sanveer

Every AI is stolen work. I remember watching some asian film whose story was apparently written by AI, which turned out to be a Hindi film, released a few years before. All major Corporations into AI, are using copyrighted and private work without explicit permissions, release and compensation. Starting with Google and Microsoft. The question is how much similarity can quality as AI work, and how much would impinge upon the original. This colour scheme and grade hardly seems absolutely unique or never used in film before. Also people wearing coats or high rises in the background is also not really one of a kind. Hollywood and Dems are just frustrated with Musk. This probably is just an excuse to try and take him to court. They'll go to any extent to sue, silence and cancel anyone on the opposite side.

Very interesting ... Basically Sony shot itself in the foot with this sensor. Twice.

What a damp squib. They could have Totally avoided this ...

Tangerine Budget = $100,000 This film's budget = $75,000,000 That is 750 TIMES the Budget Are we really comparing budgets here

"However, Danny Boyle’s forthcoming zombie flick, 28 Years Later, was shot over the summer with a bunch of adapted iPhone 15s, WIRED has learned, making the Hollywood thriller, with its budget of $75 million, the biggest movie to date filmed with smartphones." This is apart from the Insane Lenses Attached to the Camera, big budget additional gear, God knows what else etc. Tangerine was a film actually shot on an iPhone woth attached lenses. But genuinely shot on it, with minimum extras. This Danny Boyle film saying it's shot on an iPhone is just so ... dishonest

What's new in these cameras? Do they have newer sensors, or even PDAF? Why is Panasonic suddenly releasing these two cameras? " ...Multiple IP Transmission Standards ..." So basically the same cameras with slightly better connectivity?

Really sad.

What is the Sensor Size? P.S.: I was being lazy about watching the two videos. It's a 1inch sensor.

Like I mentioned in one of the threads, Nikon was on the path of making THE SENSOR, about 3 years ago. Which, incidentally, happened to be a 1inch sensor. The only issue I can think if, with it, is, probably that its Only 18MP (17.84). Everything else is in the superlative for it, from dynamic range, ro frame rate. (http://image-sensors-world.blogspot.com/2021/02/isscc-2021-nikon-1784mp-1000fps-sensor.html?m=1) One advantage of a smaller sensor, is the insane form factor flexibility that it allows cameras to be made into, from the DJI Pocket 3, to Smartphone sized cameras (with even multiple cameras or collapsible zooms), or tiny Point and Shoots with great manual control. Maybe someone can make a l16 Light type of Camera with multiple 1inch Sensors, but without attempting to fuse images. They could have multiple cameras with difference zoom ranges, with cameras whose angles can be changed, to be able to record wide and mid, and other angles, simultaneously.

I am guessing a few things are happening. Panasonic is trying to get rid of the old 25MP FF sensor inventry. Which is why the S9. It's a good camera for the price and sensor size, but it has some issues which Panasonic doesn't want in the next generation of FF sensor. Panasonic needs a New Sensor greater than 24MP and Way Less than 60MP (somewhere around 40MP if it wants 8k). That sensor would make it to most of Panasonic's FF Lineup. It has to be excellent for Video, and have Reasonably High Resolution for Photo. Rolling shutter shouldn't be too bad, and it needs a huge variety of frame rates and resolutions for video. My guess is, after Nikon's working with Sony, Panasonic too is trying to ensure it gets a custom sensor, with design and features almost exclusive to Panasonic. Also, it probably doesn’t want to have the exact same or similar models at Leica, so that the market is better spread out between the two.

You cannot Unsee his Insanely White Teeth, once you notice them. So Basically this camera is an Unreliable FX30 with massive overheating issued in Real Shooting Conditions (not under controlled environments). With No IBIS and a few other strange issues.

There was this debate that smartphones will get better than ILCs, by 2020-22 or so. Suddenly smartphone sensor and Computational Photography/ AI development slowed down almost plateauing completely. In some ways the trade embargo on Huawei and Samsung and Sony mysteriously abandoning Triple Gain Sensors that they had presented papers on. Also, there were some talks on improving optics on smartphones much beyond the plastic lens optics currently used by the majority of the market. Somehow all of it was abandoned, and smartphones never became equal to or much closer to ILCs. White for dynamic range, colour accuracy, low light and a few other parameters they can be great, in real pixel to pixel detail, and exposure latitude, they aren't comparable. Until they improve Computational Photography/AI with the intention of replicating details on pixel levels comparable with ILCs, this seems to be something a bit in the future. While Topaz Labs and many others do it, including increasing resolution and even increasing bit depth, I wonder if it's actually as good as something shot on higher resolution (above the 12MP on smartphones) ILCs (24MP and above) with good quality glass. Smartphone photos, for now, only look good on small smartphone screens. On larger displays/ monitors they look strange (semi water colour pixalated).

I didn't mention anything or anyone here. I was merely reminiscing about a very eminent grandfather-grandson filmmaker duo, who are also famous polymaths and who haven't apparently gotten their due. Has it become a crime to remember great filmmakers?

Why does it appear that the great Ebrahim Saadawi is among us ... 🤣🤣🤣

Seems pretty stellar. Dynamic Range should be tested and also whether it has heating issues in warmer environments. Also all other 24MP sensor makers need to improve their sensor tech. This had some superb rolling shutter.

I know what you mean. At one point of time, a lotta TV series (especially low budget food, and travel and living kinda), were shot on the 5D. And the majority of the time they were not in focus. It just looked unnecessarily soft and terribly blurry. P.S.: Hope someone creates a speedbooster for the RF mount. Those could make it look wild on M43 cameras

Isn't it getting a 4k sports version now.

Exactly

If Panasonic paid him $1 Million, he would. Also, I may be wrong, but its difficult to really judge the image unless one sees it on a much bigger screen, that had great HDR. On a smartphone screen it's pretty useless. On smaller monitors too, it's pretty difficult to judge.

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

There's a certain charm and thrill to a super low budget short film, that absolutely no large budget feature can match.

They can just make an external recorder for the GH7, which simultaneously records multiple flavours of RAW, with a built-in battery. Having such a contraption below the camera is great since other things can be out above. Though a rig within the new YAGH avatar would be great. They don't need a sound recorder because the Panasonic DMV-XLR1 does a great job, expect that's it's been replaced by better mics and preamps for 32-bit recording or stays the same, while the 32-but magic happens internally within the GH7?

The Single Most important thing, "has Gerald been invited or Not?" On a more serious note, I feel Panasonic can squeeze out another 1/2 of dynamic range (from the G9ii) by tweaking the VLog, improving heat management and improving the Sensor coating further. That's 11.8 (G9ii) + 0.5 stops. That Full Frame territory. A few flavours of ProRes, BRAW and RAW wouldn't be too bad. They could shrink that horrible YAGH attachment that they made for the GH4, to about 1/3rd it's size, and have external multiple flavour RAW in the recorder.

That's probably very common in all camera and smartphone promos. It may have to do with the AD Agencies and Panasonic's advertising division just be stupid, disorganized and lazy, instead of anything else. Contrary to us assuming that the Great Gerald has dented Panasonic's image and given them a bad name, cause they didn't send a Rolls-Royce and a private jet to receive him, people seem to calling him out and others like him, who've suddenly become self appointed demi-Gods. On youtube, influencers are shameless deleting comments, but on regular forums and sites where it's discussed, the discussions actually highlight the problem quite succinctly. https://petapixel.com/2024/05/28/panasonic-reacts-to-controversy-concerning-its-lumix-s9-event/ These two guys have highlighted all issues with Panasonic. Which is a pretty long list, according to them. But there is a certain dignity and maturity to their review and criticism. Something obviously lacking in some others. https://petapixel.com/2024/05/22/panasonic-s9-initial-review-small-pretty-and-confusing/

"Dialing in the color science and optimizing the dynamic range on the sensor is still very much a process we are dialing in. There are two modes for the sensor, one is 12-bit and the other is a 16-bit ClearHDR as Sony calls it, which is Dual Gain Output ( like Arri sensors / fairchild sensors used in Blackmagic ) it's this mode that has quite a bit of configurability and some further tuning. Most of the footage shown in this video is from the standard 12-bit mode." Wow. Sounds quite promising. Would love to see some footage from the 16-bit video. I am guessing it may have impressive exposure latitude. The video in this clip has crushed blacks and blown out highlights. So adding a stop or 2 more may be a welcome change.