jonpais

That's what @AaronChicago said.

+1 The first sentence was so silly, I couldn’t be bothered to read what followed.

Aside from FOV, what about color, dynamic range and low light performance? Have you compared them?

The chief difference is that Sony, Panasonic and Fuji don’t require you to invest in an expensive cinema camera if you want manageable files, 4K HDMI out, exposure tools (Fuji notwithstanding), flat picture profiles and articulating screens. Oh, and IBIS. All at a savings of 60% over the 5D Mark IV. So this isn’t only about their entry level camera for those upgrading from a smartphone. I see it as the story of the company that sparked DSLR filmmaking, only to abandon those very customers.

Field of view comparisons and color science compared.

Fuji is excellent in this regard, in that the lenses won’t bankrupt you like Sony’s GM lenses, they are of outstanding build and optical quality and perfect size-wise for me. I stopped using speed boosters with my Panasonics a long time ago - it was just unpleasant carrying all that extra weight around, and there are many more fast primes available today than when I first got into micro 4/3. A friend has got the prized Sony zooms and an a7r III, but I think you’ve got to be in good shape to lug those around all day long! The Sigmas are much less expensive, but they’re pretty big and bulky as well. Perhaps the one thing that gives me pause about going with Sony’s FF. It can take centuries trying to decide which lenses to buy for micro four thirds. With Fuji, it’s pretty much a no-brainer.

A really balanced review.

Forget the severe crop, the lack of zebras or waveform monitor, silly codec, intentionally crippling 4K HDMI out and no articulating LCD screen on the 5D Mark IV - there wasn’t even a flat picture profile at release. I think it’s abundantly clear Canon wants filmmakers to spend a ton of cash for features that have been available on practically every hybrid camera for several years now.

And that is precisely what determines which camera I’ll buy - clever marketing. ? Though I’m unsure what you mean when you say they’ve got a lot of products - you do realize that for Sony, Olympus, Fuji, Panasonic and others, that cameras are only a part of their portfolio, don’t you?

Sorry, but that is not what the interviewee says. He unmistakably says 4K DPAF is technically feasible (ie workable, achievable, realistic), but Canon doesn’t want to trample on the toes of the 5D Mark IV. The executive makes no mention of either hardware or software limitations. Canon has made it very clear for a long while now that professional videographers need to step up to one of their cinema cameras if they want 4K, exposure tools like waveform monitors and zebras, 4K HDMI out and decent codecs. It is the position of the product, otherwise known as marketing, that determines which cameras get what, and not feedback from filmmakers.

Seems like a pretty thorough and fair review.

Even if this thread were mostly speculation, which I don’t believe is the case, that is no justification for piling on yet more. “Look, the house is on fire! Let’s pour gasoline on it.”

And I think that’s what this topic is all about - business models - not which manufacturer produces better cameras. That sounds plausible enough, Glenn - but some reviewers speculated that the 1.78x crop in the 5D Mk IV was due to processor limitations too - so call me skeptical. And since someone here lauded Canon’s candor when compared to Western companies, if that were the case, why not come out and say the processing engine of the M50 would have to be beefed up? If I am to believe the Canon executive, 4K DPAF was entirely possible. Speculating about processors and overheating is really what I’d call reading between the lines. Are we also to assume that the DIGIC 8 processor of the M50 is somehow less powerful than the DIGIC 6+ of the Mark IV?

The M50 has already got DPAF.

It’s way off topic, but you are tossing around a lot of numbers with no proof. And the automotive industry is completely different to the camera industry. For example, gov’t regulations anyone?

But the M50 already has DPAF - it would have cost next to nothing to implement it in video as well. The executive even admitted that video DPAF was entirely possible. It would not have made the camera any larger. Where did you see that? Anyhow, the executive says point blank in the interview that video DPAF was purposefully withheld to protect the 5D Mk IV. This is in complete variance with other manufacturers like Panasonic, whose philosophy is to give the most value for the money. In other words, the consumer must shell out an additional $2,500 if they want a feature that is intentionally crippled in the lower end model. Not only that, but one of the most talked about features of Canon cameras.

I much prefer Panasonic’s business model, which gave both the GX85 and G85 IBIS even before the release of the GH5.

You are missing the whole point, @Trek of Joy. This has got nothing whatsoever to do with single card slots, weather sealing, 10-bit, plastic bodies, or AF. It is about a high level executive admitting to an ongoing company policy of withholding features to force consumers to spend thousands of extra dollars if they want commonplace features like an HDMI out with 4K, something even a lowly $600 Panasonic camera can do. The G9 was absolutely not crippled - it is aimed squarely at photographers - filmmakers can choose either the GH5 or GH5s. Panasonic threw everything but the kitchen sink in their GH* bodies. Read up on it. Nobody expects them to put 10-bit in their $1,000 camera bodies either. But I don’t know why you suddenly care about 10-bit anyhow. Sony’s a7 III didn’t hold back anything either: 693 AF points, headphone jack, larger battery, dual card slots, IBIS.... Manufacturing cameras, like any electronic goods, involves making decisions about which features to include and which to exclude. Panasonic’s philosophy has always been to give excellent value for money. Sony has followed the same course with the a7 III. And neither company has the audacity to foist a ten year-old outdated codec like MPEG for 4K like the 5D MK IV. This is another priceless quote from that same interview: Do you think that 4K video is a more important feature at the entry-level end of the market, or the enthusiast / professional segment? We believe that 4K video is important for all market segments, and all users. Given that we have a range of products, we always have to think about how best [to implement 4K] in that class of camera. And you can do more with 4K video in a higher-end camera than in an entry-level model. [italics my own] I suppose he’s referring to the 1.78x crop in 4K when the Mark IV was released. ? I think any unbiased observer could say that Canon only grudgingly added 4K to the camera, even as 4K is in full swing now.

Updating the Shogun to firmware v.8.42 still does not enable recording HLG. Hopefully, in the next few months.

I see my Shogun is running firmware 8.4 and they're up to 8.42. I'll give that a shot. v.8.42 includes the following bug fixes: HDR HLG and PQ Loop out over value gain issue fixed. Fixed an issue where the HDR slider value was not saved when using Auto HDR mode. 20% improvement to system start up time. Their website says this: SUBSEQUENT OS UPDATES EVERY 4-5 WEEKS WITH THE FOLLOWING FEATURE PRIORITY: Raw Recording (Sony FS, Canon, Arri, Panasonic) HLG In/Out QuadLink Scheduled Playlist So I guess it's not just my imagination.

I think I've got the same issue as Mark: if you want to record to an external recorder for delivery in HDR, you've got to shoot V-log with Panasonic. Unless I'm doing something wrong...

@webrunner5 Looks like a fair review.

@markr041 I finished a shoot this afternoon recording HLG with the GH5 to the Shogun Inferno, Prores HQ and when I imported the clips into Final Cut, they seemed to be rec.709. It’s been a long day, so rather than figure out what I did wrong, I went to a coffee shop to collect myself. It’s my first time using the Inferno. Anyhow, good thing the GH5 also records to the SD cards. One thing I will say is that you’ve got to be in much better shape than I’m in to handhold the Shogun all day long. Never again.

Sigma 30mm f/1.4 DC DN