dantheman

No zebra's and a histogram that disappears after you press record?? Did not see anyone else mentioning this up untill now. Canon crippled the camera just enough to make it clear their c-line is for video. Kai also again mentions RS and shows it, better watch quickly before he ninja-edits it out again.

Why say it is worse when you also can show? I"ll believe it when I can see it.

Only if you need controlled motion, in my case it's not worth the extra cost, I only use it for a few slides troughout the weddingday and then it's just fine to manually move the slider. That only works in the beginning of the day.

I use their slider one with a flex tilt head because it's so small that it fits in my backpack, the travel length is shorter but good enough for my needs.

The main reason why most don't bring extra wheights or sandbags to a wedding to secure tripods is that it's just another thing to drag around all day, it's hard enough to keep up with everything that is going on, with slider shots you place your camera, make a quick sliding shot and move on and then it's much easier just to hold down the tripod yourself.

If you place the z7 framegrab on top of your eos r test, the z7 is even a bit worse, this ofcourse is no conclusive test as the rs depends on the panspeed and they are different in both videos, that's why it's important you show your comparison result considering you have both camera's.

The rolling shutter in this video looks just as bad in 4K as the one you posted on the eos r, why won't you show your comparison result?

For most vloggers they are.

I have a Laowa 7,5mm f2 which is permantly used on the gimbal, a Panasonic 15mm f1.7, Panasonic 42,5mm f1.2 and Olympus 75mm f1.8 but also a 12-40mm f2.8 and 40-150mm f2.8 from Olympus. The 12-40mm I use the first part of the day when I shoot handheld, I shoot documentary style and work alone, a zoom is in such a case the most versatile to quickly get the shots I need, during the ceremony and speeches I have more controll and start using primes. Primes force you to move to a point to get the composition you want, that's fine when you have the time but especially during the first part of the day that is not always possible and a zoom allows me to quickly get a wide shot and a close-up without moving.

Your film is out in the open so why don’t you want to share a link? We could comment on his film and link to your film questioning why he stole it from you, unless he has comments disabled?

That was shot in 2013, I particulary liked the skintones the em-5 produced but I often saw the codec fall apart with visible pixelation on high detail scenes while he was moving his camera but that was on the em 5 mark I which had lower bitrates then the mark II. His shooting- and editing style however made you forget about that

I think you are refering to Vadim Action? I also liked his work, he has some recent weddingvideos on YouTube, here is one of his em5 videos from a couple of years ago, not sure what he uses today.

I have the first generation zhiyun crane (bought it in aug 2016) and have been very satisfied with it, had a beholder ds1 before that for a year which I liked because of the small size but it did not perform well as I got jitter in my footage, something that is not the case with the zhiyun. what I most like about it is batterylife, it just keeps going Currently I"m using a Panasonic gx80 with a laowa 7,5mm f2 and I use a quick release plate so I only had to balance once and then never again. Today there is so much choice and prices have gone down considerably, I don't think you can go wrong with any gimbal, much depends on your needs and what features it needs to have.

I would just buy a electronic gimbal that supports the weight of your 5D, they are a lot easier to operate for beginners and can be used in windy conditions. Mechanical steadicams like a glidecam requires much more experience and are trown off balance more easily outside. A true horizon gimbal head would be interesting if you allready own a glidecam (and vest/arm) but if not save yourselve the trouble and get a gimbal instead, gimbals will allow you to quicker achieve controlled movements.

Much depends on who your clients are and what you use the camera for, I mainly shoot weddings and 4K had given me nothing but advantages: I am selling a 4K file to my clients since this year (for 2018-19 weddings) as a paid option, About 7 out of 10 clients takes it, not because all are able to benefit from it now but they will in years to come. 4K might not be "standard" now but it eventually will be. Some of my clients do have a big 4K screen, I have one too to showcase 4K, 4K on a big screen looks much nicer then 1080p does. I often get the question if it's not possible to take framegrabs from my films, it is not a substitute for photography but it can be an addition for shots the photographer have missed and a 4K framegrab is a lot better then a 1080p one when they want to print photos. I also take framegrabs from 4K footage for prints that I use on my blu-ray's, I used to take photos but now I don't have to switch anymore and just concentrate on video and take out high rez framegrabs out afterwards, instead of 1 photo I now have 25 photos every second to choose from. The weddings I shoot this year are still delivered in 1080p and there I make use of the cropping ability in post which can make a difference if you are a solo shooter, I know I will loose that option once I deliver in 4K but that inconvenience is quickly forgotten if I see that I can charge 20% on top of my package price for almost no extra work. There will come a moment that 4K might be standard and I can't charge extra for it anymore but that I feel is still a few year away. My clients always get a 1080p file as well, together with the 4K one if they have choosen for that and downscaled 1080p from 4K looks better then when I shoot 1080p, I have several 4K capable panasonic camera's and they all produce better looking footage in 4K with less artifacts. My workflow is hardly affected, I do have more data to handle (a average wedding is between 200 and 350GB) but it doesn't slow my workflow down, I edit all my 4K files natively in Edius and in real time on a 3 year old computer, this includes multicam and colorcorrecting my footage or applying luts. Exporting is also very fast since Edius uses quicksync to accelerate rendering. So as you can see for some areas 4K has it's benefits but I can understand it doesn't have the same advantages for many others.

From what I have heared you need the canon mount speedbooster version if you don't want any issues, it appears that version does not require you to dial in the focal length each time you zoom. Autofocussing by halfpressing the shutter works but is reported to be slower then with native lenses. I also have the 12-35mm f2.8 which is one of those must have lenses if you are on m4/3, I also have the olympus 12-40 f2.8 which I find to be a better lens, it has a clutch focus ring which you can pull back to switch to manual focus and eventhough it still is fly by wire it feels more like a mechanical lens with very good gradual focus changes, something the 12-35mm can't do, it also has hard stops making repeatable focus pull possible. The IBIS from the camera alone is good enough to keep your shots stable since the 12-40 has no IS. When things move fast and if you work solo these zoom lenses can make a big difference compared to fully manual primes if you want to nail your focus.

Not sure where you get the idea that weddingshooters prefer higher-end pro camera's, most are switching to a sony a7sII/a6500 set up and some do use a fs5 but mainly for longer recordings, the gh5 is also gaining popularity among the weddingshooter community and the canon 5dIII is also still widely used, the 5d4 is less popular. The canon 1dc is also still used by some high end weddingvideographers. The c100 is also a very popular camera but the c200 is not because of it's high pricepoint. From all these mentioned camera's the sony a7sII is by far the most popular one so to say that weddingvideographers only prefer the higher-end pro camera's is just not true, maybe for a few individuals but certainly not for the entire weddingcommunity. I know because I"m in a weddingvideographer facebookgroup that has over 13000 members and all the big names in the weddingindustry are member there as well so you get a pretty good idea what gear is used in general.

My jvc ls300 also has that, press one physical button once on the front of the camera and it sets the whitebalance. That's the difference between a video oriented camera and one designed for photo/video. If you want easy video functionality buy a professional video camera that's geared towards video only.

When you shoot weddings? I often end up in candlelit only venues where adding light is just not an option, I"m glad if I can shoot at max 1600 iso but often have to go to 3200 iso and in rare cases but it happens to 6400 iso on my gh4. A weddingvenue is not a filmset and you can't treat it like one, couples often choose darker venues for the mood it creates and then they don't want a filmmaker to light up the place because he doesn't want to shoot at high iso. I for one will be happily pushing my gh5 when it arrives into the 1600+ iso region.

Btw Andrew, when are you going to pick up one of your camera's and actually shoot something, I enjoyed your articles much more when it contained one of your films.

It is different, 25p and 50 look the same on the gx80 in terms of detail, both modes show aliasing.

The gx85 produces some very nasty aliasing in 1080p so a lot depends on what you shoot. It's 4K is better as it produces a lot less aliasing and it is more detailed, the difference notices the most when you shoot wide with a deep dof and with lots of fine detail. I use it's 1080p 50p a lot though as I need it to slow down my shots from time to time and in that mode I use fast lenses and shoot with a shallow dof and those look just fine but anytime I need to capture a wide shot with lots of detail I switch to 4K

Would the same apply for the 0,71 ultra? Do you know what the reason is why there is a sensor shift only on cropped lenses but not on full frame?

To be fair, Andrew didn't provide any evidence either because he doesn't have the camera yet, he probably is right but his reaction seems more based on a frustration that Panasonic didn't send him a unit, the same as with the Gratical Eye Yoclay mentioned, also there he forms an opinion based on specification only and telling us how great this unit would be with a gh4 or a7s while "forgetting" and not even mentioning it has a sdi output only, even ignoring it when Yoclay mentions it. This also looked to me like a sugarcoated article with a "buy here" link in the hope that Zacuto would send him a unit which apparently never happened as I didn't find a "hands-on" article.

I like Johnnie Behiri's mini-docs a lot when he tests new camera's and I wish more sites that do reviews would follow his example instead of only talk about a camera, pixelpeep and use blown up framegrabs. Ideally it should be a combination of both, a detailed test like Gordon Laing at cameralabs does but geared towards videofunctionality only and then add a nicely shot short documentary. Until that happens our only choice is to look at as many reviews and uservideos, try to filter out the crap and try to make a informed decision before buying to eventually find out the camera has flaws that have not been mentioned by anyone so far.