Simon Young

As a serious addict I’ve owned the R5 and the R5C several times and sold them several times. I do miss the R5C though, amazing camera, for me the lack of ibis is a positive and one touch white balance (which is surprisingly accurate, whereas a whole lot of digging through menus and taking a photo the archaic way with the R5 is frankly retarded) and the false colors are amazing and usable tools. Other pros versus the R5 are of course the codecs and the constant downsampling, no matter if you’re shooting 4k or 1080p, s35 or full frame. My favourite mode was the s35 6k raw with manageable file sizes and very little rolling shutter, around 10ms. And whatever people say, the R5C has clearly more dynamic range than the R5, and it has colors more in line with the other cinema cameras. Oh, and the wide dr color profile is excellent for fast turnarounds.

Is the 4K raw downsampled from 6K, thus not really raw?

Olympus colors never disappoint! Would be really cool to see some 4k 10bit footage in 25p as well.

One thing I think is overlooked is how insanely fast the sensor of the OM-1 is. Codecs, color science, bit rates and everything else aside, to me the OM-1 always seemed like the closest thing to a digital bolex available today. It's a real shame so few good examples of the video performance is posted online, would love to see some more to judge motion cadence etc. I've also heard the OM-1 is very hard to get to overheat when recording video, which is always a plus.

It's up again 🙂

I had a hard time listening to the dude next to the Panasonic man, but the interview is intercut with logC footage from the GH7 and a longer bit in the end of the video, shot in auto exposure for some daft reason. But the colors look really good to me, better and more Alexa-like than a color space transform in DaVinci, for sure.

I think I've seen everything there is to see about the GH7 online and still haven't found anything longer than a few seconds of logC 3, so it would be great if you could provide links to what you refer to.

The greatest thing about the GH7 - Arri logC. But as a paid upgrade.

It's downsampled in camera from 5.4k.

Kinsons seems to be a very sympathetic fellow, encouraging proper tests of DR and in this interview he really stresses the dual gain conversion of this sensor - which is frankly amazing. A global shutter with dual gain conversion is unheard of before.

5K global shutter, dual gain sensor and "the best dynamic range out of all their cameras". Shipping in October. People are already whining about the price of 3999 dollars ("ITS NOT FULL FRAME"). This is why we can't have nice things and I fear this might sell very badly of course. https://www.newsshooter.com/2023/09/16/z-cam-e2-m5g-global-shutter-cinema-camera/

Is there a chance you could share the original 5K raw files?

Prores HQ looks way better, especially in nlog on the Z8 and the Z9. When you shoot in h265 there's a disgusting amount of internal noise reduction going on no matter what profile you're in and it's not possible to switch it off.

@Andrew ReidI have a brand spanking new S5ii here in Stockholm, with the 24mm f1.8 and the 50mm f1.8 Panasonic primes. Would trade it for your Z9 in a heartbeat 😄

Yup, if it's confined to the normal profiles this is a complete non issue as far as I'm concerned.