Chrad

It is an issue for Sony cameras. It's one of the reasons I've chosen Panasonic cameras. You only hear the complaints about the S cameras because it's what Panasonic users expect. This is supposed to be a hybrid camera and they haven't included one of the most useful features for video shooting.

Chances of Panasonic putting SDI on a DSLR style body are maybe a smidge above zero.

Yep. You either do it, or you don't.

Haha at the thumbs down. It's a joke about black people being stupid and unintelligible - if you're going to post it in a public forum like this, own up to what it is.

This is racist as fuck.

When they call it a 'true digital film camera', what they mean is that you need to always watch the capacity and reload it often. Only with batteries instead of film.

Man, I *hope* they'll bring this thing to M43. It's a little ironic that this tech that's kept us M43 true believers faithful for years finally hits at a time when it seems Panasonic are shifting their professional push to the full frame world. Full frame is a shark infested red ocean market. I think getting a foothold there is much riskier than leveraging their existing M43 system with incredible tech that redefines the format, but I fear their execs see dollar signs from the higher margins of a fully 'pro' L-Mount system. I doubt there'll be a GH6s. I don't believe the GH5s has been a sales success, and its existence depended on a fairly novel sensor from Sony. As a security sensor, that thing could stay on the market for years , and if Panasonic/Blackmagic aren't putting in a pre-order soon then I don't see the need for a replacement before the Tokyo Olympics (presumed GH6 launch deadline). If the organic sensor is as wondrous as claimed, there'd be little need for a GH6s anyway.

Will be close to ideal once the D-tap cord is widely available. A better option than the dummy battery, since you could charge a real battery as you run the camera.

I'd trade IBIS for a proper 4mm MFT filter stack.

It depends on how you shoot. It might not be a major issue for many, but I draw a lot of inspiration from the aesthetic of directors who make prominent use of ultra wides like Terry Gilliam, Terrence Malick and Michael Mann (of late), so it is for me.

It would be good to see some infinity focus tests on the Voigtlander 17.5 - that lens has quite a bit of field curvature.

Hollywood loves the Alexa for its reliability as much as anything else.

What kind of performance did you get out of the 60w version?

Has the NF-A8 ULN worked out well for you with the Godox? Considering ordering it but I'm seeing some conflicting reports on PV.

I wish Blackmagic gave the camera to more 'filmmaker' types and less 'promo' types for their sample shorts. The Colour of Light video was nice as a demo but the voice over was poorly written, and the Lost Generation video was pretentious bro douchery. The wedding video was actually the most interesting and artistic footage they put out!

I'm in the same place. From what I've heard, yes, but some people have found success with replacing it with a quieter fan.

Noise performance of the Blackmagic is amazing.

I definitely prefer the softer, less digital look of the P4K image, really nice. The noise levels are mostly due to playing to the weaknesses of the GH5s though, by underexposing in V-Log.

The shutter can't be at 180, but you can fine tune it till the flicker disappears with the Synchro Scan feature.

This makes sense. But man, all they had to do is add a hinge to the monitor and this design would be so much more flexible. If you have a V-mount or some such power supply on the back, you could flip out the screen to the side of the camera and use it alone. It's a high enough quality screen that it seems wasteful for it to be treated as just a backup that you could use if you need to. And with an external monitor attached? There's your DP and director's monitors. Or, one for the DP, one for the focus puller.

Isn't the whole point of the big monitor that this is a pocket camera and you don't need an external monitor? If you need to rig up a monitor to mount external power without some unorthodox rigging whatsit designed to prevent blocking the view of the screen, then the rear monitor is just a waste of space and energy. Or are you saying this isn't a real cinema camera because they included a screen on the back? Broken design: halfway between a cinema camera that requires rigging and a low form factor device, in ways that are trampling on each other. The least they could have done here is add a hinge for the screen and then this would be a non-issue.

This camera is not what a real cinema camera is like though. An Arri or a Red is built around requiring external power and has a clear and logical place to mount the power supply. Usually a battery is placed behind the camera on a real cinema camera, but you can't do that here without obstructing your view of the screen. You could mount it underneath, but most people won't have access to that. This is why I refer to it as a broken design. It requires the rigging of a cinema camera for a lot of uses but it's built like a VDSLR.

It's noisier since it's reading a crop of the sensor instead of downscaling. Maybe a tiny bit less sharp.

I would think the GH5 would be the way to go for S16 lenses. Turn on Ex Tele mode and you've got an almost exactly S16 sized image circle shooting 10 bit UHD, with IBIS included as well.

I agree that it's a little less quirky than the original, but I don't think by much. Yes, the sound situation is better, but you're still going to need to use an adaptor if you're not going the 3.5mm jack route. The more things change, the more things stay the same. The battery situation here is truly horrific and shouldn't be downplayed. People are reporting 40 minutes or so. Blackmagic are once again shipping a broken design - the camera should take larger batteries or have been engineered in such a way as to save power if it is to be advertised as a 'pocket' camera. Yeah, you can carry around half a dozen batteries with you, but who wants to do that? Or more to the point, who wants to be changing batteries every 45 minutes (of usage, not shooting) in a run and gun situation? The screen is great, but reportedly hard to see in bright sunlight, so depending on your shooting conditions you might need to buy a monitor anyway. The USB-C features are neat, but they require carrying and rigging up a power brick or hard drive. And once you're going to that kind of effort, we get back to what I was saying originally. You still need a lot of accessories and effort to make this thing practical, and that's what's going to stop it from being the kind of film-democratizing modern super 8 type thing for amateur enthusiasts. Needing to rig the thing up is prohibitively intimidating, expensive and slow and gets in the way of the fun of getting out and shooting. For small production companies? Sure, it brings down the cost of professional codecs, particularly raw.