PannySVHS

Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)

Solid points. Except the 444 as it would be in Prores anyway and used by 444 lovin pros. 🙂 @webrunner5 But C100 is a spiffy image for what it is, like downscaled GX85 with much better low light and of course more dynamic range. Great colours too. Anyway, GH1, treated lovely, can be still very lovely and a joy for vintage and image lovers. I think I get your point, which is alway something I enjoy a great deal in an exchange of point of views. I also think the internal SLOG image of the F3 is still more impressive than the internal image from the C100.:)

It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers

Difference is, that you cannot throw these light conditions at the GH1 as you can throw at the F3. You still would have to get pretty lucky and work extra hard to get an image out of the GH1 like the images in this video. Possible, if not pixel peeping, but not an efficient thing to do imho. Possible but not granted. @webrunner5

I think the formfactor is awesome. EVF not up to the S1 or maybe even GH5, as they say. But G7, G6 was good enough already, as I say. Micro HDMI like the GX85.:) That name is pretty tricky to speak. What would a picnic at hanging bock be? 😄

Not worth it from what I read on German testsite slashcam. Afaik, it´s 12bit linear and debayerd from 6K to 4K instead of giving the whole 6K out to the HDMI. On the S1H its 12bit and Log afaik and the whole 6K resolution. Anyway, site states that Prores raw has more aliasing and artefacts than internal Prores on the Z6. Latitude or dynamic range is not better than Prores with 10bit Log. Here is the article. You can run it through a translater. cheers https://www.slashcam.de/artikel/Test/Nikon-Z6-RAW---Besser-als-ProRES---alles-.html

Yeah, this thread and you have done their share as well 🙂 @IronFilm One million viewers, must be the most successful F3 test video. Here is a collection of a cinematographer who seems to have a serious liking for his F3. He posted some regrades of previously posted footage. So here we go, some more F3 goodness:

Well, then get a Vivtar 17mm 3.5 or Tokina II 17mm 3.5, which is the same optical formula, but not the Tokina I. You get get a cheap Tokina 25-50 F4, which is lovely even wide open, just do your WB tests. Mine has a specific tint which deserves to be altered, especially for GH1 8bit beauty. Combine it with a cheap focal reducer and you have a nice, cheap n cheerful set for your GH1. For a prime, to fit the Tokina, 24mm Tokina as a vague guess! But guessing is not good enough. So why not go for a Minolta 24mm 2.8 or an Yashica M? Fifty, pick your heaven. They are all good n plenty and nifty. Konica 50mm 1.7.

Plus classleading lowlight quality without codec mush unlike the A7S3 plus 10bit in 422 full width of its FF sized sensor in all frame rates. Very fast sensor readout. @webrunner5

I imagine it's supposed to be used in S35 mode, just like the Bmpcc booster is suited for its S16 sensor size with the Speedbooster sporting a 0.58 factor. It didn't work well on M43 sensors. Now 0.71 is the rather common thing. So maybe it works for FF but i assume the FD Speedboosrer is constructed for S35 to be boosted to FF image circle of the lens. That would make sense, as that would be the most used application rather than using a very few of expensive L lenses to be pushed bexond FF. Some Konicas cover the Fuji Gfx 44x33mm sensor with charming characteristics in the corners. Andrew wrote an article about that. FF boosted by 0.71 would be around 50.7mm wide (1 / 0.71 x 36mm). Interested to see. The 0.71 boosters for Emount were solely done for S35. Havent seen successful uses on FF sensor size other than in S35 crop mode. The Mamiya 645 booster, also with a 0.71 factor is for FF sensor size to be boosted to a larger 1.4x factor of the image circle. The Pentax MF variante does that as well. Both are from Kippon and very pricy.

@webrunner5 Also by the results from your link, you would still have the R7 right up there with the Sony A6500 which sports one of the best APSC sensor for dynamic range. Add 10bit 422 and a higher 32MPixel count and it´s a pretty good sensor by this data. Fun fact, results from the website you posted, GH5MK2 betters both sensors from ISO 125 on. How it really turns out to be in pratical use, that we will see. Also rolling shutter and other great aspects of the cultivated image.:) I remember the Red Dragon test on DXOmark. Was really hard to believe the results. No one would ever believe these test results in the world of cinematography afaik.

Thanks a lot! @hyalinejim That sounds pretty good. 10bit 4K60p with dynamic boost downsampled from the 5.7K sensor is a quiet a task. Was it 422?

Yeah Don, DXOmark tests for photography. So did the site you posted, which states "photographic dynamic range verus iso setting". So both dxomark and diyphotography/photonstophotos show tests for photography. The one you posted just shows much lower values than DXOmark, lower by 3 stops!:) @webrunner5

By their messurements Nikon D850 has 11.75 Stops and Lumix S1 has 11.5. They definately have a different measuring and results than Dxomark, though they mention their software being in use. The APSC champion Sony A6500 has 10.5 stops of maximium dynamic range by their chart. So R7 would share that crown being up there with the very best APSC in dynamic range. Additionally the R7 is offering more pixels for photography plus much better readout than the Sony, going by the videos on youtube. By comparison, Dxomark score on the Dxomark website is for the Panasonic S1 14.5 stops. For the Sony A6500 it's 13.7 stops. They haven't tested the R7 yet. 13.7 stops by Dxomark would be classleading.

DIYish for us noobs.:) I bet the Sigma looks realky cool with that setup. Or as Don aka webrunner would say, hotter than applepie. 😊

Sweet! Thanks for posting!

The "through the fence" shot at 38seconds I found spectacular. Colour, spatial feel, perfect! @kye

Hey, that would be fantastic. I´d suggest Dynamic boost in 4K60p, 10bit 422, Long GOP. That should be the most challenging and with the most interesting feature of Dynamic boost included. Thanks a lot! @hyalinejim That´s a strategy I highly recommend. I hopefully will get to use all my equipment more and also sell what I don´t use. You also got the mighty and beautiful GX85, the dear friend of your GF3.:) @kye

I really like what's coming out of this camera. The video above is beutifully shot imho and with a fantastic image, as I gave my reasoning about before. Best test video I have seen in a long time. If disagreement is a reason to see you post again, I must say I am very happy about that.😊 @kaylee

Lookin gorgeous. Would love to see some skintones, but only if it does not take to much effort of course. Hopefully I will get to test mine soon.

I imagine, Panasonic could cash in with a GXTen, just delivering what the GH5 does but in its beautiful form factor and with its built quality. Except, the back dial lost its function after two years of usuage and I read I am not the only one with the back dial issue. Imagine a GX Ten with great PDAF and 10bit GH5 quality and a swivel screen. It would sell like hot cakes I imagine.

I´m on the fence of selling my S1 and getting a GH6. But I cannot afford to risk possible streaking on a paid gig. So still on the fence and maybe even more rightfully so, if battery life seems so underwhelming. I wouldnt want to expect @kye to take the risk and let us know, if his then GH6 would have at least the battery life of his GX85 in DGO and 60p mode. That would be the absolute minimum I would like to accept from a camera like the GH6.

That they left out Prores for UHD and anamorphic modes plus Prores LT in general is really akward. Internal NDs would have helped this camera on the number 1 spot for mirrorless video. The latter cannot be changed. A GH6Cinema could change that. But by then a S2H will rock the market. If Sony is clever they give the A7s3 a mode without noise reduction. Until that does not happen, i would consider the Gh6 more compelling due to its "organic" low light image, which the Gh5 does not provide btw.

How about the Meike Cine primes for MFT? They come as 12, 16, 25, 35, 50 and 85, with a Tstop of 2.2.

I rewatched the video on the phone and my desktop. I still must say, it looks fantastic to me. Exellent colour response and separation. Best I have seen from any camera under natural light on youtube other than Red or BM. I don´t look for Arri videos. 😉