Leaderboard

And as I was saying before I rudely interrupted myself, the A7RV was always lurking in the wings. Fantastic stills camera with option of 60mp full frame super-detailed files but ability to shoot 26mp crop at a slightly higher res than 24mp FF cameras. That's flexibility! AF is just best in class. Rear screen is superb in both resolution and how it rotates and tilts etc. All 3 Tamron lenses are native so all niggles re. performance, reliability and corrections etc removed. It's tiny for what it is and so fits with my mantra of 'smaller, lighter, faster'. My only criticism is it takes a stoopid cfexpress type A card, but hey ho, I got a 500GB for €270 so can't really complain... So in summary, happy days. The proof of the pudding as they say is in the eating and that will be the rest of this season, but as far as I am concerned, I have now removed every issue I previously had to juggle or deal with, whether it be cameras, or lenses, or audio, or lighting or tripod heads sagging or gimbals having an electronic jerking fit mid shoot, all whilst sweating profusely on a 35+ degree Celcius French Summers day. Not that we have head any of those this year. Yet... To conclude, anyone that is interested, feel free too ask anything.

Hello 🤗 For those that are interested, finally, I reached 'peak camera' for my needs. When I say 'peak camera' I really mean 'peak set up' which includes; camera bodies, lenses, audio gear, tripods, etc, ie, 'everything' I need to do my job. My job is a multi-day coverage, destination wedding, hybrid shooter and has been for the last 24 years, the most recent 22 full-time and the hybrid part for the last 14. It's been a real battle these last 14 years as a one man band to get that balance of kit that allows for 3 factors: A. Creativity, not stifled by... B. operating issues which could be anything from too many units, to too big & heavy, through ergonomics to...well anything that is more operational and logistical. C. Repeatable consistency at or above a certain level. I haven't tried every combo known to man because that would be impossible, but far too many to mention, but as above, 100% confident I have now reached 'peak set up'. As the title suggest, that is a combo of principally Lumix and Sony for bodies, Lumix, Sigma and Tamron for lenses, Rode for audio, Smallrig for cages/grips and tripods. Specifically: My previous set up to date was: 1 static video + 1 roaming/semi-static video + 2 photo It's now 2 static video + 1 roaming video + 1 photo So it's still a 4 unit set up, but with two considerable exceptions: A. Instead of 1 static and 3 cameras on my person, I now only ever have 2 on me, which is a big deal. B. Both of those units on me are smaller and lighter than they previously were, which adds even further in significance because smaller & lighter = faster, more creative and less fatigue. I did want to go to a 3 unit set up and it's possible, but it's just that one step too complicated and financially starts getting very silly, so just a no. I'm sticking with L Mount for video. For my needs, whether static or roaming handheld with IBIS and no gimbal, it just works for me. The output is very high quality and the log footage is very easy to work with and the file sizes not stupidly large. A used pair of S5ii's are doing the business here. One I already had and has been my workhorse since it came out last year and the other just arrived with a pair of used (most of my gear I buy used if and when I can) battery grips as during longer ceremonies and speeches, a single battery gets me concerned whereas two I have no concerns over. A brand spanking new S9 is inbound next month. Until then, the S1H will solider on until it arrives but then sadly, has to go as it will be surplus to requirement. Sadly, because it's the best camera I have ever owned (to date) for video and stills. OK, it does not have the AF of the S5ii, but otherwise kicks its arse everywhere. But gathering dust serves no purpose and it cannot do what the S9 can do at a fraction of the size and weight so... And for stills? Well that's the Sony, obviously. A7RV. It was always an option lurking in the wings which is why even though I went back to Nikon with the Zf and Z6ii earlier this year purely for stills, I did so with adapted E Mount Tamron glass so that I could go either direction, remain with Nikon or go Sony, any time I felt. That time is now and Sony won. Z9? Too big and heavy and not 100% convinced by the e only shutter. Probably would have been fine, but it's a MASSIVE LUMP. Z8? Nah. I'd rather have a Z9 as there are too many compromises with the Z8 IMO, but see above. The Zf I have? Nope. Ergonomic pig to use. Z6ii? Nope, too slow. It's like wading through mud operating that thing, unlike the Zf which is fast, but ergonomically shite. Z6iii? I thought it was going to be but I am having a few niggling issues with the adapted E Mount Tamron lenses. They work well enough most of the time, but not ALL the time. They do require more processing work as they are not native. Posted in error so with only a brief opportunity to edit, will have to continue in another post below!

The very low rolling shutter distortion is a major plus point for me - I do a lot of railway video, and not having noticeably skewed verticals on trains is really nice... I'll upload a few 10-bit SOOC files later. In the meantime, this was shot with my OM-1 - captured handheld, sensor-shift IBIS, in FHD 50p, 8-bit 'Natural' profile, auto-WB, using the Oly 12-200mm lens. Edited in Vegas Pro and rendered to 4k 50p for YT upload. (Aimed at railway enthusiasts like me, so not the most exciting video content 😉).

And PS, I'm not laughing at you, but laughing at the imaginary scenario where as a one man band hybrid shooter, I attempt to juggle 3x zero IBIS or AF cameras that weigh about 5x as much and cost about that also. If not more. I also 'dismissed' anything from BM, the Sony Burano and the Alexa LF.

You're still thinking about the GH8...? I'm wondering if the GH9 will have 12k120 in 10-bit 4:2:2. I have given up on it being internal raw in that mode, but my cat videos won't be cinematic if it's only 4:2:0 and doesn't have at least 17 stops of DR. As an astute poster recently commented, if ARRI can do 17 stops with the Alexa 35 then why not Panny? I don't think I'm asking for too much when I expect the cameras specs to compensate for my complete lack of skill.

I read that the dark lighting on film noir films was for budget reasons initially. To cover up gaps in the budget in the sets by just not lighting some areas. Ah, yes, The HV20 (and HDV) revolution. I did some great stuff with my two matching HV20s. The image still holds up. (Some of the tapes haven't though. They're starting to develop drop outs.)

Because this thread got hijacked to talk about sensor sizes, we're talking about GH cameras instead over on the thread for FF cameras:

Olympus colors never disappoint! Would be really cool to see some 4k 10bit footage in 25p as well.

I've used most of the big NLEs and prefer Final Cut. The magnetic timeline is so fast to use once you learn it that tracks seem so 20th century to me. Like they're something left over from a Steenbeck film editor or something whereas Final Cut is definitely from the 21st century. I'm sure if they hadn't patented the magnetic timeline all the other NLEs would have copied it by now. The roles thing and the built in database are so good, again once you get to know them. I've assistant edited on both TV series and narrative films, (including a feature) using it and it's much less work and takes less time than my experience with Avid or Premiere. I think Apple is going with the approach that they have something so good and it's so popular that they promote it much. They kind of don't need to as it's become the de facto standard for web video production. They don't update it as often as some would like but when they do it's always a better version of a feature than anyone else's and tends to be rock solid too. I think it's not going anywhere, in fact they just had an update this morning.

You forgot the timeless pink unicorn: internal NDs P.S. I heard voices about GH10...

To be fair, people can be dabbling in videography and still ten years later be a newbie at it. I've been dabbling at being a Gaffer for ten years now, am still a total newbie at it. (well, maybe if I'm being generous, an "advanced skilled newbie", if such a thing exists) That's coming in the future GH17

Will do for sure. It wasn’t even on my radar and I didn’t even know it was coming until a few days prior to the big Japan launch and even then, initially dismissed it as I was not looking for a ‘content creators’ tool and there was so much negativity…but enough positivity from some of the actual filmmakers who attended. For stills, nah. For ‘proper’ filmmaking, nah. But for what I am interested in which is basically a smaller and lighter S5ii, bingo! So it very rapidly became of interest to me. Having extensive use of the S5ii, I can’t see it as being anything but that smaller & lighter unit that suits my needs.

Well I can’t do that for at least another month as I think the release date is 23rd July? At least in Europe and then with delivery, might even be early Aug… I don’t shoot in any of those modes but can certainly try them for you at some point. I think there’s an equation for the ‘gimbal-like’ crop IBIS mode and I think that info is on the S9 topic? Fortunately, for my needs, I don’t think I will have any heat related issues, A. because I will never be shooting more than 10 second clips with it and B. never had an overheating issue with a Lumix camera before but including the OG S5 which if I remember correctly, lacked the vents of the S5ii? Never even had a warning or heard anything from any unit, ever, even in 40+ in the shade, full sun, 30+ minute conditions. Goes back to consistency and trusting your kit. I trust Lumix for anything like this because it has proved itself time and time again to be as good as it gets. Unlike those flakes over at *cough* Canon 😜

Is it only one astute poster or are there more of them? We could do a petition for them so they can finally get the chance to decide if they would like to buy a Panasonic camera.😂

When you get it, I'd like to know what you think of the S9 when you get in hand.

1. learn the color temps of things irl 2. set the camera wb based on what looks good and vibes 👍

What the flip is going on here? BTW, I have a question about lens caps. Which way do I turn them? I tried turning left but I accidentally hit myself in the face and chipped a tooth.

There are theories about you already? Impressive. You are either a newbie to videography or not, since you can't be both. Oh, there are no theories about you. You are wondering? Maybe you should timetravel to your FZ1000 post and wonder how you did that! What a (insert cuss word of your choice, but please a strong one) you are! @Andrew ReidI am at the risk of getting myself banned! Please help. I am starting to feel tempted to use strong language here. I just don't believe in time travelling!

However, we are truly insatiable. The GH7 is not yet available and we are already thinking about the GH8 and the 8K! Let's say that who cares will have a slight chance with the upcoming S1H. Back to the GH7, I'm waiting to see more reliable reviews and use cases once it's in the hands of normal people. Now more or less all the influencers all repeat the same things in parrot fashion having had the camera for a short time. For example, I didn't understand anything about Raw and here you explained me crop factors at various resolutions in Raw but on Youtube I couldn't find any mention of it and specific tests. Maybe I haven't looked properly but it seems to me that so far we are still at "WOW it works" and little more.

Well I was about to post about using the Expodisc white balance cap but now I have The Bangles playing in my head. Thanks for that.

You don't seem as much of a newbie when looking at your post from ten years ago. @lsquare What is going on here? Where have you been all these ten years? Time traveling backwards? You were shooting with an FZ1000. Or you will be shooting with an FZ1000.😂

"if" Those two letters are doing a lot of the work in that sentence.

Well, it's not efficient for photos and it won't be efficient for video either. 🙂 As already mentioned, there is an eyedropper tool in Resolve that you can use in one of the earlier nodes to click on a grey card. Otherwise, at the risk of sounding like a broken record, get a color checker and use the color checker tool in Resolve if you want a quick way to get nice/accurate colors as a starting point.

I'll upload some if I've got some suitable files handy. FHD is much better than FHD from the E-M1 ii/iii, particularly in 10-bit. There's a bit of aliasing sometimes, but it's not really noticeable unless you're looking for it. I've never noticed any false-colour moire. Overall I'd put FHD a bit below that from my G9 and above the G85 I used to own. (But the G9 has excellent oversampled FHD so it's a tough competition). FHD 8-bit 50/60p is 52Mbps long-GOP H.264, 10-bit is 42Mbps long-GOP, 162Mbps All-I H.265 FHD 8-bit 24/25/30p is 27Mbps long-GOP, 202Mbps All-I H.264, 10-bit is 22Mbps long-GOP, 82Mbps All-I H.265 UHD/C4K 50/60p 8-bit is 202Mbps H.264, 10-bit is 152Mbps H.265 (all long-GOP) UHD/C4K 24/25/30p 8-bit is 102Mbps H.264, 10-bit is 77Mbps H.265 (all long-GOP) Basically nothing above 202Mbps, 8-bit is H.264 Rec709 only, 10-bit is H.265 Rec2020 only, All-I is FHD only. 24/25/30p UHD/C4K 10-bit is the most detailed, 50/60p UHD/C4K 10-bit is a bit softer. I shoot a lot in FHD 50p 10-bit OMLog400 (long-GOP) as it's good enough for most things I do and keeps the file sizes down. Important stuff I shoot in UHD 50p 10-bit OMLog400. For wildlife video, I sometimes use 25p 10-bit because then I can use sensor-shift + digital IS without loosing to much quality. The extra digital IS crop also usefully gives longer reach in addition to excellent stability (like being able to shoot reasonably stable handheld video at 300mm).

That one arrived last week from UK, still waiting for the adapters to couple the customary manual glass... which should arrive by tomorrow or Thursday just in time for The Waterboys concert this Friday. Those 4x G7 units are used for multiple-camera setup needs, here are some grabs extracted from one of those 4K 25p H.264 codec (where high resolution shows some advantages of its own) videos I cannot publish for music copyright not under my umbrella but just for a couple of ETTL samples here now: The artist is a famous Portuguese Grammy winner who represented the country with an honourable 7th place in Eurovision 1980 BTW with a few universal words in German/English/Italian/French mixed in the lyrics...

Zooming in = going telephoto. You can’t get shallow DOF on wide angles on small sensors. Telephotos always inherently give you a shallower dof at the same aperture compared to wider angles at the same distance from subject. you’re just describing depth of field again (and maybe the corresponding vignetting, since that’s harder to correct on larger format glass). Going wide open on a 24, 35, 50, 75 on FF at 1.4 for example, is a level of shallow dof that didn’t exist on moving images before 2007. I’m excluding anamorphics here, since their distortion has significant other impacts on visual language, as well as vista vision and 70mm, because you’re not gonna shoot at 1.4 on some of the most expensive film stock in the 50s and 60s. shooting f1.4 on any focal length on FF or f2 on alexa 65s is the ‘unique look’ of larger sensors, since manufacturers aren’t particularly interested in making f1 lenses on s35 (even though they could) if you limit yourself to f2 on FF, you can recreate the whole look with super speeds, or certain leicas on an alexa mini or 35 (and even voigtlanders on mft) limit yourself to 2.8 on FF, and you’re in the same ballpark as most s35 lens sets dof wise. limit yourself to f4 on FF, and the look becomes completely recreatable on mft, and even on s16 with arris ultra primes. Just make sure to scan it well if you’re trying to fool people that you’re going for a modern look i think its worth mentioning that contrary to people’s belief, the magnification number of focal reducers is there to explain what it does to your lens, instead of confusing you even further with crop factor mental gymnastics. A 0,71x focal reducer turns a 35mm f2 lens with a FF image circle into a 25mm f1.4 lens with a super 35 image circle. Its a wide angle adapter that converges light at the aperture. An f2 at 35mm gives you the same size of aperture as an f1.4 at 25mm, and thus the same depth of field, regardless of sensor size. Optics is just math. Not that crazy. If you know this, it’s easier to know, pinpoint and elaborate what you like. In most cases for you guys it’s just shallow dof. also, if you understand the relations between the numbers, you can also understand that manufacturers can just scale down certain lens designs/sets to get the same super shallow looks for smaller sensors. they just don’t want to, because some asshole called 36x24mm “full frame” and accidentally created one of the most successful marketing/disinfo campaigns ever. Also speedboosters suck

I don't have hands on experience with the Alexa ev and f35, but basically most of others listed in this test I own and tune with my hands. I have to say, they all look good in their own ways. each its own. you really need to own these cameras and lenses for several years to get what you want. renting them for a weekend, even top dps don't have enough time to know them to get the best out of them. so, although this test was ground breaking, it still had its bias. I don't know why people sell their gears. I rarely do that. after spending so much time knowing them, they are like my friends, part of my life, why should I sell them and get something new yet unnecessarily better but definitely less familiar gears?!

Let's remember the great Francis Ford Coppola Preferred the hacked GH2 image! That must have pissed someone off. In my opinion, pissing people off by shooting "lesser" gear is a good reason to continue to do so. I still use my GH2, old reliable, and get paid for it.

This is why I have emphasised colour grading to folks. Over. and. over. again. lol. I know you finish your images in post and don't expect the camera to create completely finished images, so you're one of the few who understands that a file on the card isn't a finished image, but there aren't that many of us in amateur circles. It really goes to show how ridiculous it is when people are nit-picking straight 709 conversions, as if this is what matters - as if anyone professional would ever use that for literally anything. Even the BTS would get a LUT or basic 5-minute look applied over it. For most high-end films and TV shows, the final grade is more different to a straight 709 conversion than the differences between the 709 conversions of completely different brands of cameras. Not at all... with colour if it looks good, then it is good. The rest is preference and the creative vision for the project.

Yes, I remember. What's funny is that the results are so clear that they decided to never do it again. And that was exactly 12 years ago.

Nope. https://www.eoshd.com/news/zacuto-revenge-shootout-part-2-results-revealed-francis-ford-coppola-and-audience-majority-give-win-to-gh2/

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 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

96KHz 32bit audio recorded into the video files themselves: Didn't realize it was offering 96KHz, that's nice! (although it's also total complete overkill. But hey, a nice change to see a camera doing audio in an overkill manner for once!)

More finished work..

Whoa. None left in my area either, open box or otherwise, but $550 might have been low enough for me to consider shooting M43 again.

yes. And i’m saying that even if you could take advantage of it, you would still have to put in the extra work to get it to match.

The arri log is quite a nice surprise!! I am excited to see this camera come out and hope we get another, smaller m43 body soon with this sensor. That said, I actually bought a gh6 last week as it was being sold on clearance at a price I could not resist. It's even cheaper this week with the official gh7 launch. I got an open box gh6 with the 12-60mm 2.8-4 for $925 last week on best buy's website. It's even cheaper now, but they don't appear to have any left in my area. It may be worth checking in your area as a new gh6 with 12-60 will cost you all of $701 dollars, and if they have any open box ones, you can get one for under $550!!!! With the lens!! Wild times. Won't prevent me from adding a g9 ii or gh7 at some point, but man, cheap thrills.

C400 is full frame 6k, so S16 should be a bit more than 2K. @IronFilm I'm interested to see the footage people will produce with the GH7. I liked Gh6 colours but wasn't so keen on the textures.

if gh7 has a firmware update of aria log c3 uncompressed prores4444. gh7 will sell like a hot cake. lol.

The GH8 could keep everything exactly the same about the GH7 (not even adding 8K), but gives us four stage internal NDs (or perhaps eND) and a SDI BNC (or mini-SDI??) output with zero delay (and an independent full size HDMI output) and it would sell like hotcakes. Or maybe this could be called a "Panasonic GH7S"??? (a MFT camera inside a beefy "S2H body"???)

🙌 Not 100% but a pair of GH7’s with the 10-25 and 25-50 twins is just about the perfect set up for me, especially compared with my current set up. First of all, it’s two matched cameras for ergos, batteries etc. Second, whilst there are comparable zooms in FF at the wider end, there are not at the longer end. Third, lighter and more portable set up for me. I don’t actually need all the bells and whistles and it’s the PDAF that swings it for me and why I skipped the GH6, but dabbled with the OM-1. The ONLY issue I had with the OM-1 was I was not a fan of the video quality, - it’s very purpose for me 😏 A single FF camera with a fast wider ‘indoor’ zoom plus a fast longer zoom for ‘outdoor’ and I’m done. 👾

there are some s16 lenses with pl mount, and 2/3 lenses, they can be adapted to m43 mount. gh7 can do dci 4k prores raw hq 60p s16. with a good s16 lens like Zeiss 10-100mm, it is very powerful. right now there is not many good s16 digital cinema cameras.

Panasonic basically leap flogged all the Netflix Certified Cameras 😎 They NEED to sell these in the Truckloads to Influencers, Film School Students and Low Budget Filmmakers. Hope their Marketing gets it right this time. Hopefully they don't shoot a video on the Alexa35 and pass it off as the GH7 😉 Great time for M43

Also the Arri LogC curve and color science is considered the best in the industry. One of the biggest selling points for Resolve is the ability to "mimic" LogC via a Color Space Transform, so now that you can get that in camera with the GH7 with IBIS, and usable AF... working natively in FCPX via ProRes or ProRes Raw, is a pretty big deal. The GH7 is THE camera I never knew I always wanted and probably won't get. Maybe.

Makes it very easy to fit in with established workflows using ARRI cameras. (if that's not your world, then it's much less of a big deal this particular announcement)

Official certification by ARRI is surprising indeed! If anything can cause an explosion in seeing Panasonic mirrorless on film sets I work on, it would be THIS! Would instantly make the GH7 the #1 choice for crash cam / B Cam / etc, anything that needs very awkward mounting, such as mounting a camera for a shower scene or riding a motorbike or a snorricam.

super 16 mm / 1 inch dci 4k prores raw hq 60 p. this is really something. finally, a 4k raw s16 cam is available to the general public. I am itching to pull the trigger now. either gh7 or om 1 mark ii. probably gh7 first, then wait for om1 mk iii.

DP Journey shot an official promo video for it, says he'll publish a review later: