PannySVHS

That youtube video above is almost unworthy of being posted by a beloved forum member such as Django. "Biggest flaw", what clickbait nonsense. Lowlight on the FX30, as we have noted before, is about one stop less than the modern FF counterparts. So it is a lowlight achiever in S35 terms, better than C300II, than FS7. No mushyness but "grain". Great lowlight camera. No mushyness is a novelty, not many cameras offer in that price range, nor timecode, nor pro reliability and such. Now, C70 in RAWlight is the overall lowlight cinema champ after the classic Alexa Alev sensor and very close regarding quality of colour rendition, latitude and dynamic range, if I trust the judgement from german testsite slashcam and heresay from dop buddies. Same sensor as C300III. For the money, trust Ironfilm and others, FX30 is not to beat as a pro S35 B or A video cam in the Sony system.

Great write up and reading pleasure! @QuickHitRecord What are your findings with this ML build? How does it compare to Dantes builds which have been held in high regard by our friend and Eos M artist @ZEEK ?

Found some tasty GH5 footage with the tasty Tokina 11 16 2.8. Finding tasty GH5 footage is always a treat as this camera is still super capable and it was one of the first fantastic cameras which reversed the trend of medium camera- great footage. It started the infamous trend of great camera- mediocore footage. So I am always enjoying a good find regarding great image quality coming from this awesome camera. Love the colours and use of the hybrid beast. The channel has a variety of great stuff to enjoy, browse and watch, for instance using the GHAlex Lut on the natural profile instead of VLog. Anyway, here is the tasty, tasteful wide angle cinematic:) video. His channel for the love of browsing and procastinating in an enjoyable way:) https://www.youtube.com/@SwedishFilmmaker/videos

I got the mark1 version. Looking forward to snap it away with the plastic fantastic! And looking forward to your findings with the S5II and some moving images as well or stills of the caliber coming from the 300 or 400D you sent to your friends.:) @hyalinejim How does the S5II feel image and grading wise compared to dealing with colour from 5DIII Raw?

Which niftfy fifty are you using? @hyalinejim I got the plastic fantastic 1.8 for free when I bought a 5DII with the L 24-105. Looking forward to using it for some photography soon.

Looking forward to it and to your findings! @QuickHitRecord

There is no Prores for UHD, meaning no 16 to 9 (3840x2160px) out of the box. One would need to crop in from the sides. That´s not a meaningful decision on part of Pana imo. @mercer Other than that I yet have to see a meaningful test for my eyes, which shows the effect of the 3D noise reduction. Colour looks very good. With the GH5 it was edge sharpness that gave away the most of its hybrid character, being the least cinema camera like attribute. GH5II has organic sharpness and sofore lack of that digital edge enhancement. That´s a cam I would like to test for sure. I wished for the cam to have opened a variety of crop modes. S16 1 to 1.66, S16 4 to 3 with full width and so on..

Does the Gh6 provide a 1.4 crop mode for giving it a S16 sensor width? For what I know it only has a 2x digizoom making suitable for 2/3 c-mount, b3 and b4 lenses. Love what i see regarding color from the Gh6. GH5ii is even more mysterious. No Prores LT and nor Prores in some 4K modes is akward. This should have been an all in camera of what the hardware is capable of.

I gave you a like for your unusual choice @Rinad Amir of camera. Noooot:) But for the Konica 35-100 F2.8 which you might have combined with it, which a I got because of your recommendation. Best direct lens recommendation I got, besides my 8EUR Tokina 25-50 F4 from @andy lee, one of Eoshds lens connoisseurs. I put my Fs700 to a bit of use for some additional income, in HD 420 mostly. S1 got a little share of that. GX85 my eternal love, awesome beautiful image taker and camera. Sony PMW F3 waiting to get any use:) BMMCC used for some camera enjoyment. 5D2 and 3 to test which one is cooler for raw video and hopefully not collecting dust with the F3. Second FS700 never used, collecting dust. BMPCC og collecting dust. I am a dust collector like my lenes. Don´t start me on lenses:) Still got a G7, Oly Pen EP2 and E-PL1 🙂 Looking forward to see some (moving) images from your beauties. 🙂 @Ty Harper @majoraxis Welcome back to the forum @kye 🙂

Dude even looked like he had a battery from a Z9 in his front pocket. But the 70 to 200 in his left one made us miss out on that little front detail. These pockets😂 @MrSMW Loved the last four videos by Andrew. Great stuff! Keep em coming! Would be great to have them linked to the comment section of the forum.

Why the bumping sharpness up to the limits in this comparison? I find the material not easy to observe and evaluate. The light looks rather very undifferentiated to my eyes in order to be able to form an opinion about the image quality of these cameras. They look all the same to me.

no, no, not nothingness, nowness it is! @Kisaha

Hehe, usually a big fan of your color work and ccd magic. This one looks like too blocky for my taste. Sorry, but still fan of your ccd wizardry and color approach. cheers 🙂 @QuickHitRecord

Glad we can discuss any camera and launch we want on this forum. Glad I can also just read comments without having to comment. I don´t find this release to be for the better of this world. Same with 8k TVs and smartphones, production and streaming, all for which our planet is being wasted for.

8bit 100mbit HD codec from the GH5 is pretty good for a lot of stuff. Twisting colours is pretty solid with it. 100mbit on the 4K from my GX85 is amazingly good for grading. These are in 709 acquisition. Wouldnt film VLog L in 8bit. 100mbit 4K on the A7SII was some of the worst codecs I have had to colour grade for someone. 12 444 all intra hd on the C300II can fall apart badly in bad exposure giving temporal noise reduction artefacts galore. So it´s not 8bit vs 10bit but rather the quality of codec vs codec.

I watched the whole film and I am happy that you used the pure raw RAW image from the camera. Beautiful decision for the your beautiful film. @hyalinejim Thank you for sharing!

So how does the reliability of 5d2 and 5d3 compare for Raw video? @rosco If Darren Aranovsky can enjoy some nerdom with a digital bolex, despite being a super busy super star director, I think less profiled image lover can enjoy their low budget cam obsessions, right. I have done a good deal of hard physical and artistic work in the field of low budet video and film making. I don´t need to trade camera nerdom for fill light or bounce variations. I can rest from the hard work and enjoy some camera nerdom. 5D3 will do. Some nice Rosco gels would do that too:) Btw, I find the body of the 5D2 nicer designed, made and to hold than its successor.

Lovely! Art with frost gel, awesome analogy. Mojo, got some at my home. Still haven't used it, my Cinealta F3. Cannot wait to give it a worthy occasion. That thang got a thing going on, mojo!:) 5d raw got that . Tech might seemingly appear about equal between some cameras. I bet 5d3 raw looks better with tungsten plus red gels than a P4K, especially if not equipped with an IRcut. So that's a specific situation, where camera tech makes a difference between two seemingly similar camera images. The P4K in an instance fell apart in that scenatio with braw 5to1. The image was poluted way beyond acceptable looking standards, like worst case 8bit 420 from og A7s Slog2:) Why would a I buy a 5d2 and 5d3, both together with a 50mm 1.8, 32GB CFcard and a camera bag for 450Euro btw! It's because my S1 leaves me unsatisfied in daylight scenarios. I might be a fool, but I am a fool for the art of a cameras emulsion, a cameras image, a cameras mojo.:) Mojo, anyway, is the swingin groove of that Muddy Waters Song! Magic lantern Raw got that. In a way. Not like Muddy of course. 🙂

I love the color response in Raw from my Pannies, Gx85 nowadays. Ooc jpegs sometimes and only just a bit.:) Have hardly shot any photos with my S1:)

I myself don't adore the S1 in "unlit" settings, whereas i love my bmmcc outside in natural light. Both need to be graded a good deal, but the micro just sings to me. I have done plenty of grading for amateur shortfilms and semipro stuff with semipro equipment. So i recognize differences in cameras color and codec a big deal, just like their response under different conditions. Got a 5diii because off this forum and the awesome footage which is out there. That is a great treat. The trailer looks beautiful @mercer I will need advice on cards and settings soon:)

Hehe, couldnt resist and had to get one. A 250.000 shutter though, but still working. For 300EU. Got a 5D2 for much cheaper two months ago. In great shape, 30.000 shutter, for 150. Seller contacted me to give me a nifty fifty 1.8 and a nice backpack for free. Anyway, now I gotta use these beauties. Any quick and tasty infos on the differences? Some prefer the look from the 5D2? 5D3 much more hasslefree to use in Magic Lantern RAW due to dual card slots? cheers

Ironfilm and others with some working experience with Sony give arguments for using the FX30 in an Sony eco system of larger cameras, making it a good Bcam to a FS7 or FX6. Timcode. S52 has a mechanical shutter, EVF, making it a great photo camera also besides being a great video camera. It sports 10bit 4k60p in S35 just like the FX30. The S5ii also comes with the additional benefit of full frame 6K open gate up to 30p, anamorphic modes .. And a swivel screen.:)

Would estimate it to be one stop less sensitive than the Lumix S series, which is indeed a treat.

So stills in raw or ooc? I think with right white balance to taste the GX85 looks pretty good, but RAW is where the magic is. No comparison. The hack for the GX9 might be interesting for the 100 and 200mbbit codecs in HD. Quality of the GX9 in 1080p looks similar to the GH5 on the Dpreview comparison chart. GH5 has awesome HD quality.

You are right, community is joy. 🙂 Have a great day!