fuzzynormal

Well, as you hinted at, I find those vids all annoying. Those "vlogs" are basically informing me that I need to accept that I'm now an old -- 'kuz I really don't get it. Thats fine. I can't begin to explain how grateful I am for that. It's just not my speed. Y'all do your thing. Be successful among your peers. Exploit your privilege. Worry about the stuff you worry about. Especially cameras. You guys do more with them than I do anyway... Alrighty. I'm gonna go play Yahtzee with my grandmother.

There's always, always "that guy." Same dude, different generation. The only consolation for those of us that will never be "that guy" is the fact that they'll be the first to go during the solar flare apocalypse.

No country for old men, I guess. See, if it was me, I'd set the focus to a certain distance and just stay in that space. That's my preference. But I like things to emulate analog and don't really rely on dem dere fancy gadgets, whatsits, and knobbery snickerdoodles. But hey, if I did a blog nobody would watch it as it would just be me standing on the front porch yelling at the whippersnappers to get the hell off my fresh cut lawn.

Well, if you're serious about best quality, you can take the advice of Policar and get an Alexa! It'll shoot like it's built for professional use, log endless hours on it, no problem. And while I hear it's got half way decent IQ. No flip screen or ibis though, sorry! Anyway, I'll still maintain that any decent hybrid camera from 2015/2016 will be fine and will produce a good image, even when considering all the other things you just mentioned. The ironic thing to me is that the young folks that are doing this manonthestreet vlog stuff need similar gear as to what I'm searching out for my film documentary productions. ...and that's where I'm coming from too. Honestly, id feel fine shooting with just about any new small hybrid camera. If you gave me a Fuji Xpro2 or a Panasonic GX85 or a Canon whatever, I feel I could get out of it what I want.

Agree to disagree then. Seriously, it's just vlogging. Any hybrid made in the past year will work more than adequately. And it doesn't matter a whole lot what camera one uses in bad light. Bad light is bad light.

It's a vlog. Just about anything will do.

3 second equals 180 frames. 180 frames is 7.5 seconds when conformed to 24fps, so, hey, useful for some stuff if you want to do a slow-mo montage or some such. Personally, I wouldn't be basing an entire purchase around RAW burst mode, just saying it would be fun to have and I could see utilizing it productively if it was there.

Actually, when you consider it, people have also, and often, made feature films using still cameras.

Yeah, we'll see about that. If two really fast SD cards are used and we can squeeze out 3 or 4 or 5 seconds with a minimal delay to the next burst, then it could be a very useable tool. There are numerous way that would be helpful, even for me, a guy that does mostly doc stuff. Nothing to do but to wait and see what the reality is when it hits the streets.

Aren't all cameras that capture motion picture images capable of this?

I concede.

Are you suggesting that a visually subjective cinematic choice is actually not subjective? If so, I'd argue that reality is subjective.

And, FWIW, I shoot "stabilized" most of the time with my hybrid cameras. But, I will shoot with the stabilizer off for certain looks. Sometimes, the immediacy and organic-ness of an unstabilized shot is ideal.

6.5 stops of stabilization with their sync lens(es). 4K video. Seems too good to pass up. Unless they botch the IQ tremendously (which they most likely won't) I'll be considering it when released.

Of course, but wide FOV and shallow DOF requires a large sensor. If that's the look you want or need for certain somethings, you have to yield to the laws of physics. Mostly, like you, I don't worry about it too much. Other times it's the best option.

Yes. Sometimes you need a specific tool to do a specific job. I've even considered using medium format for reasons such as this. I don't like to use extreme DOF, but it's often needed to create a decent esthetic in an ugly setting. Also, if you're a shooter that does a lot of productions with "talking-heads," large sensors makes the job much much easier.

Agreed. I like what Oly offers now, so it's only getting better. I'm certainly glad that they seem to be taking a big leap rather than baby steps. We'll see what it actually looks like for reals, but I'm encouraged. I love this rapid, awesome, IQ technological development in gear. My take away is this: Everyone is going to have cheap great cameras. The question is, what are you going to do with that camera standing in a room that's better than Bob, your uncle, standing in the same room with that same camera? It better be something creative and interesting, 'kuz cheap cameras with amazing IQ are a pretty big equalizer.

Some of my colleagues watched Hertzfeldt's stuff and just didn't get it. Personally, I love it. The way he can animate little nuances into his work is impressive. I really like his writing too, but the way he crafts it into motion pictures is the most enjoyable part.

Honestly, I am more interested in getting the best shots in my situation than I am with getting the highest IQ. There's always a piece of gear that will do something slightly better --so I don't fret about that a whole lot. I'll use what gets me to my "happy medium." For me right now, that's 5-axis in body stabilization. I'm currently a documentarian. So my needs might not be your needs.

Yes. For what I'm doing gimbals are somewhat impractical. Also, mostly I'm not trying to emulate gimbal or steadycam moves. I'm basically looking to "quiet" handheld shots.

Yes. I find it so.

I don't really do a lot of stills photography. However, when I do I rarely use my Panasonic cameras for that task. Why drive a Volvo station wagon when you have a BMW touring coupe parked in the garage? They can produce fine images. I just don't like "driving" LUMIX when taking photos.

Yup. Over the air broadcast offers a ton of channels here in SoCal. I wasn't aware of how much exactly 'til I did a goofy KickStarter video 3 years ago: https://vimeo.com/102553528 (music is not my choice, ha!)

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities. I still amaze myself how much I like using the EM5II. They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way. Can't help it, just like how they've designed and built their gear.

I'm sure he'll be fine. As it happens, I too am shooting for a doc series for broadcast. (wish I was directing and producing, but thats another story) I'll clarify and admit that I'm not shooting a capital "N" Network show, but it's airing on an affiliate. Our process involves creating an immediate intimacy with our subjects in the field, so I've parsed down my gear to the smallest footprint I can muster. I'm shooting hybrid cameras for this job simply because it's a non-threatening thing to have in the environment. I'm a goofy guy in the room with a small stills camera, not an obtrusive film crew, you know? Plus, I like having a camera with in body stabilization. These two priorities allow me to accomplish this particular storytelling easier than what would be more unwieldy with more "pro" gear. Unless I told someone what it was shot on, none would be the wiser. I mean, I suppose I know a pro could determine that I'm missing a few stops of DR, and a pro might realize a thin 8-bit image may have been pushed a little too hard in post, but (pot stirring aside) it works fine. As I say, it's all relative.