mat33

What I am confused about is why Netflix cares - I mean if all their original content was shot on Alexa's like the majority of high budget movies, are their customers going to ditch Netflix because that Alexa 2K looks so crap compared to a RED/Sony image...

10bit would be great but Canons 4K 8bit 4:2:2 is no slouch either. I'm abit suspicious that despite the EVA apparently having varicam IQ that it doesn't warrant the Varicam branding, but we'll soon see. Internal raw without hacks is great and I'm seriously considering one for just this reason.

I think the SDI/HDMI output does 10bit 4:2:2 but only in 2K and 1080p.

This kind of match making has already produced the unexpected outcome called the XC10/15.

The easiest post-workflow I have experienced was dealing with cDNGs from my Digital Bolex -simple transfer to an external SSD on my Mac, editing them natively in Resolve was smooth, they didn't require much mucking about to get a very pleasing image, had great latitude, and being able to adjust white balance in post was great. If the C200 raw can have similar workflow and latitude then it will be great for many uses.

Yeah, but Canon does't use EF mount for consumer range and F-mount for its professional range. Obviously the AF100 was a big disappointment to the Pro division and they blame the mount/sensor size. The GH2 crop factor isn't too far off the Red Raven, and the Raven seems to be regarded as a good pro camera, so why can't Panasonic do something similar. They have the most to gain, you would think. Yes - Panasonic seems to agree, maybe they should make the GH6 have a APS-C sensor with EF mount and call it a day.

Yes, this is how they have positioned the camera. I guess the issue is if you want to use the GH5 as b-cam, what is your A-cam? Panasonic doesn't have one and they seem to be saying to filmmakers -don't invest in m4/3 lenses but use our competitors EF mount lenses and adapt these for the GH5, which doesn't make a lot of sense when you think how much $$$ they have sunk into their lens line up. At this stage JVC is doing a better job at keeping m4/3 alive for video use and they don't make any m4/3 lenses.

Yeah, it's a special feature of ccds that people go to great lengths to replicate horizontally on cmos sensors using anamorphic lenses ? It was never an issue with my D16 as I struggled to induce it even shooting into the sun, maybe older CCDs were more susceptible?

All of these cameras are amazing really, as a m4/3 user I just find it interesting at the decisions Panasonics Pro division makes. It seems they really don't like m4/3 and what the GH series have become, which is strange as they once owned the enthusiast/indie market with the DVX100. First they gimped v-log-l by making it's standout feature be that it matched the varicam curve but in the process threw away bits of data making it pretty useless in 8-bit and now they have seemingly ruled out any solutions that give some chance of m4/3 being a system with GH5 and a more pro style cinema camera sharing lenses.

I disagree, an active m4/3 mount makes a lot of sense. You could keep the s35 sensor and bundle the camera with high quality m4/3-EF locking adapter, like a higher quality Sigma MC-11 E to EF adapter, and use the full sensor for s35 glass. For m4/3 you can use a crop of the sensor -use the smaller crop like the GH2 multiaspect sensor -so 1.86X crop compared to full frame, so would be a reduction in resolution compared to s35 glass but you are starting with 5.6K so shouldn't be too bad. That way you keep your high-end camera market happy with an active EF option, you keep the GH4/5 users who have invested in m4/3 lenses happy with the option to use the same glass and have a smaller, lighter AF option for run and gun, you can potentially use a speed booster and you can adapt pretty much any vintage glass to the camera. If Panasonic itself won't support m4/3 for video then I don't understand why are they spending $$$ on developing GH5 and pushing it hard for professional video use.

C200 looks great -DPAF, Canon colour science and internal RAW. Now if only Canon can put DPAF and internal RAW into the XC20.

Has Panasonic stated why they developed a new sensor rather than using the Varicam 35 sensor? It would seem reusing that sensor would be much cheaper for them, and no-one would complain about its performance or the lack of 5.7K. Could have a Varicam mini -heck even follow Canons lead and give it internal raw but only 8bit codecs to protect your higher end. Makes me wonder if it will turn out to be closer to the DVX200/GH5, but then why go with EF mount as many would be happy with a AF100 successor with m4/3 sensor and mount. It kind of makes a bit of a mockery of m4/3 as being suitable for higher-end applications -buy our' professional' 42.5 nocticron for your Gh5 which offers 'professional versatility around the world' but if you want to create 'cinematic moments' with your EVA1 then you need to buy some Canon glass - bit of a mixed message for their marketing.

Yeah the CCD (and the dyes used in the colour matrix filter) is certainly a large part of the magic -a bit like the lecia M9. There is zero image processing going on on-sensor with CCD, so digital bolex still had a lot of work to do to get the image right. I think I prefer to deal with CCD smear than bad rolling shutter -on the D16 it only reared its head in fairly extreme circumstances so was easy to avoid.

The digital bolex is a great example of how spec's don't always equal real world IQ. It has at most 12 stops DR and less than 1080p real resolution but it does have such a great image which I think comes down to: 1. Global shutter gives the best motion cadence out there 2. Zero noise reduction in camera 3. The noise that is present is largely luma noise, which gives a great texture to image and while not exactly film grain is similarly quite pleasing. 4. Great colour science especially mid-tones -its a real credit that such a small and inexperienced team managed to fine-tune the sensor & processing to give such colour, but makes you wonder why the industry behemoths still seem to struggle. Its a real pity the industry became so obsessed with resolution rather than colour science and motion cadence -Arri is the only ones who didn't rush into the 4K, 4.6K, 5.7K, 8K band wagon and well, it has worked out pretty well for them.

Thank goodness, I was getting worried space-time was going to start to rip apart with people being more exited about Canon video specs than Sony.

I hear that video is the future all the time but are there any statistics that support this and show increasing numbers of amateurs buying gear for primarily creative video use? I suspect many people that may initially be interested are quickly put off when they realise the time commitment thats often needed to get good quality video with support gear, filters, lighting etc and thats not even taking into account getting good audio and the time needed in post. It seems to me there are a lot more DoP's shooting stills for pleasure in their spare time rather than personal video with dSLR/mirrorless cameras, which probably reflects something...

and this is why we don't get nice prototype cameras for pre-review....

EosHD is my favourite camera blog by far, and I enjoy Andrews reviews and insights. I like that he remains mainly focused on the smaller hybrid cameras and came back to these after a brief fling with the C300/FS5 empire, and that he gives some of the sleeper cameras some well deserved coverage like the E-M1, NX1 and Leica SL. I agree that Panasonic should have given him a prototype to test given his history - how many GH2/3/4's have been sold because of his blog when the others can't get over the sensor size -really all of m4/3 video owes Andrew a lot for highlighting its strengths. I imagine its hard to keep a blog like this going and the passion levels must wax and wane at times, which I suspect is the reason we see a lot more 'first impressions' nowadays rather than extended reviews. This maybe has lead to some of the negative first impressions like the XC10, E-M1ii, which to Andrews credit have been graciously corrected, but I imagine it might make a manufacturer a little anxious that their camera might get an emotive review. In any case, at least Andrews review are authentic and he has his own cash in the game. Anyway I hope Andrew keeps it up -it would be a real loss to the filmmaking community if this blog closed it doors. Where would I go, when I am procrastinating rather than working :-)

I haven't been following the GH5 drama nor do I regularly read cinema5D, but I do like that Johnnie Behiri's test videos are usually shot nicely often as mini-documentaries, with decent lighting etc rather than the somewhat random heavily graded montages that you usually see.

Medium format does seem to have better separation of different aspects of the image at smaller apertures, but is this preserved with an optical speedbooster or does the extra glass result in the distortion/perspective/focus transition being the same as an equivalent full frame lens?

I don't think its crazy to buy this for video - if you want the option of good stills in the same body and want something smaller than a C100, FS5, 1DXii etc then its an option. Yes its expensive, and as some have commented you can get a used RED for about the same price. But for me the EVF is a very attractive feature -focus is such a big factor that we end up spending ++ to make cameras work -for the FS5 you can spend USD$975 for the Zacuto Z-finder, or USD$2100 for the gratical EVF, or USD$3200 for the RED BOMB EVF. To have a similar quality EVF built into a fairly compact weather sealed body adds a lot of value to me. The main question is whether the build quality, usability, EVF, option of 10bit 4:2:2 HDMI out, high quality 120p and colour are worth the premium over the Sony A7Sii or A7Rii which are the main comparable competitors. I have noticed that making purely rational choices when buying a camera often leads you to buy and sell many different cameras before you end up buying the camera the non-rational part of your brain really wanted in the first place

Well, he now shoots his v-log on a 8K RED Epic-Weapon.

Another Leica SL film

Just found bit more info about that clip -and you are correct it was recorded with an external recorder in 10 bit. The drone shots were also on a SL, and interestingly the DP really liked the in camera b&w colour profile, so most of the b&w shots were straight from the camera with no post-processing.

Yeah the skin tones and colour do look very nice. I've been looking into the SL and its an interesting camera that hard to find a definitive opinion on. Some say DR is 9 stops and others say DR is 'better' than Canon at ~12 stops. Some say above iso 400 is unusable due to auto NR , others say at high iso its better than D750 with virtually no chroma noise and quite pleasing luminance noise -hopefully @Andrew Reid will be able to clear a few thing up. Been trying to find some good footage to decide for myself and would be nice to have some nicely exposed ungraded footage. This looked nice: