jonpais

However you put it, @anonim , unlike the X-H1, footage from the Pocket requires grading. And from what I saw when @Neumann Films made log footage from the GH5 available, most here struggle with grading.

FWIW, wolfcrow also tested the GH5 with the Atomos and recommended using the internal codec instead. Same issue - strange artifacts. If I may chime in about crowdfunding flavors, for the life of me, I can't see how announcing the Pocket 4K five months in advance is going to prevent anyone from purchasing another camera. $1,300.00 is chump change.

You could be right. On the other hand, just playing devil’s advocate here - just how many Oscar contenders have been shot with DSLRs? And why hasn’t BMD dropped their Ursa Mini Pro? $4,500 in savings can get you a ton of ND filters. ?

Could be. If true, we should see a drop in sales of all sub $10,000 cinema cameras, or at the very least, drastic price reductions and fire sales. I can already see rental houses closing their doors. I also thought the abundance of fast, optically superior f/1.2 - f/1.4 primes would put Metabones out of business, but surprisingly, it hasn’t happened yet. The same prinicipal applies: compact form factor, outstanding image quality, affordable pricing. I really like the image quality I’m seeing from the Kinefinity, and the pricing looks very reasonable to me.

I think it would be a huge win both for Atomos and the camera manufacturers. Atomos has a close working relationship with all the major brands. If the GH5s or GH5 implemented RAW HDMI out, there is little question in my mind that it would stimulate sales. As far as needing a 5” recorder/monitor, I can’t speak for anyone else, but it’s nothing to carry around handheld. My advice continues to be, bombard every camera review, interview, unboxing, tutorial and promo with requests for RAW HDMI out. It is a fallacy that monitor/recorders are no longer relevant in filmmaking.

Uncommon good sense.

The way I see it, there is a vast gulf between mere ability and mastery,

@kye My own impression from looking at the heavy handed graded stills from a clandestine NAB shot posted in the Pocket thread is that the skill level of forum members is all over the place.

Hugh Brownstone weighs in.

Well, I think I was mistaken after all.

Maybe the 2TB DJI Copilot can record and charge the camera at the same time.

I wonder if it would be possible to tether the Pocket to a laptop?

Out of likes for today.

Same here. I was hoping to hear about the Atlas Orion anamorphics though - were they even at the show? bizarre... I can't agree that monitor/recorders are dead, especially when more and more productions will be shooting HDR in the future. And no camera LCD can achieve 1,000 nits brightness. I also would not want to rely upon a small LCD screen for pulling focus, and neither do film crews. The Pocket looks like it has an awesome screen, but the inability to tilt makes it a little awkward.

Let's stick to the Pocket and stop trashing the Panasonic at every opportunity. Deal.

Gaslighting again and twisting my words around. I never made any spiteful comments about the GH5, what are you talking about, man? Not once in this forum have I ever said one camera was better than any other. The phrasing and italics clearly indicate those were not my own words. And if I want camera advice from you, I'll ask for it.

I have no idea - I think I read in Andrew’s review of the original Pocket that RAW requires more skill. I could be mistaken.

The italics are because I don’t know how to quote from another website. Got no idea what you are referring to by accusing me of deceiving anyone. The Pocket does not have a waveform monitor. And regardless of your condescending and frankly hostile attitude, I will probably be picking up the Pocket.

One other factor to consider is the consolidation of the micro four thirds format, which has grown exponentially - and the Pocket can only serve to enhance its stature even more among indie filmmakers. And I would not be surprised to see PanLeica and Panasonic lens sales increase as a result. And there will always be those who don’t necessarily want to deal with 800Mbps files (or whatever - too lazy to look it up!), who require a flippy screen, IBIS, EVF, and so on. And as I’ve noted before, you’ve got to be an experienced colorist to work with RAW, from what I’ve heard.

As frustrated as I am working with thin, hideously over-sharpened files with crappy noise reduction and green skin tones, I still fail to understand the impatience with BMD. Six months isn’t a long time, and we’ve all got cameras to shoot with and brilliant stories to tell. How often do we hear complaints of manufacturers rushing products to market, only to end up being unwitting beta testers? This will give BMD plenty of time to work out the bugs, if there are any.

Thanks for clearing up the misunderstanding.

In the interest of another opinion regarding visual effects, which one member here claims is a nightmare with the GH5, here is what Thomas Smet has to say, Stephen Fleet is a VFX supervisor for a lot of TV shows including Marvels Iron Fist and he loves the GH5 for shooting VFX plates. He is likely more critical of compression and color quality out of any of you and yet loves the GH5 even over the GH5S due to the higher resolution sensor and the out of the box quality it delivers for intense VFX work. So the argument that you need raw for VFX is complete BS. Stephen even found the 150mbps on the GH5 to be just as good for effects work as the 400mbps. That isn't to say the Pocket wouldn't be impressive as well but that the GH5 is still an amazing choice.

First, he says it’s a new sensor. They can mean anyone. Why doesn’t he say, ‘we haven’t used it in any previous camera’? He is a BMD representative, is he not? You may be right, but I find the use of the word ‘they’ when referring to you and your colleagues, or when speaking as a representative of a company a bit strange. When listening to other representatives of companies, they almost always use the word we. But I concede! Ha.

The GH5r (as in RAW). ?

My feeling is if the big players didn’t react to the GH5’s 10-bit codec and 4K 60p, a much smaller company is not going to have much impact at all. The only way is to keep pressuring the manufacturers and their representatives at every opportunity.