sanveer

Wow. This is absolutely insane. Yes, Please. It would add so much more to the BMPCC4k. Btw how much does this thing retail for?

I found the concept and this shape and of the cameras very fasinating. Unfortunately the implementation was a complete mess. IMHO it could have done VERY WELL if: 1. It had an IBIS version found on the Panasonic and Olympus Camera it would have been great. They could have used a floating design to reduce the load on the battery, or have quick swappable batteries. 2. If it had a mini monitor or screen for shooting, with a semi articulating screen like on the GX85. The screen size could be tiny (>2 inches) as long as it has focus assist or some kind of focusing help. Attaching it to a smartphone was clunky and cumbersome, more so due to the disappointing transfer speeds. Also, monitoring on smartphones or using it for truly Guerilla Shoots remotely was also absent (like on the Olympus). Plus many of the apps for using it were apparently very disappointing. 3. The Transfer of footage (photos and videos) seemed like forever. They should have had a USB-C with super fast data transfer speeds. 4. The Servo zoom Sony version of some of the models seems great. Maybe they could have added to that. Also, like mentioned Above, shooting remotely (via Smartphone) should have been the biggest priority. 5. They should have tried building an ecosystem around it by collaborating with InstaMic and others for using this as a Guerilla filmmaking super tool, or something that could replace point and shoots. Instead of a large lens to be attached to a smartphone, which itself was pretty capable. It could also had had accessories like tiny tripods or motorised mini time-lapse setups for shooting. The list seems almost endless.

I kept wondering what is about you that don't draw as Much attending with a boom Mic and Large Sound Equipment (or camera equipment in this case) as everyone else. Sir, you look like Einstein testing for things nobody is quite sure of, in the city. They probably won't suspect that you are part of a film crew. I won't be surprised if some bystanders stand next to you for Yoga lessons and lessons on Eastern Mysticism. You have almost 2 careers running parallel. The Sound Yogi ?

I swear there is something about those mics. It almost seems like they are hiding some secret sauce. ?

RAW?

???

After the 14.6 stops dynamic range joke, a few things seem to have become clear: 1. The sensor is clearly able to do more than the 13 stops (RAW) that the GH5 can do. Most likely it has between 1/3 and 2/3 of a stop more dynamic range. 2. VLog L is stuck at under 12 stops and Panasonic has No Intentions of pushing it to the sensor's limit of 13 stops in the case of the GH5 and about 13.5 stops on the GH5s. HLG, on the other hand, does more than 12 stops, though the exact number may be debatable (and very likely also limited by Panasonic). Also, I am curious whether Panasonic would Finally Improve the VLog L with the GH6 or let it stay the way it is. 3. That being the case, then Blackmagic is either being conservative about the 13 stops or actually letting the 13 stops be the case with the Ursa 4.6k sensor in mind for a higher end camera, or it wants to maintain consistency with regard to dynamic range and ISO on the BMPCC 4k. 4. The Z Cam E2, could therefore, actually make a killing if it can push between and 1 and 2 stops more of dynamic range than the GH5s and also doing something neither the BMPCC 4k or the Panasonic can, that is shoot 4k at 120fps. Also, if it adds RAW and ProRes, it may make things easier for users. Z Cam seems to be all ears, and they seem to be open to customer feedback regarding what features to add. I am hoping they consider limitless power and storage options. Also, if some kind of modules could be attached to the camera to make filmming easier, it may be a hit with the Indie Filmmaking Crowd.

Interesting. Thanks for the reply. I am not completely sure about your HLG explanation though. I am noticed that they made a price correction to bring it closer to the $1295 price range. Has abyone else also noticed a price (drop), bringing it closer to $1295 in their country?

I read (or heard) somewhere that the BMPCC4k will have HLG. I am curious what codec that would be (H.264?). Anyone have answers? Also, does anyone know what the FINAL price of the BMPCC 4k would be after all the taxes added to the $1295 price tag?

I wish HLG could be installed on the GX85 (which is unlikely cause HLG came so much later and is reserved fpr the GH series only). Cause unlike VLog, HLG isn't capped at 12 stops. With the right settings, it could be a great way to get the best out of your camera.

I guess this is the same in most parts of the world. A boom pole, regardless of the budget, would draw crowds at most places. And cops are always looking for someone to make a quickbuck off. You could say film students if you don't look too old.

Thanks for the reply. Looking forward to the HLG test.

I am looking at the Sony 7 iii too. So, I am curious why you didn't take the Sony 24-105mm f/4, because it has a very wide reach and it seems decent for most situations except very low light. I am also very curious about the new lenses from Sigma and Tamron for Sony, since most other Sony senses seem to be rather prohibitively priced. Sounds very exciting. Could you also please post some videos comparing SLog 2 and HLG. Thanks in advance.

Thanks for the information. Will definitely check it out. Actually, there is no question if crop, cause it' a fixed lens camera.

@Andrew Reid there appears to be a minor glitch. I tried compiling a poll for lenses people think are missing or are needed for the M43 standard. When I pressed Post, that poll vanished into thin air. Maybe so share the list here, if the poll doesn't work from mobile devices.

Superb Survey. Very interesting. I am pretty embarrassed by the fact that I leave a lot of things for later. While I feel too intricate storyboarding can make a product seem very mechanical.

Actually the difference between the 4k and 4.6k sensor was HUGE. 3 stops (or more) of dynamic range difference. And hence the 2k price difference (maybe more now?).

The lens causes the sensor to have a lot of crop, and that is why despite being a 16MP sensor, its highest resolution is limited to 12.7MP (in the 4:3 aspect ratio). I am guessing it was designed by Panasonic to actually compete with the 1inch sensors by offering a fast lens and slightly larger sensor, despite the crop from the M43 sensor size. Despite the low MP count, it seems to have worked quite well.

Hahaha. Maybe $1999 if it is one lens (f2.8 12-100mm) to rule them all then all. I feel that Olympus lenses have letter optics than Panasonic's which correct a lot of flaws by way of internal processing instead of making better lenses. Actually I am guessing the GH series cameras are getting huge due to 3 reasons: 1. Unlimited Recording, 2. 5-Axis OIS, and most importantly 3. Due to having 10-bit recording without having heat issues thay come with it and without having a fan or other things. The tiny size of the Sonys had ensured that they have overheating issues (they have dealt with it by having much better processors and I am guessing some superb built-in heat sink in models such as the A7iii), disappointing OIS (especially noticeable while walking), and over sized lenses (especially some of the good G Master ones). The NX1's ergonomics are soemthing different. The grip of the body itself is so well curved. Which is one aspect most companies wither don't design well, or don't improve with subsequent models. I think lens manufacturers should also be asked by CIPA to state their levels of IS compensation in exact stops.

After doing a little bit of research, I discovered that while there is a site comparing most Amatuer and Prosumer Cameras (https://camerasize.com/compare/), there appear to be none that compare Camera Lens sizes (except one that matches M43 cameras with lenses for relative look and size estimations http://four-thirds.org/en/special/matching.html). There is a strange presumption that lenses must remain small at the cost of faster glass or great options, and this applies to Panasonic too. Olympus has been shamelessly making some superb glass and some of it is pretty small too, especially for the quality and brightness that it offers. If Samsung could make f2-2.8 (16-50mm) Zooms, there is no reason Panasonic should not aim for Zooms that start brighter than f2.8 (Panny Leica f2.8-4 12-60mm). I saw the Zuiko f2 Zooms and they are absolutely enormous. Panasonic should aim for a combination of bright and decent range, even if it means a little large lens (not as enormous as the Zuiko f2 zooms). I don't like variable zooms, cause they suddenly feel weird if you don't close the aperture to begin with, and then zoom in. A 12-100 versions of the stellar Olympus f4 zoom, but with an f2.8 lens would be perfect. It could be large. This single lens could outsell everything but the M43 system if it has good OIS and isn't priced above $1499.

Basically what Apple seems to be doing is putting the various flavours of RAW in its own wrapper and charging a fee for it. Adding no extra value to the RAW (most likely), causing issues with software (like DaVinci) recognising the kinds of RAW codecs, based on the various kinds of RAW programs and cameras that use these various codecs, unlocking them to their individual potentials. It's like a blanket standard with no individual specification to individual cameras. Basically it is Not a new RAW standard or codec. It basically is just a Alpha or Beta version of a new standard, which still has a very long way to go before it figures out what it brings to the table. I also suspect that it has some monopolistic practice involved in decoding this RAW that will affect all NLEs. And Apple is shamelessly assuming that they will get away with creating it. I see the other editing suites collaborating to get back at Apple (maybe isolate ProRes?).

I realised that while this test may be borderline ludicrius regarding actual dynamic range, it does highlight certain very interesting facts and even maybe give us a hint or two about the present and future developments in the GH line of cameras and their capabilities. "Like 709 10.3 HLG 14.6 V-LogL 13.5 CineLike-D 13.9 ... Note that these figures are a little speculative and subjective: it is up to the user to decide whether the performance at the extreme ends of the dynamic range are acceptable, thus there is an uncertainty of about 1 stops in all these results. Neither of these sets of dimensions is enough for 4096x2160 recording unless my assumptions are over-simplifications – which seems likely from the measurements above." He claims the HLG has 14.6 stops of dynamic range. The CameraStoreTV guys (who are now on DPReview) said that Panasonic reps told them that HLG has a little more dynamic range than VLog, which could make sense since Vlog L, the one used on the GH cameras is capped at 12 stops and below. I also remember someone mentioning (in a DVD Forum?) about 11.63 or so stops, measured for Vlog on the GH5s. If that is the case, then the guy is off by approx 1.87 stops or so (13.5 - 11.63). If that is the case then 14.7 - 1.87 (the stops by which it is off) is about 12.73 stops (or a little less). Wide Dynamic Range is a common rant mentioned in all the Sony Sensor Literature on the Sensor. Also, BMPCC 4k mentions 13 stops of dynamic range (I am guessing it should be around 13 stops -/+ a third of a stop). If that be the case, then it is time Panasonic redo the Vlog L (and push it for 13 stops, instead of capping it at 12 stops). The 12 stops limit, may be the sole reason the GH5s doesn't seem to have more dynamic range in 10-bit 4-2-2. Panasonic were probably too lazy to improve the Vlog, apart from wanting to save their more expensive cameras. And since the GH5 according to DXO does 13 stops in RAW photo, the Vlog seems to be a similar version of the GH4 which hasn't been improved in dynamic range since then.

Seriously Kickass !!! Thanks for sharing this information.

Cause with a boom pole you STILL have to attach he mic to wires, to the recorder. Which means you are carrying a bag with the recorder. Which is superb for reviewing the quality of the recording at real time (via headphones), but the setup could be smaller and more portable.

Hahaha. Let me Clarify. I meant I wish there was a Mic that was super long and L-shaped ( like a metre long witj a bendable section, eliminating the need for an additional for an additional boom pole). And I wish such a mic could be used with DR10X for recording sound. Right now it can't power mics so shotguns are out of the question (except perhaps mics like the NTG2 and other mics which have internal battery). I am guessing the signal to noise ratio must be also low.