jonpais

Appreciate it. I just looked for my own card, couldn’t find it. Maybe it just existed in my imagination. ?

That’s actually the reason I was asking! I got 12, but was never able to get it to work for some reason.

Thank you. Perhaps someone who uses Resolve can answer definitively?

Thank you for your response. I wasn’t rushing to judgement - just asking a simple question. Maybe others here would like to know as well. Peace.

Let me ask something: when Blackmagic releases Resolve 16, will users be required to pay if they want to upgrade?

I’ve got no need for a hybrid either, but I won’t lie and say I don’t appreciate dozens of features on the GH5. Good thing is, I can use it and the Pocket without investing a fortune in new glass or adapters.

It would be churlish to complain. ?

Actually, yes! ?

I think you answered your own question: it’s going to work best on a gimbal, rig or tripod.

I hope so too. Each of these, and other cameras, involve a bunch of trade-offs.

Not so sure about this. If I were a hybrid shooter, I wouldn’t hesitate to choose Sony or Fuji over the Z Cam. And other manufacturers offer features that may be of greater importance to users. But I will agree that if these smaller players push the larger brands to offer more, it could only be a good thing for us. Panasonic, Sony and Fuji have made great strides in the hybrid camera space - cameras like the Z Cam and Pocket II are straight up video (or cinema) cameras.

This test has three things going for it - the model, the wonderful voice over and the choice of music. What is working against it are the harsh lighting, dull locations, blown-out highlights and too deep depth of field.

@Cinegain You did not! ? hehe BTW, the Atlas Orion 40mm is looking pretty tasty in @Raafi Rivero ‘s NAB test video.

GH5 6K anamorphic mode Blade Runner Lighting ”Memories.. . you’re talking about memories!” ?

Thank you much, Raafi. This lens is gorgeous. The slo mo does not prevent me from seeing the beautiful saturated colors and insanely wonderful oval bokeh this lens is capable of (as well as how awesome the Mavo is going to be). Looks like you can get really close with that lens as well. Really appreciate your sharing this!

GH5, Sigma 18-35. NSFW https://youtu.be/r6G70x3U7s8

I find the title of this topic rather amusing in that regard. 'It's a bomb' means it's a flop or a failure, while 'it's the bomb" means awesome, phenomenal. So I guess you can take your pick.

Thanks for your input. However, I'm not seeing anyone here dissing RAW. On the contrary, I think there appears to be a lot of interest in it.

I realize many cinematographers like working with vintage lenses, or just plain lenses with character. And this is true no matter which format they're working with. With micro four thirds, especially with modern lenses, often the results can look quite clinical, particularly when there is contrasty lighting or depth of field that is too deep because of the sensor size. Or when the user hasn't turned sharpening all the way down as far as it will go. I happen to like images that are sharp at a given point, but with super nice shallow depth of field. And that's one reason I have come to love the Olympus 45mm f/1.2. It's crazy sharp wide open and has nice creamy out of focus areas. However - because there's so much processing going on with sharpening and noise reduction, I realize my clips still have a bit of a video look to them. So I don't think it's entirely the lenses themselves that are to blame. And I look forward to seeing how the Olympus looks when paired with the Pocket II.

It sounds like all of us are just projecting our own favorite camera brand to be the next.

That's a bold statement. I can see Panasonic doing RAW internal much sooner than that. But I'm just talking out of my derriere right now.

Aside from AF, would you care to explain how the a7 III is more technologically advanced than Panasonic? Sorry to keep pestering you.

Agree there. And no overprocessing. ? I’ve already watched several videos where they’ve been able to match Panasonic’s colors to those of BMD.

Not sure I get it, but thanks for the timely response. We’re talking about a codec here, not eye AF. And if all it took was a firmware update, I’ve heard Sony’s not the best at doing those.

Not arguing, just asking - when Sony is still selling 8-bit 4:2:0 and Panasonic 10-bit 4:2:2, what is your justification for such a statement? All of Sony’s mirrorless are clearly aimed at hybrid shooters, while Panasonic has been more video orientated. Just curious.