jonpais

now you tell me!

The renowned factory in Sendai must've had Lloyd's number.

I’ve been following Sigma with interest for years, marveling at how a manufacturer of middling third-party lenses has gone on to become one of the world’s leading producers of superb optics. But lately I’ve come to think of their approach as a bit old-fashioned. Their ART lenses may be a bargain, but their massive size and weight is a big downer. I thought of this when setting eyes on a prototype of Panasonic’s humungous full frame 50mm f/1.4 L-mount lens announced at Photokina and hearing of their proposed partnership with Sigma. It almost looked like a grotesque caricature of an ART lens. I also couldn’t help but remark how much more beautiful Olympus’s 12-40mm rendering looked when compared to Panasonic’s rather pedestrian 12-35mm in recent videos shot with the batcam. Panasonic has not exactly been at the forefront of innovation when it comes to optics as far as I can tell. At least Olympus features clutch manual focus on their PRO lineup, and most seem to feel that their lenses rely less on software correction than Panasonic’s. Fuji introduced a feature in their X-H1 that enables linear response when manually focusing; Canon’s EOS R allows the user to change the direction of focus and they’ve added rings to both their adapters and lenses for added functionality; Nikon’s S line is supposed to have little to no breathing; and Sony’s G Master lenses appear to be prioritizing light weight, performance and appealing bokeh. What do you think? Is Panasonic really headed in the right direction partnering with Leica and Sigma when it comes to innovative approaches to optical design and state-of-the-art performance?

Some say sound is 50% of good filmmaking. The single most remarkable experience in my lifetime of how sound can enhance a movie was Raging Bull (1980). Here’s a short fun look at how foley artists create movie magic.

Lloyd Chambers’ Z7 goes bonkers.

What @wolf33d said.

@webrunner5 wan’t joking when he said Sony’s colors are becoming almost more Canon than Canon. ?

In what way does the video image quality surpass the competition I wonder?

It really makes no sense to me at all. Sony is partners with Atomos after all.

He also found switching between photo and video a PITA. Any workarounds?

@helium Actually it is possible to say the poor GH5 results are due to incompetence, because the skin tones don't even fall on the vectorscope skin tone line - they're far too magenta, and far too washed out.

And to top it all off, I think most forum members already know how much I struggle with color correction. What they did was a total hack job.

How hard can it be to at least make a small effort to try to match the shots from the two cameras? The one on the bottom is from the video, the one on the top a two-second color correction. In the video, I'd almost say they tried their hardest to make the GH5 look ghastly. No wonder what they saw were thin skin tones with little to no gradation. Even checking the vector scope, it's plain to see that their grade is far too magenta.

So what you're saying is you've got to purchase a $7,000 external recorder in order to get RAW from the a7s III? That recorder is to attach to a cinema camera body, not a mirrorless hybrid, isn't it? I'm totally confused.

I've got to say, never have I seen such ugly skin tones from the GH5.

I don't know Andrew - he does mention the crop several times, the lack of IBIS, that it's too bad it shoots 120 fps 720p and no AF, how he's not particularly fond of the touch bar, how he likes wide angle a lot, the dynamic range and low light perhaps not as good as say Sony and so on. Both the 1080p and 4K are far too soft for my taste, but others in these boards may even prefer it. What strikes me the most is how closely Sony's colors are resembling Canon now. I'm wondering to myself whether his shirt is blue, purple or black though!

Skin tones from Matti's review.

Those two really know how to make that camera sing.

right you are.

The color in the Fabrizio & Omayra video is simply gorgeous and the dynamic range is very impressive.

So you're saying most X-T3 shooters won't be rigging their camera out like this?

One of the better interviews with Sony at Photokina re: simplifying menus, changing color of AF points, bitrates, eye AF, shutter closing when turning off camera, top LCD screens, how they made the new 24mm f/1.4 so small and lightweight, increasing functionality of the play memories app, rotating information when shooting in portrait mode, and more.

This is a two-camera shoot, but anyhow... skin tones look great to me. And Parker’s focusing manually.

Film Convert?

I’ve wasted more money than that in a year and a half. He’ll get over it.