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Not to turn this into a GH5 thread, but the reason I've kept my GH5 and why I planned on sticking with it was because it's still a very good camera, and if we're being honest for most of us there's not really anything out there that is so heads and shoulders better that we NEED to drop thousands of dollars on a new camera. The only reason it's not my a-cam right now is because I got a really great deal on an S5. But the GH5 is such a good camera, and I'd planned on using it for at least another 2 or 3 years. At this point I don't know that I'll ever buy a NEW camera again, because there really hasn't been that huge of a jump since the GH5 came out. I think I'll be perfectly content being a couple camera releases behind unless something big happens. If I'm still shooting Panasonic in a couple years I'll probably get a GH6. To me the M43 system had/has so much potential. In some ways I feel like it was a mistake to try and compete with larger sensor cameras, even though it resulted in incredible cameras like the GH series. Those cameras are what brought them to the dance, so to speak, but it was only a matter of time before everyone else would catch up, and in that period between when the GH5 was released and when a full frame equivalent that could match its capabilities was finally released, Panasonic had stopped innovating in the M43 space. When I got a GX85 I really kinda realized what the true potential for M43 was: small lenses and small bodies. I still take the GX85 and 35-100mm f2.8 into places that I could never bring an APS-C or full frame equivalent into and get beautiful, stable footage every time. It's such a small package that no one even gives it a second thought to. It's such a discreet, compact package. You'd have to use a bridge camera from Sony to get comparable footage, but it'd have a smaller sensor and worse stabilization. It's late, I'm rambling, but I do hate seeing people pronounce the death of M43 because I see so much potential in it, but I don't know that it'll ever reach it or if it's even viable to try.

I'm talking about the kind of situation where the walls are dark, the window is in frame, the subject is in the room and is backlit by window light only. Here, you're likely to see streaking. But it's just not a very attractive shot anyway so it's not one that I would take, so I don't need to worry about streaking. But if I had to then the best solution would be to light the room. Then the brightness of the room comes up relative to the window and then streaking is not going to be noticeable. As part of this strategy you could ND the window. But I like to travel light and make things easy for myself and in this case I would rotate the camera-subject axis by 90 degrees and shoot so that the subject is side-lit by the window and now the result is like a Vermeer and there is no streaking. I know there was an influential video that showed streaking and it was a black studio with white strip lighting. Yes, here you'll see streaking because you have bright whites adjacent to dark blacks. But again, this is not a situation I normally encounter. I have seen streaking on my camera when I've sought it out to test if it was there - it is. But I've yet to see any streaking in my normal usage of the camera, which is reassuring. That's not to say it will never happen. But I had actually forgotten about it until yesterday, reading this thread 😂

Yeah, I may re-upload. I realize that. Except I deleted the RAW footage, I plan to upload another example and will upload in 4k, then will post it here.

I am waiting on Adorama's brand CLAR to put something out in the 1000w range. I have found their lights to be excellent in durability and light quality wise.

LOL! Don't tell anyone, but that's the secret!!!

I wish every time I encountered a terrible shot I could just turn 90 degrees and get a Vermeer!

From my perspective of growing up as a kid in the late 60s/early 70s in the UK, the whole thing bemuses me ! It is now a fairly big deal in the UK too - although it hasn't quite become as ingrained in our national culture as changing Prime Minister every few weeks has - but it certainly wasn't the case until relatively recently. Our halloween consisted of three elements, all of which consisted of some sort of fruit or vegetable and an element of borderline abuse. The first was what was referred to where we lived as duck apple but was called bobbing for apples in other parts of the country. This consisted of about a dozen or so apples being put in a bucket of water, having your hands tied behind your back and putting your head in the water to retrieve one with your mouth. Putting your head in the water is a euphemism for one of your brothers repeatedly pushing your head in and holding it down until you'd completed the mission. Fair play to them, the skill involved in holding someone's head down in the water until just prior to the point of drowning was quite an art. Hidden amongst the selection of apples were ones that had had a small incision made in them by my Dad to secrete a coin but the downside to this triumph was that if you managed to survive the drowning attempts to emerge with one of these prizes you then had to eat the apple to claim the coin. These weren't your fancy dan French Golden Delicious apples, though, as these were the tartest inedible cooking apples that a 1970s UK grocer could provide so it was very much a pyrrhic victory. The second element of the 1970s halloween in our house, retained the cooking apples and the hands tied behind the back aspect but added a new one in the form of a blindfold. You were placed in a chair, bound and blindfolded, and you had to try and catch in your teeth whatever was swung past you on a piece of string and weren't allowed to leave the chair until you'd caught something. The "somethings" on offer were one of the leftover apples from the previous fun and games and a bar of soap. It was considered against the spirit of the game to not take a fulsome bite attempt at whatever wafted past so half hearted attempts were strongly discouraged using the clip around the back of the head school of correction. In an act of unexpected generosity, all of the leftover apples were loaded with a coin this time but the same rules applied regarding eating it whereas with the soap you were at least allowed to get away with just the initial bite. Either way, you weren't going to get away unscathed in the disgusting taste department. We may have grown up on the shores of Liverpool Bay but with the blindfolds, hand bindings and forced water immersion techniques our house was very much more Guantanamo Bay at halloween in those days. The final element is the one which most closely resembles the modern version of halloween in the UK, namely the carved lantern. Now, I'm reliably informed that pumpkins were introduced into the UK in the 16th century but let me assure you that in our local shops in the 1970s you'd have been as likely to come across pheasant or quinoa as you were to encounter a pumpkin so our lantern base of choice was the turnip. Due to its density, trying to hollow out a raw turnip and carve a face into it is something that should realistically only be attempted with the aid of power tools. The potential dangers offered by us using the one sharp knife we owned and its main role (carving the Sunday roast) being a protected occupation meant that we had to make do with regular table knives and a spoon. The process could be measured in days rather than hours which, combined with the rudimentary tools on offer, would inevitably lead to the adoption of the "fuck it, that will have to do" approach to fit and finish that is evident in this typical effort from the period. As for interior illumination of the lantern, again, if tealight candles were available in the UK at that time they certainly weren't available in our local shops so it was the workmanlike though more inherently dangerous standard candle that had to be put in them. As these never fit properly into whatever mounting hole that could be fashioned with a spoon, they would inevitably fall over and the smell of burning turnip was a constant in the atmosphere of the UK for the last week of October. Or every Sunday with my mother's propensity to burn the Sunday dinner. The nadir of the grim lantern years was 1973 when we didn't even have the candles as there was a shortage of them as people prepared for the power cuts of the impending three day week where frivolity of using candles for turnip illumination gave way to having to use them for illuminating offices as seen here. As regards, scary halloween movies, we didn't have any that come to mind but, truth be told, we were pretty much living in one anyway! Things are very different now and it does appear to be on its way to being on a par with what happens in the US but for my era it was completely overshadowed by Bonfire Night a few days later. Bonfire Night in the 70s took the danger levels of halloween to another level but as it was in honour of chaotic and ultimately doomed plots at the Palace of Westminster then it was actually very much on brand for the modern day life in the UK.

Apologies for going a bit off topic here as this post doesn't relate to Gerald Undone directly but Atomos are releasing a firmware update in the new year for the Ninja V/V+ to record 16 bit RAW output of the A7RV to ProRes RAW.

I regularly have a talking heads interview shot in an interior where a window is in the frame. This is the situation where you'd expect to see streaking. But the difference in stops between inside and outside necessary to see streaking is so huge that I would never choose to shoot in that location regardless, because there would be too much backlighting with or without streaking Other than that, high DR scenes I shoot would be daylight exteriors in full sun. I've never seen streaking there. You only see it when very bright areas are adjacent to very dark, I think.

Of course shotguns are always being boomed when outdoors, but the big and heavy hyperdirectional shotguns such as the MKH816/MKH70/KMR82/etc are no longer so popular in the 21st century (unlike beforehand, when radio mics were rarer).

I just want to say that this is the first footage I've seen in ages that makes me want to brush the dust off of my anamorphic lens for the first time in seven years and take it out for a spin. And I have never seen anything from a GH5 that I've liked so much -- I am usually put off by footage from that camera. Really lovely. Thanks for sharing.

Yes, the dynamic range appears to be slightly lower than the GH5 when shooting at non-DR Boost ISOs. And using DR Boost gives appears to give an extra highlight stop, cleaner shadows but noisier midtones (as outlined above) which is a bit weird. For video, I've realised that both the GH5 and GH6 have enough dynamic range for me. I normally favour an amount of contrast that delivers approximately 7.5 obvious stops with a roll-off into whatever is above and below - so the 10 or 11 or 12 stops of the GH5 or GH6, depending on how you count them, is plenty for me and leaves room for accidental over and under exposure. But for photos, I never even think of using a GH5 or GH6. I know they can take photos as I've taken one or two when I was absolutely stuck. I'd much rather reach for my long-in-the-tooth 5D3. I'd say its dynamic range is probably roughly similar, so it has more to do with the fact that it's familiar to use and I trust its autofocus. But I can understand how the message that "dynamic range is worse than its predecessor" would turn photographers away from the GH6. There's little attraction in investing in a new body where a fundamental spec is going backwards, rather than forwards as it should. Mine has it and I know because I went looking for it, but I have yet to see it in any of my clips that I shot in "real life", if it makes you feel any better!

Funny we were just discussing Octopus above; they just made this announcement: Following lots of feedback, we have decided to consolidate our camera development work so far into a new camera product better poised for ultra-low-budget filmmaking — an underserved area. Internal RAW. 5K+ resolution. True pocket-size. Under 700€. We will make an official announcement of the product in the new year. The current high-end 8K model is still in development for bespoke client camera requirements.

Maybe a sign Sony are overtaking Canon & Nikon in sales figures. A YouTuber's favourite camera is the one that generates the most affiliate commission with B&H.

Well, it's certainly true that the GH6 has not made the same kind of splash that the GH5 did. Personally, I don't find M43 to be too much of a burden when shooting with a 0.64x Speedbooster. It's kind of a sweet spot of boosted light for exposure and manageable DOF. For me full frame has too little when shooting wide open with fast glass and I think that approximately APS-C or Super35 sensor size is pretty good. M43 is too small, but with a 0.64x speedbooster it's actually "bigger" than APS-C at 1.28x crop relative to full frame. Here are a few clips shot wide open with an Iscorama 36 on an Olympus OM 50 1.8 manual lens. Talk about making life difficult for myself with an Iscorama shooting wide open - swapping diopters between almost every single shot! A lesson in patience! Oh well, it's worth it for the bokeh and the flares I guess 😂