jonpais

@Don Kotlos That’s cool! However, why must reliable AF preclude 10 bit? Why can’t we have both?

There used to be forum members here who did care, maybe they’ve stopped caring, I really don’t know.

I should have added that 10 bit would require not only extra processing power, but also better heat management, which, as we all know, is not Sony’s strong suit. Anyhow, it’s got less to do with cost than protecting their higher end products. I thought most here found that practice abhorrent, but it seems now they’ve got their defenders.

@scotchtape Does a message appear on the screen when recording stops unexpectedly? Have you tried other SD cards?

@kidzrevil I thought 10 bit was part of the spec for HDR, or am I mistaken?

@EthanAlexander That's all well and good, but let's stick to 10 bit, not complicate matters with full frame 4K, okay? Otherwise, we can start throwing dozens of other features into the argument. Agreed? If your argument is just about the cost, what will you say when Sony releases an A7S III next year with 10 bit for the same price as the A7R III? Not saying it'll happen, but... Lots of features in tech cost a fortune just a few years ago that cost just pennies or are even free today. Also, I might be wrong, but I think it's got just as much or more to do with the processor than sensor size, and Panasonic's invested a lot in making a powerful one for the GH5.

Color me completely baffled - first, exactly how is Panasonic an oddball for being at the forefront in so many ways? And in what way is it unrealistic and unfair to expect other manufacturers to follow suit? Would I be wrong in drawing a parallel with Olympus and IBIS, by saying that Olympus was the oddball when they were the only game in town? Or that they were somehow making up for their deficiencies in other areas of image quality? And now, how is it that AF is more important than 10 bit for the 'average' A7r user? Is the owner of such an expensive piece of kit now the average consumer? Because in my book, manual focus is the way to go for professional looking video, not AF. In any case, does good AF somehow preclude Sony from offering 10 bit? I'd like to see the poll you are referring to, showing what Sony shooters think. Until that time, I would just speak for myself.

@gethin Yes, you’re shooting HLG, then adding the LUT in post. The advantages are a fast workflow, truer color and two stops greater dynamic range than Cinelike D. The settings are found in Paul Leeming’s PDF I linked to above.

4/3 Rumors spots a Sigma 50mm f/1.4 in the company’s roadmap for 2018. Source.

Why bother fixing overheating when your overpriced cameras are selling like hotcakes anyway?

The recently announced Sigma 16mm f/1.4 DC DN for MFT - will it whip Olympus’s 17mm f/1.2 big, fat behind or just break even, at a savings of some $600.00? All pure speculation right now, but fun to think about just the same. Sigma’s DC DN Contemporary lineup might be bare bones, but optically - that is, where it counts - the 30mm f/1.4 turned out to be one of the better performing lenses in the m4/3 system, and one I’ve found myself using more and more for its crisp rendition and nice soft backgrounds. Anyhow, if Sigma’s 16mm turns out to be half as good as the 12mm they designed for Leica, I’m all in! ?

You mean most of the LUTs you’ve found are for V-log, not Dlog, right? ? The obvious choice would be Leeming. But after trying out HLG with Leeming’s v501, it may be time to bid a tearful farewell to my beloved Cinelike D for good.

@thefactory Not really sure, but those on a budget seem to go for the less costly rehoused Rokinon stills lenses or even SLR Magic instead, but neither are comparable - and the Veydras aren’t really all that expensive, especially considering they cost less than some native autofocus micro four thirds lenses. I will say however that both my Veydra 25mm and 50mm need to be stopped down to T4 before they get acceptably sharp imo, but most seem to find the native m4/3 zooms and primes too sharp anyhow. I’ve heard several say the Veydras look boring or something, without any justification I can think of. A screen grab I posted recently from a clip shot in HLG with the Veydra 25mm looks punchy enough to my eyes. I’m just on my way to Singapore this morning to pick up the Veydra 16mm T2.2, I should have some sample footage up in a couple days. Congrats on your purchase!

It's easy as pie to change the color gamut to rec. 709 in the inspector. Here's a quick color correction using the Leeming LUT and one of the Quickies.

Thanks, Glenn. First of all, my sample might possibly be able to look way better than it does - I guess there's a discussion going on now over at FB about how FCP is correctly flagging the clips as HLG rec2020 - so I have to figure out how to disable that. If anyone here knows, please let me know. It's taking a bit longer than I predicted months ago, but it won't be long before another, smaller, less expensive Panasonic comes along with some of the pedigree of the GH5, but I wasn't expecting it to be photocentric like the rumors have it. When you purchase the Leeming LUT, you get a free pack of 'Quickies', which are different looks you can apply to your footage. And not stupid Hollywood looks or crazy colors, but tastefully done LUTs. So there's that. Then, the rest is up to your skills as a colorist and your own imagination. In fact, I really don't see a whole lot of stuff on YT graded using the Leeming LUT, though I'm sure it's out there. Edit: I just figured out how to override the color gamut. The colors of my original clip are way off, yet they look decent if you don't compare. New screen grab on its way, probably tomorrow.

@mercer Keep saving your pennies. The all-new Leeming LUT v501 designed for HLG in a rec.709 color gamut is sensational - better than Cinelike D and as good or better than V-Log Lite. I'm at work on a short video right now, will be going to Singapore to pick up the Veydra 16mm on Tuesday, but hopefully will be able to post it by early next week. The GH5 is definitely NOT (sorry for the caps, folks!) just a 'specs on paper' camera. So even if you don't have $1,000 to spend on a Ninja Inferno or an HDR editing monitor, you can still take advantage of the sweet wholesome goodness that is HLG right now. And no need for plug-ins either - you can convert the files to Pro Res and begin editing in FCP immediately. Details: Veydra Mini Prime 25mm T2.2, ISO 400, Sharpening -5, NR -5, Leeming LUT, no sharpening added in post.

@AnomalyVideo What percentage is your screen grab blown up to? 300%? Because first of all, regardless of what ISO you were shooting at, the image is grossly underexposed. Can you share a video clip?

A more in-depth look at the Veydra 50mm T2.2 coming in a few days and first sample footage of the 16mm T2.2 as early as next week as well.

@Elv_Vin From this shop at Sim Lim Square. I tested both the Angelbird and the Pansonic, they’re the real deal.

The Angelbird v90 128GB card works fine with ALL I 400mbps as does the Panny v90 128GB, but you should be aware that even if two cards work well individually, they must be IDENTICAL if you want to use one of them as backup. So even though both the Panny and Angelbird work fine, you cannot use them together if you intend to use one as backup. The Panasonic is available in Singapore at half the cost of BH Photo USA, less than $250 USD. I do not pity anyone in the future who complains about losing files if (a) they did not use v90 cards or (b) the 2 cards were not identical.

@CanonTheBarbarian The thing is, we're hearing lots of praise for some lenses and a camera, but the images you're sharing aren't living up to the hype.

without question, scenario #1. but I don't have bills to pay.

Highest center resolution ever measured of any m4/3 lens.

What happens when you offer to calibrate your friends’ sets, or does that conversation never take place? As far as professional colorists go, I’m quite certain they don’t lose any sleep over the fact that 99.9% of people don’t tinker with their sets’ white balance. In most cases, this would require adjustment every couple weeks and for viewing during the day as well as in the evening. Most people also don’t have neutral walls and furnishings or watch under balanced lighting. My own apartment has walls the color of cat vomit and blue tinted windows. ?

You edit with FCP, don’t you? Up until recently I was editing using a 4 year-old iMac and never had it ‘choke’ on 4K footage. At the moment, wifi is as slow as it’s ever been here in Vietnam, and it still only took 35 minutes to upload a 2.5GB file to YT.