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I'm also not a huge fan of this new airy Midtone look that everybody seems to be doing. It looks like some kind of Bravo reality show about LA real estate.

I'm going the other way... based on that video alone, the GH7 with LogC is good and obviously can match, but the LF image with just a LUT is so good. I appreciated that he let the footage speak for itself and it did... nothing beats an Alexa. That said, the GH7 costs 2 grand... so it gets a lot of points for that alone. And with that said, even though the Alexa only needed a LUT to look good, it also looked pretty vanilla, so I'd love to see what a good colorist could do with both versions to create a stylized look.

Everyone agrees. There aren't really enough lenses from Panasonic for this camera.

Maybe it could improve with firmware updates. As of now though its a cool implementation but it's not going to make me buy this camera. Just got a BM Micro though 😅 I might end up getting a GH6, but I was going to get one anyways. IBIS and internal prores, long battery life and tilting screen. Great for when I just want to get out of the car and grab a shot with no fuss. I'll probably get the LOGC upgrade for it.

This is the secret sauce, not the brand or whatever marketing sells for ; ) In a word or in a single line, art (because cinema is an art form) is a combo, no less. - EAG

If Panasonic or anyone from the L-mount would put out any F2.8 pancakes, then we would be talking! 28, 50, 80mm! The true Pocket FF.😊 @Emanuel

the fov is dependent on the focal length as well as the imager size. 21mm is not inherently a wide angle focal length. It’s - very wide on MF - wide on FF and s35 - a widish medium on mft - mild telephoto on s16 - regular telephoto on B4 broadcast. lf you had an f/2 20mm lens on ff, and an f/1 10mm on mft, with similarly designed optics, your shot would look the same if taken from the same spot. https://www.yedlin.net/NerdyFilmTechStuff/MatchLensBlur.html

I think a big bonus for this for GH7 owners will be being able to use Arri's free online Look Library tool to preview and download pre-made authorised LUTs to get fast and painless results in camera. A bit of a downer for the LUT peddling bros though. https://www.arri.com/en/learn-help/learn-help-camera-system/image-science/look-files#/ict/looks/view/sw/ref/3/a/0/b/4/fav/r55i

I'm a software engineer for a VR company. As someone who uses VR 2-5 days a week, I have no desire to wear a headset more than I absolutely have to. I've tried a variety of models, including the Vision Pro. It's fun to experience VR the first few times, but in terms of physical comfort, sitting on a couch with a 65" screen and a subwoofer is way better than watching films on a headset, even considering the 3d factor. If you add a few people in, I would MUCH rather sit on a couch than both wear headsets and pretend we're watching the same thing. Not to diminish what you enjoy of course! We all have different preferences 🙂 However most people I talk to are roughly in my camp, especially those of us who are in VR on a regular basis. The novelty wore off. We'd rather text than talk in VR with avatars. Gaming, on the other hand, is a lot of fun. I like VR games. I like how they introduce unique motor skills (you actually have to aim your hand and hold it steady to get a headshot!). I think to get widespread VR adoption, all the big companies need to do is make a game that is properly fun and polished. The hardware is fine as is it's the content that's lacking. I haven't tried anything that truly felt blockbuster quality.

Yeah but he was using the LF which is full frame, and they were matching FOV, so Alexa had a 40mm lens which is closer to the human eye and the GH7 had a 21mm which is a wide angle that will round out your subject. The LF has the clear advantage there. Even a wide angle on full frame will have more spatial quality than an equivalent wide angle on m4/3.

As posted a few months ago after my haha moment while trying the Vision Pro 3 months ago I brought a dual fisheye (already had the R5c) and a Meta Quest 3 (kind of Vision Pro for the poor 🙂) So far I have filmed: -Bungee jumping on the James Bond Goldeneye jump, probably the most impressive so far that I did. -Basketball -Horse showjumping -Bike -Car -5 Star Luxus Hôtel Everybody that I have filmed, and I show them on the Quest they just say "ohhhh wow just incredible it seems to be there". It is definitely an early stage, but I feel the tech is finally mature enough for early adopters. Every time I look at the footage it seems unreal.... yet you need to wear a heavy and clumsy device to experience so the 1M$ question is: will Vision Pro style devices become mainstream and if yes when? I also started filming some family moment, not really a lot of work as the camera is normally static just to have some memories in case the tech will really take off. Anyway, I'm happy that Resolve will have tools for immersive (VR180) as right now is a bit of a pita the process, some stuff is quite complex like stabilization... What I would dream of an Insta360 X4 but VR180... I watched some of this year Alaskan Snowboard 360 trip video on the Quest and is just wow, but 360 is not as great as VR180...

I'm just wondering how this will compare to my GH5S's in low light. The high megapixel count worried me but I heard that this one has a brand new sensor design so I guess we'll see.

the master was filmed with 65mm film. special look. I especially like the sea scenes in this movie. but there are some other scenes very compelling. the actors performed very well too. a true master piece.

After Moonlight James Laxton was again Dop for Barry Jenkins. He photographed "Beale Street", which was filmed with an Alexa 65. He must love the look of a 50mm lens on a larger format.:) There are some desired qualities of larger formats for the look beyond the logic of focal length and f-stop equivalence.

In the current digital age we live all in, it's practically inevitable to not think of that question of Truffaut about why not establishing shots on North by Northwest (1959)... and Hitchcock's answer: "Planting the camera in the countryside to shoot a passing train would merely give us the viewpoint of a cow watching a train go by."

LOL : ) Who reads you here for a while... more than a decade now, can only send a good laugh but you know something? Don't kill the messenger later on when I've proposed this and most part of you love the game:

The ifs only have a grammatical function if all else is equal, which they are not, so some aspect of the image, no matter how small will be different. I understand the optics element of your point. This argument has been around forever. What I am saying is the problem with your argument is that it requires all elements to be equal to be valid but they seldom are... if ever. Sure you can create a similar image with a crop sensor camera, but something in the image will be different. Or you'll have to make a compromise with the larger sensor camera to get them close to matching. Which you wouldn't do if you were using the camera/lens in a practical way. But even if you look at Yedlin's example, the subject's face is slightly thinner in the Imax and slightly fuller in the Alexa. Obviously, Yedlin went to great lengths to prove his point... that's the point of his article. And I am not saying you can't get it close, I'm saying that something will be different. As I said in my previous reply... use a fast 12mm lens on mft and then a fast 24mm lens on FF and tell me that they have the same separation. With that said... I thought it was clear, but my apologies. My point is that even if you use the same lens, on the same camera, and take a single step forward or backwards, you can hit a sweet spot of the lens and have more pop or separation. In the Yedlin article, it is clear that he stopped down the lenses to create less shallow depth of field. In fact, in one of the images, the bookshelf is almost in focus with the subject... so again not the same. In my original "nonsense" post, I was suggesting it was difficult to make these comparison videos because the LF would always have an advantage. Not only does it have a bigger and better sensor, better color science, it has a lens advantage as well... which is obvious since he had to stop down to f/4 or 5.6 so he could get a match with the lens on the GH7. That guy did a good job making them pretty close, but the GH7 looks more compressed and her face is slightly less angular. Is it enough to affect his test... not at all. You are correct though, I mistakenly referred to the 21mm lens as a wide angle on M43. I'm a fan of them as well. I haven't used the Super Speeds, but I had a small set of the Zeiss Rollei lenses which were supposedly modeled after the Standard Speeds from the late 60s. The 3D pop from Zeiss lenses is something else. Some say it's micro contrast and others say it is more obvious with larger formats... all I know is that it looks amazing when you pull that focus and hit it. Not moving any goal posts and probably not relevant, I was just curious if you were a believer/practitioner in his resolution theories.

Looking forward to seeing both, Gh6 and Bmmcc put to action by you. @TomTheDP I've been using my og Bmpcc for six days in a row last week just for relaxation and fun. So much fun, had it coupled with a 25mm Tevidon and some other times with a 0.7 speedboosted Pentax M 28mm F2 non Hollywood version. Colours are magical. During daytime beyond diffraction limit.:)

I think the point is exactly this one. Without mention, the larger the more light you can play with. Look is made by light, after all. Low light performance as reference, not the same as no lighting, OK? But room for. - EAG

I love a 0.71 speedboosted Canon FD 28mm F2.8 lens on a full mft sensor. Maybe I should sell all my stuff and keep the 28, the 50mm F1.4 and the 100mm F2.8. Maybe the Vivitar 90 F2.5 as well.:) It really is about lens and sensor combinations. In theory equivalence is helpful and by that simple translation it yields same results. It yedlins same results, so to say.:) In practice the specific combinations still paint light differently. I remember listening to the DP of "Moonlight" at a beautiful festival in Poland when he expressed his exitement of using the then new Alexa LF with a 50mm instead of using a 35mm on the S35 sensor with an equivalent, larger Fstop. Both perspectives combined allow an understanding of my lens choices. And restrictions by money.😊

What it is funny to me is the hype about this release when for same price we can buy a true cinema camera (BMD FF) these days... Apples to oranges. - EAG

Indeed. Just because you can does not mean you should! So many YouTube channels are getting to the point where they are just grasping now, pumping out content for the sake of content. But I suppose if you have nailed your colours to the content mast, the beast needs to be fed!

A lot of IFs in that statement. The problem with the all else equal argument is that it's rarely applicable because all else is rarely, if ever, equal. Even the same lens on the same camera will have a different look with a couple steps forwards or backwards. With a 24mm at f/2, even 2.8, on FF you can still get some subject separation, I have never noticed that with an equivalent aperture on a 12mm lens on mft. What lenses do you currently use on your projects? I assume, since you're referencing Yedlin, that you shoot in 1080p?

it has prores h265 h254 mp4

As much as that ? What an honour.

Not recommended, but possible. Epic rig....

Reservations opened this morning at MapCamera in Tokyo. Even with the tax included price, it equates to around £1375.00 as opposed to £1999.00. That feels a lot more "right" to me for an MFT camera. Incidentally, importing this into the UK will be the tax free price (£1240) , plus import duty (actually zero for commodity code 8525890000 digital cameras), plus 20% VAT so a total of just under £1500.00 so its a significant saving. Although UPS/DHL/ParcelForce will probably slap on a £500 "handling fee".

i guess its a nicer starting point than the v log conversion. Pure nonsense. human eyes are not closer to 40mm on FF than 21 on MFT. FF only makes it easier to get shallower DOF. Focal lengths dont “round out” your subjects, lens design does. FOV is created between relationship of the focal length and the film back size. Dof by the size of the aperture. If the colors of the cameras, as well as the dof and fov, were matched, you wouldn’t see a difference. Read the yedlin articles again.

I guess he used iPhone to do the vlog. actually, iPhone vlog footage is not far behind the big two. the lens is not good on iPhone, distortion is eye catching, not friendly to the lady. it is amazing how things get so close. 20 years ago, a phone, a crop sensor, a top brand of cinema camera, they just did not get along at all.

on the eastside (seattle's neighbor) and you can definitely get a lot of things same/1 day

I bought the original iPad, and what a toy that was. It took them until the 5th generation, (insanely expensive) iPad Pro to make a useful tablet, for me. A lot of that is software and a platform maturing. These headsets are way more ambitious devices to deliver high quality at a moderate cost.

I concur on the filmmaking remark. No doubts, most part is pastiche, so completely useless. I wish IT developers could learn a bit with their fellows from the filmmaking realm indeed ; ) With a bit of the exception for wedding videographers, corporate video and those who work in a daily basis with commercials without some other method in any way other than as being more creative for fairly balance their loading when there's a customer directly paying the delivery made. These ones cannot be considered purposeless. I also concur it's not easy to survive in a large enterprise IT environment hence my remark that the competition is inside but the user paying the bill outside. What bothers me. Those "most switched and talented people" you mention fail on learning basics of communication and art in general. They simply don't care. Let alone those in the chair of the decision-chain, they also need to justify their personal revenue. These people look to never have heard about minimalim only to refer one example and so on. Take a look on Facebook as for instance today. A disgrace. Instagram was purchased why? And Skype? What did they do with the latter one at least? About Google, what are they actually doing with? To place sane users out of there? Confusing, a total mess. The settings are a completely lack of respect for the user with a lot of justifications to pay a few useless services like we have no life outside. Let's get the right picture of what online is and should always be. Most part of it is really coming from such a hit-and-miss affair. Common sense and putting ourselves into someone's shoes, in the moment of change the design of the UI once again a week or month, wouldn't hurt at all.

Trust me. It's not necessarily a good thing to have Amazon. Your taxes will pay for their warehouses and run everyone out of business. In the end, you have a bunch minimum wage workers with Amazon never paying for the infrastructure they degrade. Never mind the fact they will soon have a monopoly and you'll have no choice but to work with them.

I bet BM and Canon didn't expect vision pro to fail.

I think you're discrediting the French. They were probably expecting a message from Nikon over Minitel, not fax.

Yeah S5II, S9, GH7 was way too fast. I just bought a S5II, then I was pissed about the S9, and now the GH7 has these interesting specs, next month they will prolly release the S2H. I just hope the ARRI colors will come to the S5II as well. That would be quite fair I think.

Gentlemen, warm up your keyboards... remember, no imperfection shouldn't be blown completely out of proportion!

That's a shot under the sun with a silver reflector on his face, it can't get harsher than that. A Canon or a Sony would show nasty specular highlights on the skin. Same with the other takes, nothing more revealing that a Fresnel and smoke to show what a sensor can do, or clippping the red or the green channel. Have you ever shot with an ALEXA? This is Youtube compression, but it looks promising, so far. Fuji engineers say with flog2 and 10bit Prores they got an extra stop above and below. The past X were under 12 stops. Let's see