mercer

A lot of IFs in that statement. The problem with the all else equal argument is that it's rarely applicable because all else is rarely, if ever, equal. Even the same lens on the same camera will have a different look with a couple steps forwards or backwards. With a 24mm at f/2, even 2.8, on FF you can still get some subject separation, I have never noticed that with an equivalent aperture on a 12mm lens on mft. What lenses do you currently use on your projects? I assume, since you're referencing Yedlin, that you shoot in 1080p?

Thanks, I found it in the specs.

So, I assumed that the GH7 had ProRes and ProRes HQ, since the GH6 has it, but when I look at the specs, I am only seeing ProRes Raw? Did Panasonic dump regular ProRes in the GH7? Please tell me they didn't.

Haha, okay. Take a close up with a wide angle lens and then one with a standard lens and report back what happens. There is more field curvature in a wide angle lens due to the ... lens design of a wide angle lens. This field curvature will round out your subject. Just because the FOV changes, the focal length doesn't.

Yeah but he was using the LF which is full frame, and they were matching FOV, so Alexa had a 40mm lens which is closer to the human eye and the GH7 had a 21mm which is a wide angle that will round out your subject. The LF has the clear advantage there. Even a wide angle on full frame will have more spatial quality than an equivalent wide angle on m4/3.

I'm also not a huge fan of this new airy Midtone look that everybody seems to be doing. It looks like some kind of Bravo reality show about LA real estate.

I'm going the other way... based on that video alone, the GH7 with LogC is good and obviously can match, but the LF image with just a LUT is so good. I appreciated that he let the footage speak for itself and it did... nothing beats an Alexa. That said, the GH7 costs 2 grand... so it gets a lot of points for that alone. And with that said, even though the Alexa only needed a LUT to look good, it also looked pretty vanilla, so I'd love to see what a good colorist could do with both versions to create a stylized look.

You have a lot of cameras. What type of stuff do you shoot?

I also use a strap on the camera and pull it taut, so the monopod in the tape measure pouch and the strap taut adds a fairly decent amount of stabilization... for static shots. They make belts specifically for this... I think it's called a MogoCrane... https://kamerar.com/products/mogocrane-weight-support-belt I don't know if it's any better than a monopod by itself, with a strap, but it's quicker to move around for run and gun.

Apple probably has the agreements. It actually helps Red/Nikon to allow it, otherwise these companies would use BRaw which could hurt them more in the long run.

At private events and trade shows, I still see C100s. Don't think I've ever seen an FX camera. I've seen a couple C70s. I saw an Ursa once for a greenscreen/Photo Booth kinda thing, which seemed odd. I've seen Sony mirrorless and R bodies as well, but I'd say 25-40% are still using a C100. That I've seen. But just because I haven't seen any FX bodies, doesn't really mean much. I'm sure a lot of private events, conferences and trade shows are shot with FX cameras. I'm a member of a Discord server where there are a lot of pros... they only cared about the C400 launch with barely a mention of the GH7. To us, the GH7 may be more exciting, to them, Canon cine and FX are their workhorses.

Back in the day when I was testing c-mounts with m4/3, I was able to get full coverage with some 12.5mm lenses. In some respects, that was good enough, but I'd love to be able to use a 10mm Angenieux or Kern... or even some 6 or 8mm lenses, that's why I'd really love a true S16 sized sensor. Unfortunately, Panasonic probably isn't in business to make cameras solely for my interests... BASTARDS!!!

Hopefully, Panasonic has done something to fix their menu system too. The GH6 and S5iiX menus are utter garbage. They were praised for their menus when Sony was getting crap for theirs and now it's a mess. And why do I have to change frequencies to shoot true 24p? I don't have to do that with my FP. When you add the 180 degree shutter benefit in Panasonic cameras... wouldn't it make sense to include a 48p option in that true 24p mode to utilize the benefit of shutter angle? Not including BM, the FP should be the gold standard for camera menus.

These are not the skintones you are looking for.

Is there an equivalent s16 crop mode in the GH7? I haven't looked into that yet. The GH6 didn't have one. Of course, almost any lens can be adapted to m4/3, but I'm talking a 1"ish sensor. I've owned my fair share of m4/3 cameras and shooting with adapted, vintage lenses have always felt wrong and made me dislike the format. The crop was never quite close enough to utilize wider c-mount lenses. Point is... for me... m4/3 always felt slightly handicapped for lenses. Am not a fan of speedboosters and dislike most of the native lenses I've used.

Yeah nobody wants to see your homemade porn, Kye.

Let's be honest here, though. How many current Panasonic S series shooters are excited about going back to m4/3 and its' lenses/crop? Show of hands? At the risk of sounding contradictory, with further thought, I find the GH7 release to be a bit... cynical... for lack of a better word. In less than a year, the S2H will be released with similar and/or better features. Is Panasonic just trying to get one last bit out of m4/3 and the unsold GH6 parts before they discontinue the entire m4/3 division? Wasn't there a rumor that they were getting out of the camera business? With the recent, although utterly stupid and repugnant, GeraldUndone "controversy" (nonsense) doesn't this release seem a bit odd... borderline full-stop weird? When you add the, out of left field, LogC aspect, is it possible that Panasonic is purchasing Arri like Nikon purchased Red and Panasonic is cleaning shop to release an entirely new division/lineup of cameras? With all that said, I'd really like to see Panasonic go full on weird and release a S16 c-mount camera with IBIS... go the other way and do something really ballsy!

Although I appreciate the snark of this post, there's no evidence that a 4K image makes your film more Oscar worthy than a 2K image... so...

I will be curious to see where the GH series goes from here. This seems like an apex for m4/3. You can only assume that the GH8 will be GH8K, and I'd love to see a GHX eventually, but I'm not sure it will have the legs to last that long. I can only imagine that the YT twits are already planning their future, September videos stating... "Why I'm selling my GH7..."

But once again, the problem with the GH series of cameras and flagship m4/3 cameras, in general, is the cost. Although $2200 is a reasonable price for the features you're getting, for me, it only makes sense if you're going all in and getting the 32bit audio unit and the LogC key... at that point... after you add a lens or two, you're looking at 3-4 grand... and then you're in R5C, Z8 territory... but then if you go that route and get lenses for those systems, you're in C70 or Komodo territory. It's a never ending game of upselling that I just can't justify for a hobby.

Also the Arri LogC curve and color science is considered the best in the industry. One of the biggest selling points for Resolve is the ability to "mimic" LogC via a Color Space Transform, so now that you can get that in camera with the GH7 with IBIS, and usable AF... working natively in FCPX via ProRes or ProRes Raw, is a pretty big deal. The GH7 is THE camera I never knew I always wanted and probably won't get. Maybe.

The new DR Boost sounds like a better implementation. Hopefully, they fixed the chroma noise that plagued the GH6's DR Boost mode. I preferred the GH6 over the S5iiX, but the chroma noise was a deal breaker for me. I have to deal with it on my 5D3/ML Raw, no reason to mess with it on a modern camera if the shadows in bright daylight are riddled with it.

Exactly. And then they add 32bit float internal audio... even with the added cost, it's a game changer for the one man band filmmaker. That said, I'm probably not a customer. I've use the GH5, had the GH6 briefly and briefly had access to an S5iiX and I'm just not a Panasonic guy.

You gotta give it to Panasonic though, they took an entire market of loyal m4/3 users and halted any and all discussions about the full frame "myth" and made them loyal full frame shooters. And then when you think m4/3 is all but dead and buried... they flip the script and instead of releasing an S2H... they release the apex of m4/3 cameras. I guess they learned from their mistake of sitting on the GH6 release for so long. Release m4/3 first and then full frame a year later... Us dopes will buy both.

I didn't see full frame on the rumored specs???