jonpais

First of all, the reviewer was only able to judge image quality on the back of the batcam. Secondly, he was handling a pre-production camera. We have no idea who this guy is - he might be a sideshow circus clown for all we know. Finally, it’s not clear to me from his impressions whether he prefers the GH5s solely for its image quality or factors like ergonomics, feature set, etc. See for yourselves: Doesnt Compare to GH5s Had the opportunity to take some Video footage with this beast Camera at a Trade show. I was able to do a few recording sessions as well in doors and outdoor but only for a few mins. I recorded through all the settings that the Camera had to offer. the footage is great, but prefer the Panasonic GH5s to be honest. Great Camera though, maybe once it is released it will be better. Thanks Blackmagic for the opportunity. To sort of paraphrase, I might say, ‘the AF on the Sony a9 is great, but I prefer the GH5s tbh’. That does not necessarily mean I think the autofocus on the GH5s is better than the a9 - it merely means I like the GH5s more. Anyhow, whether that’s what he meant or not, his ‘review’ carries absolutely no weight whatsoever with me, and shouldn’t with anyone else either for that matter. Not to mention that this is the first time I’ve seen someone handle the P4K at a trade show who had a negative impression of the image quality - if that’s indeed what he’s referring to.

Just wondering - did you have a particular lens in mind when you picked up the speed booster? What’s your budget like? Do you intend to use a gimbal? If you want premium native AF m43 lenses, Olympus are my favorite, but cost upwards of $1,200 new. The 45mm f/1.2 Pro is superb. The Oly 75mm f/1.8 is compact, all metal, and has nice bokeh. Sigma lenses represent excellent value, and the 16mm f/1.4 DC DN is a winner. Among premium MF lenses, Voigtlander has no peer. They are built like a tank and should give decades of service. When it comes to ASPC and FF, the Sigma Art lenses are widely acclaimed. The 18-35mm f/1.8 is a staple of cinematographers. If you need stabilization, the Vario 35-100mm f/2.8 would complement your Panasonic 12-35mm well. This question has been asked numerous times in these pages already, so I would suggest searching the forums.

There’s more to it than that. ?Concerning the amount of detail, the reviewer finds that FF lenses resolve more than Hasselblad’s. He much prefers the colors of the Hasselblad over Sony’s (no surprise there). Medium format look - Hasselblad is the winner. Having to focus and recompose at wide apertures with Hassy is not as effective as Sony’s AF. Chromatic aberration - I only recall seeing one lens at one aperture, but whichever FF lens he was comparing it to was the winner here - not enough info. Noise in the shadows - Sony was noticeably cleaner. Build quality - according to the reviewer, the Hasselblad felt cheap. The camera was also buggy and crashed several times on him. To be fair, he did not believe the a7r II is a professional camera either. Oh - and Hasselblad’s menu system appears to be brilliant. As far as price goes, I don’t think he is complaining so much about the cost (I guess he can afford one!) as the expectation that it should outperform the Sony in most categories to justify the expenditure. Disclaimer - I’ve never shot with Hasselblad and never intend to. ?

Saying the GH5 is a better sports camera than the a7 III would be an outright lie. On the other hand, just like measuring ISO, there are a dozen different methods for determining dynamic range, and I wouldn’t accuse a manufacturer of fibbing unless I could prove intent. Besides which, 12 stops is still respectable in my book.

I don’t see how asking to see some of this work of yours is the same as attacking you, but I’ll let it go at that. Have a nice day.

I got the longer Atomos full HDMI cable, works fine, cost a small fortune. Now thinking of getting their calibration cable (LANC > USB), another major ripoff, so I can use my X-Rite i1 Pro.

PK4 - delayed P4K - no delay

afaik, most people are consuming content on smartphones and tablets with tiny little displays, poor blacks, inaccurate color gamut, low resolution, with reflections that wash out saturation and contrast and listening with tinny sounding earbuds, if at all. and it doesn't bother me in the least. anymore than I care about the crap movies and music videos they're watching on those devices; or the horrible cat whiskers they apply when taking selfies with same.

@newfoundmass I'd be interested in seeing some of this footage of sporting events, event coverage, documentary and commercial work you've shot that would not have been possible with the a7 III. As for 4K 60p 10-bit, the GH5 requires the expensive, obscenely big, heavy, hot, noisy, power-hungry Shogun Inferno. And I've seen lots of projects shot with all kinds of cameras where 1080 60p was intercut with 4K and it didn't look like garbage - far from it.

@IronFilm What???? SM said for under 10 grand. Then you yourself listed a dozen or more cameras that would fit the bill. Find someone else to shadow box with.

Savannah Miller said so. In his post, which I quoted verbatim above, he said that for under $10k, only the UMP is usable for professional workflows without hassle. Which is not true. Afterward, he amended his statement to million dollar productions. Hello?

Your statement says professional workflows. It does not specify tv dramas.

False.

In my whole life, never have I heard anyone, professional or enthusiast, state that at a certain price point, only one camera or brand is acceptable. This is beyond fanboyism already. It borders on fanaticism.

Probably not contributing much to the conversation, but I also wanted the Aputure lights, but not only were they expensive, they also required soft boxes, AC power and turned out to be far more output than I needed, even with the GH5. So I ended up getting some Chinese LED lights similar to the Fotodiox Flapjacks, which not only accomodate batteries, but are much less expensive, softer, run silently and cooler, require virtually no setup and are ridiculously portable. I haven’t looked back since.

I’m in the process of trying to line up some fat, ugly, middle aged women to test out my ridiculously overpriced Sony lenses.

I’ve seen the Veydra 25mm T2.2 selling for as little as $650 used. In reality, it is not much slower than the Rokinon and is a true cinema lens. Get a 77mm Pro Mist filter and you’re all set! BTW, sample variation of the Veydras is extremely small.

It took about 10 minutes to go through all the settings and turn off all the crap enhancements on my TV; about one quarter of the time it took to program my new camera - or twice as long as it takes to put on my jeans first thing in the morning. This news is odd, as I thought Dolby Vision already had metadata on a frame by frame basis that adjusted the brightness and color of Netflix shows delivered in that format; as for HDR10, I wasn’t aware it was even possible to make those types of adjustments on a frame by frame basis. Guess I was mistaken!

It’s nuts trying to reach the release button on the a7 III. Hopefully they issue a firmware update. ?

It’s ideal for those suffering from obsessive compulsive disorder.

Not arguing with you either, @Anaconda_ .

precisely. but let’s argue about it anyhow since I’m retired and have nothing but time on my hands. ?

And to think all you need to do is quote the list price at B&H and say you’ll need media and batteries (which have come free with every camera I’ve purchased in the past 5 years btw). ?

You’re kidding right? I’ve been trying to find a home for my a7 III ever since Ken Wheeler revealed the e mount is actually a garbage crop mount!

These dire predictions of 40-50% of purchasers selling their batcam on ebay in less than three months are killing me. But totally irrelevant in light of the fact that we were discussing your imaginary $800 camera and two-hour battery life. ?