jonpais

Have you guys seen examples of stabilized footage yet? The IBIS is without question in a league of its own.

@Emanuel Just buy one already.

For all the talk about in-camera F-Log, since the X-T2 was released, there's actually been precious little uploaded to YouTube apart from some 15-second test shots - little better than the situation of Sony's 8-bit HLG HDR, of which there is only one poor clip of some burning logs.

@anonim My color correction and grading abilities are nil, so there's that. But the shots might be of interest to those considering purchasing the X-H1, as there is no footage whatsoever available online shot with the Veydras on a Fuji camera. The clips were all shot using the 50mm T2.2 Mini Prime.

The GH5 is certainly no slouch when it comes to rendering skin tones either.

There must be rental houses in Saigon but I’m not big league yet.

@Matthew Hartman That’s just one of the reasons I went ahead and ordered X-mounts for my Veydras - to see if I can’t use the X-T2 for narrative and documentary. Shooting with the $13,000 Cabrio 20-120mm on the set of TCSTV’s Collateral is like using a sledgehammer to hang a picture on the wall. Not very impressed at all with Veydra the company however - I paid $85.00 for shipping alone, it’s nearing a week already and as far as I know, the mounts haven’t even shipped yet. $85 should be overnight delivery. It is the New Year holiday here though, so they probably won’t arrive before the end of the month anyhow. When shooting the Mini Primes with the GH5, I usually just take along two lenses and use ETC mode, essentially getting four focal lengths in an extremely compact form factor. Like landscape mode on my iPhone, it’s a feature I wouldn’t want to be without.

As an X-T2 owner, I just don’t see a compelling reason to upgrade to the X--H1. Both cameras share the same sensor and color science: footage could be intercut seamlessly with no one being the wiser. The Camera Store could just as easily have shot their Collateral clip with the X-T2. The $1,540.00 it cost me last year would already start to look lke a bargain if I actually shot with it. When the X-T20 appeared, it was tempting to try that one out too, but its charm is also its downfall - the charm lying in its size, the downside being that it would be grossly unbalanced with lenses like the 90mm f/2, the 16-55mm f/2.8 and 50-140mm f/2.8. The excellent 23, 35 and 50mm f/2 lenses would be much more suitable. I guess the intention of Fuji here is to sell the X-H1 as a big production camera - definitely not for bloggers or vloggers. Which is why I find some of their nostalgiac promotional videos of lovely actresses toting around the diminutive Fuji cameras of yesteryear a bit ironic - videos that would be more appropriate showcasing the X-T20, not the stepchild of the GFX. Of course the videos are pure fantasy, but to me they demonstrate just how much easier their film cameras were to use.

and gear porn too! ?

Considering the original film cost $105,000,000, I’d say they did a good job.

i

Waving a hand in front of the EVF blacks out an external monitor unless you tilt the LCD.

That was crazy good.

Not sure - the longest native micro 4/3 lens in my kit is the Veydra 85mm T2.2. The new Leica DG Elmarit 200mm f/2.8 is probably killer. If I had the dough, I’d go for it.

I've seen gorgeous head shots made with say, a Red Weapon and Sigma 50mm at f/1.4, and I just can't imagine a micro 4/3 sensor being able to do the same with a zoom lens at f/4, as good as the Olympus is. But as @Arikhan points out, if you're able to move the subject farther away from the background and light appropriately, there's no reason why you shouldn't be able to achieve some pretty fantastic results. If I were you, I'd just shoot some interviews with the Sigma you've got already and see how it goes before investing in more glass. There's a reason why it's such a popular lens among filmmakers.

In April of 2017, Veydra announced they would be releasing X-mounts for the Fuji system, but almost a year later, and we've yet to see any footage online shot with their Mini-Primes and a Fuji camera. So I went ahead and ordered a set of three five days ago. They still haven't shipped to the best of my knowledge. Curious just to see whether they really even exist! Anyhow, if and when they ever arrive, I'll try to do some tests and share.

I'm impressed with your eloquence, I was just about to head out and get the Olympus myself. But before I do, could you share some examples of interviews shot with the lens that show off the excellent separation between subject and background and nice creamy bokeh?

Thank you, Prandi, I appreciate your invaluable insights. Vlogging footage shot with the C700? All talk, no walk.

yep, I can see clearly now how there was no room for a larger battery or headphone jack and how the overpriced battery grip wasn't just an accessory to extract more money from consumers.

Yes, I can see how vlogging with a C700 makes more sense than with a GH5. Body alone weighs 8 pounds. Oh, and spare change? $28,000? Would you be so kind as to share some of your vlogs? Unusual, since you were so anxious as to whether an app would work with your XC10, but now it's somehow no longer important...

As you can see, I was perfectly willing to go along with @Mattias Burling regarding a fully articulating screen, but he must continue pressing on: In what way, shape or form would a remote app capable of 4K hinder someone from making videos? And can anyone explain to me how using an external monitor or another camera [sic] for vlogging is more convenient than using the remote app? "I don't care if it's there or not". Well, maybe @Mattias Burling doesn't, but lots of us do. I don't shoot 4K 60p or anamorphic either, but I'm not about to dictate to others what's important to them.

I’m quoting yesterday’s post for a reality check. Is or is not the Video Prioritized Display on the GH5 logically organized and streamlined, allowing rapid customization of settings? Is the ability to record to two cards simultaneously not a useful feature? Does a battery grip make flying a camera on a single handed gimbal easier or more difficult? Is it or is it not more convenient to have a headphone jack on the camera body? Is a remote app capable of recording 4K genuinely a detestable idea, as @Mattias Burling pretends? Or battery life of 3 hours on just one battery with no recording limit and no splitting up of files? Is a full size HDMI port in some way inferior to a micro HDMI port? Is 4K 60p not desirable? Being able to set shutter angle? Zebras anyone? @Mattias Burling has accused me of being a hater and forcing my opinions on others, but it seems to me he is the one resorting to trolling me at every opportunity, lashing out at those who don't share his beliefs and online bullying. I guess I need to look in the mirror too, because I consider the comments above to be statements of fact, not opinion, and I don’t see any hate speech here, apart from the vicious replies by @Mattias Burling. Also, there seems to be a mistaken notion that I was only referring to ergonomics, whereas it is plain to see that not all of my criticisms of the camera were directed at handling alone. But I guess it bears repeating: image quality does not exist in a vacuum.

The Lumix GH5: World’s Best Designed Mirrorless Camera? http://cameraergonomics.blogspot.com/2017/09/ergonomic-logic-of-panasonic-lumix-gh5.html?m=1

Andrew Smallman, in his blog Camera Ergonomics, has quite a few interesting observations about the design decisions and handling of today’s cameras. He begins by identifying four phases of camera use: Setup, Prepare, Capture and Review and gives a breakdown of how each design decision affects the user experience from picking up the camera to reviewing the footage. The following are just a few of his remarks; I encourage you to read his blog if you’re at all interested in the subject. Re: Aperture ring on the lens barrel It requires more actions each more complex to operate an aperture ring (requires entire left hand and two fingers to move) than it does to turn an optimally positioned control dial (can be done with right index finger only). Re: Shutter Speed Dial With the dial in the usual position on the right side of the camera top plate the user must release grip on the camera with the right hand, support the mass of the camera with the left hand then reach back with two fingers to turn the dial. A mode dependent control dial requires only a small movement of the right index finger to make the required adjustment with no need to alter grip with either hand. Re: Stacked Dials There are variations on this theme. Some cameras have dial over dial, others have dial over lever module or similar. In either case it is not a matter of if but when the user will accidentally change a parameter unintentionally. Yet some new cameras persist with this feature which is entirely un-necessary for and counterproductive to a streamlined, fast reliable user interface. Re: Top Plate LCD Screens were required for SLRs and early DSLRs as there was no other place to display camera data. But now all LCD screen data and much more can be displayed on the rear monitor and/or EVF if fitted, making the LCD screen redundant. Yet these relics of the past keep reappearing on modern cameras (such as the Sony RX10, 1,2,3.) which have no requirement for such a display which takes up valuable camera real estate which could be put to better use.

@Frank5 the depth of field is identical.