Towd

On my GH5 that lights up when I've enabled Bluetooth or wireless.

So sad. He was one of my favorite writers and video bloggers. With his unique and interesting insights, he could easily entertain even when discussing a mundane camera bag or consumer lens. He certainly contributed to my love for the m43 format. It's a sad irony that as we find new life being breathed into the these smaller cameras, we have lost one of their most talented advocates.

Looks like they went full retard with the full frame aesthetic.

I think it just adds flexibility in post. You can sample the full image down in post to a 4k image, or you can do a 1:1 pixel center extraction of a 4k image. Or you can reposition your 4k image and pan and scan inside the 5.7k camture. Or you can apply post stabilization pass without cropping in on a 4k extracted image. Of course it is also helpful for anamorphic.

Overall, I'm pretty jazzed for the GH6 as an upgrade for my GH5. Key improvements for me are: 4k 120fps in 10 bit 420 4k 60fps in 10 bit 422 Open Gate (my favorite way to shoot my GH5) 5.7k 60fps in 10 bit 420 All new color engine built from ground up. I'm hoping this means rec2020 gamut with full VLOG. If Panasonic is listening, I hope we'll get a 24-30 fps version of 5.7k Open Gate shooting with 10 bit 422. That would be pretty amazing for greenscreen and high detail capture. All in all though this adds some some nice flexibility for high framerate capture in 10 bit which is all I've really been pining for beyond full VLOG. It's also nice to know the MFT format is not being abandoned by Panasonic.

Yeah, I feel the same, but seeing some new m43 sensors on Sony's website makes me think someone may pick it up and run with it. It is still my favorite system for casual shooting and travel photography. I've been lurking in the medium format thread and I think @kye may be on to something regarding a medium format system as a supplement to m43. If money becomes no object for me at some point, I could see picking up a large format system for messing around with once in a while for that unique look. But 90% of the time, I'd still just want to grab a trusty and compact m43 camera and have fun. Hopefully, capitalism and the free market (or Panasonic) will take care of us diehards. 😎

Ahhh, well it might end up being real which would be awesome. I'm certainly not against an insane 120 fps at that resolution, and it would just open up more shooting possibilities. I know a lot of this has been posted as rumors a while back, but just seeing that there are new m43 sensors officially coming out of Sony makes me hopeful that we have not seen the end of m43. It's still my favorite format due to size and flexibility. So--- fingers crossed!

That would be a great option if it is real. I can't find it on Sony's site though. Do you have a link?

Whoops. Totally posted the above in the wrong thread if someone wants to delete it. My apologies. 😂

Found this IMX492LQJ poking around Sony's website. https://www.sony-semicon.co.jp/products/common/pdf/IMX492LLJ_LQJ_Flyer.pdf It's a multi-aspect sensor that does 8k video and has an all pixel readout of 8432x5680. The 17:9 and 4:3 modes are subsets of this. I think it has a global shutter mode too. Could be an very interesting chip for the next generation of M43 cameras. I used to not care so much about 8k video, but considering a GH6 will probably need to remain competitive for a 5 year or more product cycle, it is probably something Panasonic should think about as it will be competing with full frame cameras and cell phones that already offer 8k. I'd personally probably shoot 99% of the time in some 4k 10 bit VLOG mode, but having the option of going to 8k video capture for special situations could be ideal. Honestly, if this offers great (S1 like) color science and a full 10 bit VLOG in 4:2:2, I could be happy with this camera for 5-10 years. Fun times! I'm still hopeful for the future of M43 now that we've had a round of full frame camera releases from all the major manufacturers.

Yeah, The Hobbit in HFR was a surprising wake up for me regarding why I like 24fps. Everything just popped out and looked weird, and I remember a lot of people liking the look. The newest TVs with their "frame smoothing" feature that generates in-between frames on 24p content drive me just as crazy when I visit a friend's house. I don't think it necessarily means we'll never be watching movies at 120fps in 32k, but it seems we'll need some technical revolution to help blend in all the cheats used in narrative content from sets and fake backgrounds to VFX. Maybe in the next decade or two, someone will invent some A.I. filter to better blend the fakery into the real stuff before we run our 120fps export.

One of the things I've been told is that because 24 fps is just over most people's threshold for persistence of vision, the brain has to work a little harder to fill in the gaps than it does at 30, 48, 60fps, etc. So it helps trigger the imaging/imagination part of your brain to more readily accept what you are seeing. It sounds a little pseudo-sciencey, but I've noticed that anything from sets to VFX pop out to my eye as fake at higher frame rates. Even 30 fps has a cheaper looking quality to me. Personally, for sports or ultra-realism, high frame rates make sense. And there have been film formats before the digital age that experimented with high frame rates, but they never seem to catch on for narratives. 24fps may have been chosen somewhat arbitrarily and with cost in mind, but I think it has remained a standard for a reason. Another advantage to 24 fps is it can be easily halved, quartered, thirded, and more without partial frames. Kind of like how we have 24 hours in a day or 12 inches to a foot-- only luddites use weird things like 100cm to a meter. 😉

Hey @Marla. While you are trying different settings, you may want to check out an autofocus guide that Panasonic put out for the GH5 and G9 cameras. It goes into what the various settings are doing, and may help you find a combination that works. https://www.panasonic.com/content/dam/Panasonic/Global/Learn-More/lumix-af-guidebook/LUMIX_AF_Guidebook_1809.pdf

Your essentially correct on the VFX side for capture, though the 2K for visual effects has less to do with masking flaws than it takes 4 times as long to render a 4K frame than a 2K frame. It's a cost saving measure. Yeah, VFX houses will charge more for 4k shots, so some project with wall to wall VFX will probably look to save some costs by mastering at 2k even today. To Kye's point, recording in a higher resolution than your delivery format is a good way to deal with all the stuff that may be happening depending on your camera and recording format. (Lossy compression, debayering, chroma subsampling, etc.) You don't have to shoot in raw, but minimally it is best if you can record in 4:4:4 so you're not throwing out chroma information. Or just shoot 4k 4:2:2, for a 2k delivery. But if Avengers was recording in 6.5k uncompressed ArriRaw, I'd hazard to guess they had detail to spare. Yeah, I've been told that it is still common for a film to get mastered at 2k and then have the post house do some fancy up-res for delivery in 4k for cinemas that have 4k projectors. There are more and more films that are mastered in 4k though. I just find it interesting that some of the biggest tent pole films are still mastered in 2k. I read an article a while back that streaming services would outpace Cinema and broadcast TV in the move to higher resolutions and that's pretty obviously what we are seeing today. It is probably one of the reasons Netflix quickly made the jump to require that their own original content be captured and delivered in 4k.

Meh, even Avengers: Endgame was mastered in wait for it......... Digital Intermediate (2K) (master format). At least according to IMDB. Granted, it was captured in ArriRaw 6.5k... go figure.