jonpais

It’s a myth. But according to your post, only Canon has the secret. Very revealing, ES.

@Robert Collins How can you presume Sony mirrorless cameras will offer RAW video and at a reasonable price? Are you a Sony engineer? A stockholder? Why perpetuate falsehoods and wild conjecture?

No, @anonim, @Yurolov is right - no one in their right mind would use the GH5 for paid work. But why does he keep bringing up the GH5? I thought we were talking about bit depth, not Panasonic. And since he gets his authority from Dave Dugdale and Max Yuryev, I’m inclined to believe he doesn’t know what he’s talking about.

and more televisions. what’s that got to do with the price of tea in China? Oh wait, offering ff mirrorless cameras is a conspiracy to sell more expensive lenses... that argument makes so much sense... why didn’t I think of that?

Couldn’t disagree more. Why the antipathy toward 10-bit?

Which is also the reason I’m considering going ff. Not sheer optical quality, but DOF and low light sensitivity, which are more characteristics of sensor size, not the optics.

@Yurolov Not sure if that’s a logical, well-thought-out argument in favor of 8-bit. But heh, we’re all just talking shit here, right? Care to share files of your tests? Care to elaborate on who’s fixated with what? And compression is something that can be and is marketed. Also, I think you’re missing the point entirely: I’m not comparing the GH5 to Canon’s C300 or Alexa. Have you done chroma keying? Are you a professional colorist? Have you delivered HDR for clients? If not, how can you profess to be an authority? You’ve already confessed to having a bias toward Canon, which kind of negates any objectivity on your part. Lastly, regarding getting an image SOOC being all that matters may be true for you, but not so for those of us who shoot Log. Only RAW will do for ‘clients who want to change shit’? That is patently false. Sounds like a third-grader in a remedial English class...

The suggested retail price of Sony’s most popular portrait lens, the 85mm f/1.4, is $1,800; the Nocticron, $1,600. Olympus’s optically superior 45mm f/1.2 sells for $1,200. The Sony 100-400mm runs $2,500 while the Panasonic 50-200mm retails for $1,800.

Anyone who’s followed my activity here knows I’ve been a fairly active spokesperson for Veydra, but that relationship has soured. https://jonpais.wordpress.com/2018/03/02/veydra-anybody-home/

Struggling to come up with a counter-argument to ‘you’ve got to expose and WB correctly in the first place’: I suppose you could also say there’s no advantage to shooting with a $4,500 Zeiss Otus if you don’t learn to focus properly. But when you do, wow! ? A. All dogs can fly. B. Fido is a dog. C. Fido can fly. The premise is fallacious, as is the conclusion. If I were to say that I’ve been working with 8-bit all my life and have never encountered banding; that 99% of what we’ve seen up until now has been 8-bit; that none of my clients have requested 8-bit; that Canon 8-bit is jaw-droppingly good; or that I see no banding on YouTube; or any number of other arguments - those are all anecdotal evidence. For every video someone can produce showing no banding, I can find one that does. There may well be situations where a client demands 10-bit; I know nothing about chroma keying, but it seems 10-bit or higher is necessary; and HDR requires 10-bit as well. Never mind Sony’s transitional 8-bit HLG: there are a number of reasons they stuck with 8-bit that’ve got nothing whatsoever to do with image quality. Some say bit rate’s more important than bit depth, but the two obviously go hand-in-hand - you don’t offer a higher bit depth without higher bit rate - I don’t think 4K 10-bit 100Mbps would make much sense. Outside of the echo chamber, there is hardly a reviewer who hasn’t regretted the absence of 10-bit on some newer releases, and I can’t recall watching a single tutorial by any colorist worth his salt who would not prefer working with higher bit depth footage. Someone has said that 10-bit on these consumer cameras isn’t really 10-bit at all - but nobody’s arguing that there’s no difference between 10-bit or 12-bit Alexa footage and that of a consumer camera. Each camera is different, every NLE is different, people’s needs and perceptions are different, and I think we should respect that.

I concur. ?

I want that Olympus! ?

@Don Kotlos I wonder if it’s possible to see the striping on the Sony while shooting so I can just change the framing a little to avoid it.

The article says the problem has been mitigated on the X-T20 but nowhere does it state definitively that the issue has been addressed on later models of the X-T2.

@Dustin 4K 2-1/2 hours.

+1

I’m not making this up... I’m seriously considering trading in my Nocticron for the optically superior Olympus 45mm f/1.2.

If you compare the skin tones at 1:35 in this video to those of the same subject in Max Yuryev’s video, you’ll notice a dramatic difference. It’s white balance.

i

https://***URL removed***/forums/thread/4080328 Fuji grid artifact problem.

No Custom settings for speed and sensitivity?

The Olympus 45mm f/1.2 is looking crazy tasty to me right now.

@Inazuma precisely. no crop in 4K 24p, 1.2X crop at 30p.

The a7iii looks awesome. Full frame, 4K 24p no crop, $2,000... hmmm.