markr041

The $249 Z Camera E1 gives you real m43 in a box almost as small, and it does 4K DCI internally.

A graded version of the above Slog2 internally-recorded 1080 60P video. Alistair Chapman Slog2 (+2) LUT, a little saturation and a little sharpening (I think the in-camera Slog2 has none).

Original internal ungraded Slog2 1080 60P clip, downloadable:

I agree. However, the RX0 actually has preset zone focusing for video that exploits the 24mm lens - close= 20"- 3.5 feet. Far=3.5+. This is perfect for blind shooting. You just press one button to go from one to the other and one press back (you can actually use this to do a focus pull while shooting!).

The size is right, and given the wide angle it is possible to shoot blind. But, does this model record 10bit 4K via HDMI? Unfortunately not, just 1080. We need an upgraded model.

Here is the Vimeo upload containing original ungraded, untouched FullHD 60P XAVC S Slog2 clips straight from the camera. I had to delete as their was an error. Stay tuned. In contrast (literally), here is the graded REC709 version of the originally-posted uploaded video shot externally in 4K 10bit 422 in Slog2 so you can see what you get externally: I will upload the original ungraded 4K ProRes clips for the above video early next week.

I downloaded the "original". It is a 15 Mbps file! Junk. This is not what the camera produces internally (50Mbps XAVC S). I will upload to Vimeo later both 50Mbps internal HD XAVC S Slog2 and 4K Slog2 ProRes video clips, not processed. Report MediaInfo.txt

To me, the magic of the camera is its ability to shoot (through an excellent rectilinear WA lens) high-quality 4K externally , which the above rig is not doing. As the review indicates the FullHD internally (420 8bit) is nothing special.

Please let's not use this thread, on the Sony RX0, to discuss the sensor on the Kinefinity Terra! There is a thread for that. (I understand why the above post is here).

Now we have another reason to want a small external recorder: The GH5 can then shoot 4K 60P in 10bit, the FS5 can then shoot 4K DCI RAW or 4K DCI 60P and 120P in 10bit, etc. handheld. The 7" Shogun or Video Assist just look ridiculous and act really awkwardly with these otherwise highly-portable cameras that have this extra capability only externally.

All sorts of uses for 4K!

I will do this, but unfortunately I will be traveling until Monday and am away from my main computer. I will do it then. I can upload an original 4K ProRes HQ clip (Slog2/SGamut) to Vimeo, where everyone can download it (and see it!) A Vlogger's setup!! (note that the RX0 has an external mic input).

1. We all know this. You shoot in Slog2/SGamut and in post you convert to HLG/REC202. HLG is a delivery format. I could just as well have produced an HDR10 video, but the HLG format is more compatible with REC709 viewers. And, no, the Sony FS5 also shoots in HLG as well as the AX700 and its Pro variants. 2. And, where is your info on 2.? Another use, not hypothetical:

https://www.atomos.com/cameras/sony-rx0

A cloudy day. The Sony RX0. Shot in Slog2/SGamut. Recorded from the 422 10bit HDMI output on the Shogun Inferno. There is even a focus pull. Edited in Resolve Studio. Not much action, since this was a test.

FWIW, I received a questionnaire from Sony, as an A7s ii owner, last week on the features I would like to see added to the A7s ii (along with questions on what I used the camera for etc.). This would suggest that they are at least considering a successor, but it would seem a long way off. I also received a similar questionnaire on the FS5 recently, another camera due for an upgrade.

Sorry, I mistook you for DBounce, who posted an ignorant rant about Sony cameras, and that comment about "overblown" applies to his comment, although you seem to be a fan of his comments. You did make a comparison of DR with Sony cameras, which is not fully informed about Sony's latest offerings, so do not hide behind your only making useful comments about the GH5, or tell anyone who to "interact" with. I use Windows computers and work with those high-bitrate ProRes files produced by the Atomos Shogun Inferno, and I have zero problems playing or editing them. They are in fact easier to decode than highly compressed files. I certainly agree with the quoted statement that encoding in high bitrate codecs like ProRes does give better results than any camera produces internally at high compression rates., even at the same bit depth.

I think the issue of the true DR of the GH5s compared to the Sony A7 iii is not as clear cut as you say. Highlight control is available on both Sony and Panasonic camcorders, so your overblown statement about rolloffs on Sony cameras indicates your ignorance of Sony cameras. Look, this Sony vs Panasonic is just polluting this thread. My original point is that videos shot on external recorders can be misleading about internal video capabilities, and this relates to bit depth and bitrate. It is not a bash of any GH5 camera or a promotion of Sony or any other cameras. I do think m43 is doomed, but so what.

Here we go again. You want Pro DP's? cinematographers? Wedding videographers? Or just wannabees posting rude remarks on video forums? I think, by your posts, you need to know a lot more about a lot more than video.

You are correct. By world, I meant the world that matters here - serious videographers.

Oh come off it. It is rhetoric like this that degrade forums. I have Panasonic and Sony cameras too. The limited DR of the Panasonics make them not for serious use. And highlight rolloff is a setting in Sony cameras, ever tried PP's and their settings? My point, ignored by you, is that external recorders even out the differences across cameras. But in fact one thing not evened out is sensor size, which is a clear deficiency of Panasonics. The world is heading to FF video, and that can make a much bigger difference in visual quality than 8bit vs 10 bit. But 10bit is better than 8bit, and high bitrates are better than low bitrates.

Stabilization does really matter But, sorry, there is no stabilization at 4K 60P on the S9. Which is why I am not trading up.

I am sorry you completely missed the point - of course 10bit matters a lot. But so does bitrate (and you do not have to shoot with a GH5 to understand or view that), and at 60P the GH5 shoots at 420 8bit internally (did you ever shoot 60P on the GH5?). So any 60P videos from the GH5 shot externally would give a completely misleading "picture" of what the GH5 does internally. And also for 10bit internal at the lower bitrates than external recorders can do. And, no, that is not what I am talking about - it would be stupid to shoot in 444 12bit when the external output is 422 10bit. When you shoot 60P 4K Pro Res 422 (10bit) HQ the bitrate is 1900 Mbps on the Shogun Inferno - have you ever shot 4K DCI 60P in ProRes HQ? At 240P 2K the bitrate is 1600 Mbps - ever shot that?

Has there really been improvement since the S7, which also shot 4K? yes, 60p is a step up, but not all that matters. Here is a 4K S7 low light video, looks just as good (bad): And here is an S8 4K video, inside and outside:

Oversharpened, lower true resolution relative to bigger cameras at 4K, limited color, and jittery. Typical cell phone video, though the dynamic range was better than expected (except the fireworks part, which is overexposed and filled with blow outs). It is getting old seeing videos from one camera, whether its a cell phone or a Kinefinity. Shoot just a few of these scenes with the cheapest Panasonic 4K shooter (GX85?) and see a big difference. Big difference. I see no reasons to have double standards. If this were a video from a Sony A6500, everyone would be all over it.