, he also hasn't had to worry about selling a camera yet.

You can't make a blanket statement about MP. If you are shooting wildlife you need all the MP you can get. If you are shooting for social media you need very little MP. There is no one camera that does it all. Ergo you are not going to buy a Smartphone to shoot wildlife, and not going to buy a 100mp Fuji MF to shoot social media stuff. And 12mp is really not enough for photography in this day and age.

Yes I think it's focused more on the tree than the letter box. The detail on the tree looks pretty good though. Presumably the 1080 pixel-pixel will be identical to the center 50% crop of the 4K pixel-pixel, which looks all right. It's worth considering that the loss in sharpness must be attributable to some degree to the optics and a usable result might be garnered from a razor sharp lens. I think if I really needed a shot of something very far away and didn't have a long enough lens then I would use 1080 pixel-pixel.

Didn’t watch but yes. Easily. I recently upgraded from 24 to 47mp cameras for my stills work because purely for myself, I like max quality, plus ability to crop hard (partly because I shoot shorter focal length primes). But could easily go back to a camera that ‘only’ shoots 12mp for client wedding work.

That's very well said and true. I guess another consideration is the purpose and intent of filming - if it's production level/paid then sure raw codecs from a camera probably aren't the way to go. But for the enthusiast/prosumer folks or even for pros on vacation etc., will we get to a point that traveling with a hybrid like an XT4/X100V etc. are not worth the cost of size and ease of a cellphone when you're outputting to YouTube and sharing on social media?

It is CERTAINLY daunting, that said - I agree with you and the general advice given. I downloaded Resolve 18 and look forward to watching tutorials and giving it a go. I'll look to start off with basic LUT/light grading and may or may not ever make it to adding nodes for masking etc. For me and my hobby/enthusiasm - less is more. Can't argue with skill - it's important in all areas of work, well said. This is beyond true for myself and others just reading forums and watching videos! This is more true for amateurs who buy equipment thinking they'll be able to replicate an image without knowing how that image was created and realizing that both they need more technical skill AND may need a different camera system to get a good enough image with minimal work. well said! That is what I am thinking. Either keep the R6 or if I do choose to move to an FX3/AS7III I can pair it with a cheap used Nikon for sports photography. This is where I'm leaning. I do, however, like the Fuji x100v though it wouldn't help for sports but it's okay because I'm not doing it for paid work - more home/personal stuff. Wow pretty cool! I like the narrative here and goes to show audio is so important! Well done!

Do you find that they last about as long as the new GH6 battery? I probably will only need the basic functions so there's little point in wasting money on new batteries if my old ones will do the trick. Thanks for these, will pixel peep later!

Do you have any real idea how few people are stupid enough to do what we do lol. Probably less than 1% of of a 1/0th of a percent, or like 800 people maybe, probably more but who is counting.. Most people have a real life.

So would Samsung and the other manufacturers.:) @webrunner5 I would revommend a Gx85 instead, a joy to use and grade and more fun with lenes, costing with a lens one forth of an iphoen 12.

A simple way to check would be to click on the View drop down menu next to the screen and go to the safe levels and select either Luma, Saturation or All. Then a Zebra-Like image will appear when you're beyond Rec709 safe levels.

Sure, there's a lot of noise as there is in any online space, not least here. But does that mean we should disregard every contribution ever made on a given forum? Well, not if we have even a moderate capacity to separate the signal from the noise.

Caveat emptor: from a dpreview poster who got to try the camera in-store... "The thing legit locked up on me and required a battery pull five times inside of a half hour with it." "The worse news, and why you don't see any of the reviews that lean positive about the AF actually show video results. It's as bad as ever. Pulsing and hyper actively finding faces in doorways just as bad as the XT4 did. It's like the box you see on the screen is doing something completely different than what's actually recording. At F5.6 like most the positive reviews use, it's pretty confident but holy smokes even at 2.8 with the brick this thing was all over the place."

It's interesting to me that Nikon has a patent for image compression in a camera that RED cited in their patent application. https://patents.google.com/patent/US9565419B2/en The other thing I found interesting about all this is that the 'Presler' patent that Apple had tried to use to show that RED wasn't novel was filed only a few days after RED's application. Apple tried to get RED's date moved forward to give Presler priority. https://patents.google.com/patent/US20100111489A1/en With the timing of the two patents being so close anyway I don't see how RED is justified to pursue others so vehemently. BUT the Presler Patent is certainly not as well written as RED's patent since it sounds so much more specific to cinema cameras, 24 frames a second, at least 2K, visually lossless compressed RAW and a 'novel' method for doing it. I'm presuming that patent for Presler would have been the one to use for the SI-2K which recorded Cineform RAW and was advertised as compressed RAW, but the 'visually lossless' part was not emphasized I don't think as well. But wasn't Cineform RAW introduced in 2005?

The silence regarding him is eerie too. After youtube banned so many channels and an account of mine, I realised he may have been silenced. Or RED did something even stranger to him? Or maybe he's been cancelled? Pay some money, or use influence, and anything can be done to anyone.

aww thanks, was a very early film! I guess it's too easy for me to just see the flaws in it. Was shot under difficult conditions, I shudder for instance now to think about how I did the sound! haha Had my girlfriend (even less experience than I!) holding the boom pole, while the audio got recorded directly into the FS700 😕 Maybe I need to go even further back... to find something properly horrible, here is my first ever short film I shot! (with a whopping 22 views so far! hahaha) But for this, I didn't have any fancy equipment like the latest Sony cine camera and a full set of Zeiss lenses. (which the other film I shared just before was shot with) Nope, was shot with a Panasonic GH1! And a monopod and sh*tty photography tripod. (no proper videography tripod back then for me) Can't quite remember what lenses I shot it on, but am pretty sure it was a Nikon 50mm f1.8D and a Vivitar 28-70mm f3.5-4.5, both without a speedbooster and just used directly with a pain Nikon F to MFT adapter. (maybe I used my Nikon 18-55mm kit lenses as well, not sure, quite possible. Was the only mildly "wide-ish" option I had for MFT!!) My girlfriend was my "1st AC" (although, that was a beyond lofty title for her role in reality!). Audio was recorded on the director's Zoom H4n.

Add the F3/F5/F55 to that list as well! FZ Mount is very shallow. Sony's E Mount was never ever originally designed to be a FF format. (unlike Nikon Z, or Canon RF) It was an APS-C design, for APS-C cameras, but they tried to cram a FF sensor into that APS-C lens mount! They "did" it, but left very little "wriggle room" for the IBIS to operate in.

There’s definitely an advantage. The bodies are usually more compact. Lenses are smaller and more affordable. Also more choice. (Sigma 18-35!) Get closer to the subject for less money (crop factor). Easier to manual focus, not always crazy shallow. Probably more useable shots. Not everyone likes the “gigantic” frame / shallow depth look. Easier to achieve deep focus look. More traditional shooting format. Still the standard.

And still no mention of lenses... Haha. Hey, I've been there. I spent a couple years chasing an image. I went from a t2i to an eos-m to an nx500 to a G7 to a BMMCC... Damn, I forget... I know there was a couple Sony cameras in there... some point and shoots... an FZ2500... Eventually, I forked up the dough for an open box 5D Mark III, installed Magic Lantern Raw and never looked back. I've been curious about other cameras, but nothing in my price range has come even close. Right now I'm really curious about the Sigma FP and the S5. The FP for its raw capabilities, its small size and a bump in resolution. The S5 for IBIS run and gun, B&W with 14 stops of DR. I'll probably just go forward with my 5D... I love the IQ, I already own it and KNOW it, and chasing specifics costs too much money for a hobby. All that said... knowing what I know now... don't get the FX3. There's no reason why you can't get comparable images with the R6. I wouldn't even bother shooting Log right now. Practice with it and practice grading but just use Neutral Profile dialed down with the ProLost Flat settings... then make a couple simple adjustments in your NLE of choice... contrast and saturation... maybe add some Tint for style and move on. If you're intent on buying a new camera... then get either an M50 Mark II or a GH5ii. The GH5 is a workhorse camera with plenty of headroom to manipulate the footage. Search Rowe Films on YouTube or Vimeo for examples of what can be accomplished. The point is... it seems like you're chasing a pot of gold. I know, I've been there. I found mine, but when I did, everybody had moved on from it and I questioned my purchase a bunch of times... do I need 4K... should I have IBIS... do I need better AF. It's all nonsense. The fact is this... all cameras under $4500 kinda suck in one way or another. So you either accept their faults based on other strengths (ibis and AF) and learn to bend the image a little or spend some money and get something more expensive... but then you won't have the convenience of the small size of hybrid cameras... and more expensive cameras aren't any easier to operate... they're just going to give you a sturdier footing.

I get it but I am just a Type-A overthinker and have consistently responded thankfully. Yes you're right the overthinking has led to moving from system to system over about 6 years. I have learned why and learn each time and typically come here when I am in need of help because of the good advice and healthy discourse. For example, I got an XT-2 when I was more focused on video and photography for sports; quickly I learned ISO performance and AF tracking was important - so a7ii; and then the photos got better but the skin tones were really difficult to make look good....I believe I may have gotten too excited by reviews and pulled the trigger on an R6...now I am convinced that I will need to shoot more clog3 with the R6 and figure out how comfortable I am improving in Resolve and if it works for photography etc. I'm learning now that what some told me earlier - buy separate for photo and video - is what I'm leaning toward. Learning and growing folks - from a type-A personality (can't change that). Thanks for the dialogue and advice thus far!

I thought so too at first (its not that we're mean spirited OP, but there have been similar trolls before) but a quick check in post history and it seems consistent: That said, it also showcases a pattern.. from Sony to Fuji.. To Canon.. and now back to Sony..and Fuji? All in the span of about a year?! I mean these things do happen but have to ask don't you get tired of switching systems so often? seems like endless tail chasing and money drain. I don't wanna beat a dead horse but perhaps its time indeed to actually learn a bit about shooting & colorgrading! I really don't think the problem is with your cameras. You still haven't told us what your lens situation is either by the way ?

Wouldn't it be great if the camera market was like Build A Bear and I could just order the Alexa Mini LF in a GH6 body with IBIS and internal NDs... while also having an interchangeable monochrome sensor that I could easily pop in and out when desired. Of course, it would have the Roger Deakins mode that would make my footage look better. And obviously the Amy Adams mode to make my actors prettier.

This is not exactly back on topic but semi-related I guess. When sorting by new for R7 videos on YouTube I keep seeing a bunch of what I guess are fake comparison videos featuring slightly differently processed stills purportedly from two different cameras. There are a few accounts that do this, using the same template, and views have been racking up over the last few days. Is this a thing now? It looks like AI or bot created content.

Actually, something that apparently used to happen quite a lot but was kind of hidden by you tubers was that they used the Sony FF cameras in manual focus mode when vlogging because they didn't have flippy screens and couldn't be sure that the AF was getting them in focus. I saw it mentioned once in a video by Matti Haapoja and he laughed and said that everyone does it but doesn't talk about it and then had a passing dig at Sony about flippy screens. IIRC it was when the A7s2 was the best Sony camera that all the YT vloggers who jump brands all the time were using. The technique was that you held your arm straight out and bent your fingers up, held your camera at your chest and manually focused on your fingers. He showed it in the video. In terms of poor AF ruining video - yes it absolutely does. This "AF is necessary" sentiment is what is making people use AF when they shouldn't. Your comments about "Panasonic needs to give users AF" just makes me think that you don't know when to use the right mode for the job. I mean, AF is useful, but it's not the end of the world like the AF zealots make it out to be. The fact they can be useful doesn't mean they're not a complete PITA when they're compulsory when not wanted. It's like if a piece of kitchen equipment put strawberry sauce into everything it made, someone complaining about it, and then the rebuttal being that strawberry sauce can be useful. Sure, but get it out of my pizza dough! At this point it's like people are trying to cancel Panasonic because they're not skilled enough to work around a particular limitation that Panasonic has. I understand that it's a bit of a significant limitation, but cameras are chock full of limitations that we all have to work around all the time. It's like people have developed a fetish about it or something.

The auto focus on the A7S3 along with low rolling shutter and IBIS is a great vlogging combo tho

I personally think the ability to shoot in dim situations with deeper DOF is nice.

Wouldn't the Sony be suddenly much cleaner at ISO 12800, so it may be a good idea to shoot it at 12800 and use an ND perhaps? Or is is it that most ISO levels in between the dual native ISOs are all noisy? Plus the Sony also has that famous Sony colour (or a version of it). Would love to see a comparison between the Sony, along with Canon (R6) and Panasonic (S5), at all ISOs from 320 to 25600, perhaps.