Don Kotlos

I have the same experience as @Trek of Joy. They have (finally) addressed some of the issues. Here is a nice quantification of the improvements: https://www.pugetsystems.com/labs/articles/Lightroom-Classic-CC-is-it-faster-than-CC-2015-1065/

FF looks to be as good as the S35 in low light at least up to 12800: It also has a very usable 1080p 120fps:

You know that your A7rII has even faster rolling shutter in FF 1080p than D750 right? Also it offers much better resolution as well...

You don't need slog for most things. The Cine profiles are great with more than enough dynamic range. The Cine/Pro/sgamut3.cine colors work great and if you boost saturation a bit you can have a great straight out of the camera look.

That's a bit harsh and no d-lighting cannot be used in 4K mode. But the flat profile should give you enough dynamic range. If you know what you are doing 8bit slog can give you great results. 10bit would be better of course.

Noise + excessive noise reduction my guess. That was the low light shot from here: https://www.gsmarena.com/vidcmp.php3?idType=5&idPhone1=8573&idPhone2=8712&idPhone3=8733 But the good light image does not look much better, V30 is full of compression artifacts, so even if it is recording 10bit it is worse than many 8bit phones.

Yeah I agree Panasonic should have moved to PDAF especially with their "pro photography oriented" G9 camera. S-AF might be good enough but tracking will always be affected by the lens/DoF/image contrast more than a PD solution. They currently have the best CDAF implementation, so once they add PD they can have a hell of an AF.

I should visit pawn shops more often.

Here he talks about his (minimal) gear: https://www.bhphotovideo.com/explora/content/brandon-stanton-chat-human-photographer-new-york

I agree that if you are a professional, sucking it up is the norm. Irritating as hell, but true. As buggy and slow Adobe programs are, the are very powerful compared to the competition and we pay for it. Other programs really need to step up their game if they want a piece of the money cake that Adobe keeps enjoying. What annoys me most with the Adobe suite is that you cannot easily move to another program. I would say that it is even harder than switching OS. I have so many projects in Premiere, or thousands of pictures with edits in Lightroom that I will not be able to go back to. Even though in reality I might do that for maybe 1% of those, that feeling keeps me from dropping Adobe. For example, Capture One is a good alternative to Lightroom, but it is even more expensive so I am not feeling ready to jump the ship just yet.

Yeah I also see the usefulness of internal raw as fairly limited. A very good high bitrate 10bit implementation should be enough for most productions. RAW is more useful for shorts/feature/video clips that usually have a set + a larger production and in which you can afford an external recorder. Shooting docs/events/corporate in RAW is just masochism most of the time. Thats why the direction that Panasonic took with EVA1 codec wise, makes more sense that what Canon did with the C200.

It looks like there is a good integration & supported catalog transfer: https://on1help.zendesk.com/hc/en-us/articles/115000269912-Adobe-Lightroom-and-ON1-Photo-RAW-2017-Compatibility- https://on1help.zendesk.com/hc/en-us/articles/115000274212-How-to-use-the-Lightroom-Migration-Tool-ON1-Photo-RAW-2017-5?mobile_site=true If you know that for at least a year you will not get a new camera and what you have now is supported by LR6 then yes $150 might be worth it.

On1 photo RAW has extensive cataloging & sorting/searching. $600CAD is very expensive for just lightroom. Lightroom 6 costs $150 at amazon: https://www.amazon.com/Adobe-65237578-Photoshop-Lightroom-6/dp/B00VWCKJVA/ref=sr_1_1?ie=UTF8&qid=1510700103&sr=8-1&keywords=lightroom&dpID=51IBwdZ4aQL&preST=_SY300_QL70_&dpSrc=srch I would not spend so much money on it.

Here is the AF test in video: PS He will be doing some video tests as well so if anyone wants to ask him for something specific here is the original thread: https://***URL removed***/forums/thread/4222635

The APSC sensor with an flexible mount such as the E mount allows almost any lens to become a tilt shift with the proper adapter. You can use all of your nikon lenses as tilt-shift lenses on the A6500 with this adapter: https://www.adorama.com/katsnkgnex.html

This is a very interesting video talking about cameras in general and in which G9 is mentioned:

Why don't you want to just keep the A6500 again? Do you really have that much of a problem with overheating, the dim LCD or the small buttons, that you are willing to give up all the previous things you really like?

He only compared IBIS and dual I.S. 2 in stills between the GH5 and the G9. I guess he might be open to do more comparisons between the two like AF or video IBIS, if you suggest it to him. To tell you the truth I would really like a G9 with the video features of GH5

IBIS in G9 looks excellent and the 6.5stops in without stabilized lenses accurate: http://www.photobyrichard.com/reviewbyrichard/panasonic-lumix-g9-review/ Can't really see a difference between dual I.S.2 and just IBIS: If they have improved the AF performance in video as well then this will be a hell of a hybrid camera.

Thanks Dave, The quality of the Sony is really on another level when compared to the gopro. P.S. Your videos have come a long way since last time I watched one, I really like the flow. That audio though... The lav is clipping quite a bit...

I am running it since the early betas. Haven't encountered any problems with the official release.

I will be happy if the A7sIII is an A9 with PP and 4K 60p. I wish the implement the fast sensor readout mode in video as well. Can't see much separating it with the A9 though other than a possible reduction in fps, so that might not be the case.

Once you get your colors right with the Sony, it is a gem of a camera.

Lets not forget the power switch. I have no idea why Olympus thinks using both hands to turn on a camera is a good feature. Also the joystick & larger size will be appreciated by sports/wildlife photographers.