Simon Shasha

Couldn't give two shits about AF. No 10bit internal on A7SIII is DOA for many a serious shooter. Will most likely come in higher than A7R2.

To be blunt, as time has gone on and more footage has come out, I have begun to question my GH5 pre-order. I think the compression of 10bit is just too much. I find my Blackmagic Pocket and Micro to be far superior thus far compared to what I am seeing out of the GH5. Regardless, the form-factor and IBIS has kept my pre-order in place. For live-event work, it will be my go-to camera.

+1

As unrealistic as that grade is, as in, nobody would ever grade that severely, it does indeed show that 10bit internal is working, and well.

As unrealistic as that grade is, as in, nobody would ever grade that severely, it does indeed show that 10bit internal is working, and well.

The GH5 doesn't shoot video with HEVC. Only in 6K photo-mode is the HEVC employed. So, ultimately, strictly in terms of quality, IPB 150Mbps is identical, or better, than 400Mbps ALL-I?

Just had a look at that Cinema5D GH5 "review" (if you can even call it that). Anyway, as I was going through the comments, the bloke that wrote the article commented this: "The 400mbit codec will be an all-i codec, which requires much more data for the same amount of information. I don’t expect this codec to fix any of the problems pointed out, as those are most probably related to processing and not encoding." Is he suggesting that ALL-I 400mbps is equivalent to IPB 150mbps?

Those videos were both turn-offs.

I agree completely. It is, ultimately, impossible. It is akin to asking someone to define nothing - once defined, it not only has become a subjective "something", but is also no longer "nothing". Paradoxical. In the end, it boils down to this - Life is, ultimately, subjective. The very essence of colour, light, shadow, darkness, and so on, and how each individual perceives such things, is subjective. Furthermore, in reference to semiotics/colour semiotics, not only is the physical perception of colour, light, shadow, darkness, and so on, subjective to each individual, but the meaning of such things in themselves is subjective to each individual. With objectivity being, ultimately, impossible, I guess we are left with this - to create our own subjective expression and experiences by means of cinema, to share them as objectively as possible, and leave them open to subjective interpretation - and to do so benevolently and without malice.

The Oscars are rubbish. These days, anyway. I believe filmmaking is the most powerful art-form. It has the power to influence hearts and minds, and allow people to feel things - truly feel things. I really believe filmmakng can make the world a better place by means of subjective immersion, empathetic response, and telling the story of the human-condition. Hence, I think success is if your film allows viewers to feel raw emotion via empathy (even with the most questionable of characters), and allow viewers to learn/experience something new from their subjective interpretation of your film. I say this in regards to narrative fiction filmmaking. With documentary filmmaking, I have the same beliefs, but the responsibility of remaining objective on the filmmakers behalf is very important. With documentaries, I believe filmmakers have an obligation to remain objective - to strictly document - like a James Nachtwey photo - for the sake of the truth. However, even then, no matter how objective a documentary maker remains, the viewer will ultimately determine their own truth by means of their own subjective interpretation/research - well, I hope they do, anyway.

The GH5 is the first time I am willing to trade dynamic-range for ergonomics. I am absolutely sick of rigging up cameras, if not with external monitors, than with shoulder-rigs and whatnot. For my personal shooting style, the 5-Axis on-sensor IBIS, high-res EVF and LCD, and 10-bit internal, make up for the lack of dynamic-range and usable 12,800ISO (which I wouldn't even use, anyway).

10bit is probably nosier because 150Mbps isn't enough for the 10bit colour palette. However, I may be very wrong.

For sure - when I pre-ordered my GH5, I did it knowing that I will, most likely, be limited to ISO1600 - which, as I stated before, is absolutely fine with my shooting style. The first camera I was trained on back in 2005 was a Canon Scoopic 16mm with film speeds of ASA20 to ASA640. I guess that experience shaped my shooting style till this day. Definitely has its limits in low-light - if people are shooting in situations that require ISO100,000, then Blackmagic is not for them. I had an A7S with a Atomos Shogun. I thought the 4K 8-bit 422 would help with the colour-science and banding. After multiple tests side by side against my BMPCC, I sold the A7S and Shogun combo immediately. I think I was spoilt by being taught on 16mm. The magic of having my first 16mm footage projected really ingrained (no pun intended) in me the type of fidelity I wanted my images to have. I've been chasing it ever since. I think that's why I love the BMPCC so much - it's the closest I've ever gotten to it by means of a digital format. I'd shoot 16mm if I had the funds, but what's more, it's next to impossible here in Australia - have to send the film away off-shore to have in processed. Hard to rent high-quality 16mm cameras and lenses too. I really hope Blackmagic releases a BMPCC 2.0 - perhaps with the 2.5K sensor and 60FPS - that would be beautiful.

In the end, the colour science and 8bit codec killed the A7S for me. I much prefer my Blackmagic Pocket and Micro. A clean image at crazy high ISO isn't really something I look for, I'm more interested in colour-science and bit-depth - this is why I sold my A7S and A7RII, and still have my Blackmagic Pocket.

Ha. Calm down, mate. Never said I was shooting in S-Log - not too fond of 50Mbps 8-bit 4:2:0 S-Log...but if you are, knock yourself out.

I shot live music for a long time (video below). All on Canon 7D and 60D. Pretty much only had one lens (Sigma 30mm F1.4), and would rent a Sigma 20mm F1.8, or Canon 70-200 here and there/when needed: The Canon 7D and 60D were not ISO champions, they pretty much fell apart after ISO 640. When I bought my A7S, I wasn't that impressed. Sure, I could shoot crazy high ISO, but given my experience with the 7D and 60D, I didn't really need it in the end. Not for the shooting style I had developed by that time, anyway. Fast aperture made the difference. Most of the time. I'd gotten so used to pulling focus at F1.4 - F1.8. Would drop the shutter to 1/40, 1/30, if the lighting being used allowed it. Was never fond of shallow depth of field. Tried to keep my shots wide to avoid it. I always found very shallow depth of field disorientating. I never used my own artificial light - I always found it visually obtrusive, fake. I wanted viewers to feel like they were there. I guess I had to really choose my shots back then. Wait for the light. There were many times where I wouldn't be shooting at all, just waiting on the sidelines for the light to change. If I got the shot, I got the shot, if I didn't, too bad. Sometimes I think it was better this way - stopped me from over-shooting. The only downside was having to pay attention non-stop to the lighting...but I guess that's our job in the end, no?

I have a rule. Even with A7S. If you need more than 1600ISO, you probably shouldn't be shooting there in the first place. Either change the scene's location, or use lights. Simple.

Using an external recorder kills everything I like about the GH5. For the first time ever, I'm willing to trade dynamic-range for ergonomics. 400Mbp 4K ALL-I 10bit/200Mbps 1080P ALL-I 10bit will show this camera's true capability.

Besides Luke, the videos released thus far have been a let down. Regarding the few points above - I do not believe one requires a 10bit monitor to see the difference. I use 8bit monitors, and my Blackmagic Pocket, when shooting 10bit 1080P ProRes HQ, absolutely decimated my Sony A7S + Shogun 4K 8bit ProRes HQ. I would bring both files into Premiere, push the grade in Lumetri, and the Blackmagic 10bit 1080P ProRes HQ held up, the A7S 4K 8bit ProRes HQ did not - banding all over the place. When I shot for Blackmagic to promote their Micro camera, I found the results even better - the new colour-science and improved sensor/ASIC showed me even more how important 10bit is. You can tell a 10bit image virtually immediately - the colours are deep, rich, have fidelity, accuracy. 8bit images always come across very "thin" and crayon-like - especially the skin-tones. I am liking the 10bit I am seeing out of the GH5, however, I do not think its true potential will be realised until we see 10bit 400Mbps for 4K, and 10bit 200Mbps for 1080P. Agreed.

Found two new GH5 clips. Very impressed with the beach one.

Whatever it is, doesn't look like 10-bit colour. And if it is, man, something's not right.

Tell me something. Where were the "liberal and progressive" protesters and celebrities when Obama deported 2.5Million immigrants - more than any U.S. President in history? Where were the "liberal and progressive" protesters and celebrities when Obama armed, funded and trained "moderate rebels" that committed genocide against my people, Syria's Christians? Where were the "liberal and progressive" protesters and celebrities when Obama spent $1Trillion on nuclear-weapons? More than all his predecessors combined. Where were the "liberal and progressive" protesters and celebrities when Obama expanded Bush's wars from two to seven? Where were the "liberal and progressive" protesters and celebrities when Obama droned 60,000 civilians - mainly women and children? Where were the "liberal and progressive" protesters and celebrities when Obama dropped a bomb every twenty-minutes for eight years? Where were the "liberal and progressive" protesters and celebrities when Obama's "moderate rebels" killed four members of my family!? Where was the outrage!? Tell me, where the fuck were the "liberal and progressive" protesters and celebrities during that shit show? I'll tell you where - they were busy watching Obama crack jokes on Jimmy Fallon and dance on Ellen. They were busy getting distracted by that shit show to notice the cluster fuck that Obama unleashed on the world. You wanna call anything that doesn't fit your narrative "propaganda", fine. I've had it with all the phoney progressives out there that can't seem to let go of Obama's nuts. I've had it with all the phoney progressives that automatically think you're a Trump supporter because you call out Obama for the shit show he started in Syria, in Libya, in Yemen. I got nothing left to say to anyone. Fuck it. I'm out.

This "ban Muslims from seven counties" and how "countries Trump has business ties with are exempt" has been debunked many times already - seems MSM doesn't want to report it though. I highly recommend this debunking video:

Anyone?

Detail is great. Rolling-shutter looks virtually non-existent.