sanveer

This video is muddy. Most detail seems to be lost in noise reduction.

I couldn't agree more. If Panasonic puts an APS-C sized sensor in a GM sized body that has similar dynamic range and to the top end Nikon APS-C along with good PDAF (not in terms of price, since they have similar sensors to the entry level D3400 series), it will have a serious winner. It may require a few lenses to be designed specifically for it. It could be Marketed as the most pocketable high end Mirrorless camera, and if battery swapping isn't a concern, it could easily compete with some top end sports APS-C cameras. One doesn't have to carry point that shoot cameras that don't have good low light or can't do sports photography (the RX100 v seems to be excellent with sports photography though, especially in bright light). I am sure if it could pull 14 Stops of Dynamic Range like on many of the Nikons (even the $500 D3400 does 13.9 stops) and has fast and accurate autofocus, people could easily shell out $1500 for a travel camera that is a real work horse. It could, more importantly, go where many DSLRs may not even be allowed. Think about it. Here is a size comparison between the D3400 and the GM5: http://j.mp/2T2yimW https://camerasize.com/compare/#570,681 I am also curious why Panasonic doesn't have more pancake lenses on the lines of the 20mm f1.7. That one's a superb lens, especially for the tiny size. Or have a roadmap for smaller cameras like the GX85 and GM5 with IBIS and PDAF. I can't think of one good reason why travel photographers wouldn't want a more capable travel camera. I guess we could all agree that the missing PDAF is arguably the biggest downside of the Panasonic Cameras.

Welcome.

I saw a video of Tony Northup (I hope that's the correct spelling), and the Z6 exhibited noticeable shutter shock at lower shutter speeds and banding at high ISOs with higher shuttwr speeds in electronic shutter. In the photo nice obviously. I am guessing the rolling shutter should better than the Z7.

Quite good actually. IMHO the background score and foley need a little not work, especially since its a horror flick (and a little interplay between them in the sound design). In the edit if you could do a little more back and forth, especially when the light first goes out and in the end, by hanging between frames and angles, it could look very scary. Nice work

Maybe perhaps more like 24MP. The sensor shift helps create larger res images, like it foes across manu Olympus models.

Hahaha. It was a joke. Many Sony sensors do full res at 30fps and over (some in 12-bit). Even the GH5 sensor does full res at 60fps. Though I am not sure that it's 12-bit. This particular document is so freaking LONG. But it does seem interesting, and the sensor vacillate between 16-bit and 11-bit with mention of some kind of global shutter mechanism too. Anyways too freaking LONG and I don't wanna read it from my phone. Thanks for sharing.

Could you share the data sheet. The 11bit bit seems pretty kickass.

The whole licence agreement of Panasonic from Leica for the L-series Cameras sounds curiously suspect. Because: 1. Not getting Olympus on-board has a Lot more to do with Olympus not being interested in Full Frame. It wouldn't take Olympus to figure that out after spending half a decade patenting all sorts of Full Frame lenses (I will read the literature again to see if it mentioned mount size or name). 2. Like Sigma (and others before it showed us), it is mostly quite simple to re-mount between various Full Frame lens mounts (unless obviously the mount size are enormously different). So it obviously didn't have to do with merely different mounts. Unless the Olympus mount had some seriously Path Breaking advantages over the Leica one (which seems unlikely, atleast until we hear more of that or until the 1st quarter of 2019 when Olympus' new enormous sized camera is revealed). 3. The Varicam and the Eva aren't using Full Frame Sensors or proprietary Panasonic mounts, which makes Panasonic cinema line-up the last to the full frame party (Blackmagic's prices are too low to count). Therefore Panasonic's high end cinema division also would be looking for a (non-Propreitory) new mount usable for Full Frame lenses for the Full Frame Varicam sensor (which should hopefully make it well before 2020). This may be a reason why Leica wants to edclusively make the Cinema lenses for Panasonic and Panasonic probably didn't wanna share the mount with Olympus. The whole M43 collaboration wasn't really a collaboration to begin with with various splattering of lenses and technologies between Panaspnic and Olympus. Also no proper roadmap. In the end Panasonic beat Olympus because Olympus' top end cameras didn't have enough video features to justify their price and Panasonic got the IBIS tech from Olympus, arguably the biggest advantage in Olympus cameras.

Wow. Thanks for the answer. I genuinely know too little about focal reducers, and I think I may have used one Only Once on the BMPCC (the original), veryyyyy long ago. The idea does fascinate me though and I was trying to create one for my old smartphone (that was until I lost my nikkor lenses, that I had carefully removed from an old Nikon point and shoot).

Does it add more than a stop to the brightness? I suddenly see the lens regain online for like $149, so it seems like a great investment.

I think the REAL fun with the reviews will start with the BRAW firmware coming in. Much smaller file sizes in RAW (12:1), improved low light compared to DNG, much more film-like grain, and I am guessing some minor improvement in dynamic range (mostly due to way the noise in the Last stops may appear).

Seems quite small. Would love to see this in person.

Actually since it relies so heavily on Touch sensitivity (plus that well spaced and amazingly well laid out menu) they put the 5inch monitor on it. With a low tensile strength body like this composite one (compared to aluminium and maybe even magnesium alloy) the body would have cracked with any kind of movement on the monitor. Plus the Aluminium and Magnesium alloy would have added to the price. Even though it isn't heavy at all, I still think it's quite large. @Andrew Reid you've turned this into another low light monster (like the amazing f0.74 you pushed the original BMPCC to). I wish someone would make an extremely small gimbal (maybe built into a cage only slightly larger than the one made by smallRig) built into a Camera Cage. I still think the body is too large. I wish it were smaller. It would be easier to hide it and easier to have it on a tiny gimbal.

If you Compare the very top end Nikon APS-C with FF you will see that the difference is very little. Considering that M43 and APS-C are much closer in size than APS-C and FF, you will realise that after a point the differences get Very small. There was an interesting article in Dpreview not so long ago showing that the difference between top FF and Medium Format also weren't as big. The advancements aren't 4 times as good in any possible direction. If they were all FF sensors would be in the range of 80MP or so. One doesn't need to shoot everything at super resolution or in super low light. That's more the exception than the rule.

The GH5s is proof that M43 can match FF for video dynamic range, and also having great video low light. I wonder if it could do like a QuadBayer version of that for higher MP as well as better low light by a similar process (/algorithm) used by the new night mode on the pixel. 8.9/9MP for Video and (4 times that) 36MP for photos. Some Super HDR mode for photos. A lens redesign could help with having higher res photos. One of the weaknesses of M43 was apparently the photographic capabilities of the smaller sensor (and lack of PDAF). If they can address those two, and keep the Size a little smaller, I can see it kicking some big fat FF ass.

How about diversifying this post to Best Editing Pcs at various price points: 1. $1000 2. $2000 3. $3000 4. $5000 5. $10000 Anyone wanting to spend more than $10k on an editing PC should probably just use services of companies like Prime Focus or some high end post processing and management agency.

Welcome back Zack. It's nice to see you again. Hope you're good.

Or the improvements in Jingle Quality and Sound Design. The low budget Ad has pretty decent (field) sound (recording quality) for the price.

Interesting concept. I guess it's similar for making movies, where the story is always king and many CGI elements can be replaced by well executed effects where props and great lighting and camera work can make things look much better (like miniature cars shows as gull sized ones or miniature sets replacing full sized ones too). For me the $100k Ad somehow didn't justify the budget. There was nothing extra-ordinary in the lighting or effects or anything else. Even the dolly movements were limited do a much higher budget. I've realised from working on films of different budgets that on larger budget productions, Stars, Locations (not necessarily well created sets) and Equipment constitute the majority of the budget and therefore as one goes higher, the concept of diminishing marginal returns applies wrt to how visually stunning or amazing other elements of the film are. The biggest giveaway of a low budget film is usually the sound.

This sensor has been in development since the time of Adam and Eve. And probably won't be ready before judgment day. ???

The delay on this one is pretty long (not in years or too many quarters, to be fair), which is visible from their announcement of ProRes and RAW long before they actually got it on their camera. Plus it's hardware needs gadgets to help with the 'ease of use bit right. It has many things right and a few things wrong (all of which IMHO can be improved or changed). Whether they delay it further or abandon that roadmap completely would determine the true success of the camera. Maybe they were probably in a hurry to release it, so that early adopters can help with the development roadmap and so that company morale isn't affected by the fact that they have to wait for many wuartwrs for collaborations to come through.

I believe ZCam (E2) has quite a few tricks up it's sleeve. The only problem, I suspect, is that many of those have been highly delayed wrt implementation. I would have opened my mouth, but let's just wait for the company to do it officially. Unfortunately the waiting is as bad as the Blackmagic Delays, in many ways. Hopefully the wait won't be thay long though.

Looks like Leica is trying to eat some of their pie. Though it's price would be many times the price. https://m.dpreview.com/news/2888145442/the-leica-m10-d-is-a-wi-fi-powered-rangefinder-with-no-lcd IMHO they may have put the wrong sensor (way too low dynamic range in normal mode, and the 2 HDR modes look impossible to actually implement). If it used the LTN4625A Sensor (of the Blackmagic 4.6k fame) instead it could improve things dramatically. If that be the case, it could have both great dynamic range (about 14 stops), and also super fast readout between 120fps and 240fps at full res. http://www.fairchildimaging.com/catalog/focal-plane-arrays/scmos/ltn4625a

If batteries are overcharged they get puffy. Those could be a serious hazard.