anonim

Old story, Inazuma, which repeats always in some kind of men. Once upon a time there was in a Greek town Sinopa a man called Diogen who lived in the barrel. According to legend, Alexander the Great (you know, that one who was played by Colin Farrel in the movie) came to visit this guy Diogen - who was some sort of freethinker and freelancer. Alexander wanted to fulfill a wish for Diogenes and asked him what he desired. According to the version recounted by one historic, Diogenes replied "Stand out of my light." So, he obviously was longing for pure and unclosed view to the Sun and its light. Was he crazy? I don't know, but he has one similarity with m43 camera shooter: he loves light... So, he is dear to me, as also a guy from Varanasi.

Emanuel, in spite of everything, keep faith with you... knowing that such examples of injustice were inevitable destiny of all profoundly Righteous ones...

Under your coaching, we together made new one... FujiFilm: "Want to be more real than atmosphere?... Answer is obvious: Fujifilm/Varanasi!" (I know, I know - always when I'm trying to be witty, I come out stupid... but I'm still keep trying.)

Now I don't know what to think... two authorities which I equally deeply respect suggest me different attitude... Emanuel: "Imagery is not real, it is always fake!" ... Matthew Hartman: "Trust your eye"... And it seems there's no Mattias to resolutely resolve this dilema... Moreover sage Webrunner is still mute about that question, which is significant sign. There's no even good sober Jon Pais with his dancers from American in Vietnam movie to help... Damn! All in all, I feel myself little bit confused and desperate... Last time I remember similar filling was when Krishna explained to me something about reality at the field of Kurukshetra, but I was too stupid to understand.

Well, I think there are some degrees... or it is just my naive faith. Two for you! From the moment I became aware of myself - akka 3 years old - I immediately begun to suspect that I'm not prone to Fuji vibrancy siren's call because I came to the earth from atmosphere... No I know it is true... Thanks man!

I am forced to care once upon a time when I had to match Leica R and Zeiss Contax footage. Let's say I had an average skills and enough time... I know someone maybe doesn't pay attention to end of my effort, but I knew that I didn't manage to make these footages completely identical. I don't no why - but milky yellow cast of Leica was never the same as pale yellow of Zeiss, even if the waveform monitor or RGB parade showed they I near the same... Two for you! From the moment I became aware of myself - akka 3 years old - I immediately begun to suspect that I'm not prone to Fuji vibrancy siren's call because I came to the earth from atmosphere... No I know it is true... Thanks man!

Maybe the best clip for argument of manufacturer mastery - from Fuji corp. itself. But, for me at least, also and best exmple for my judge: translating result of photo-optimized color science to serious movie area is not 1=1 solution. While every shot looks noticable beautiful to the hyperrealistic level - after a while for me it becomes distracting, or even disturbing. It keeps to much attention to itself, to shine colors, and drain attention from the flow of the fable... Sorry for pathetic formulation, but I think we don't see world as vibrant as Fuji tries to suggest.... For fast shots, for any sort of presentation tending to fascinate - it works without doubt and it is very nice achievement. But for involving spectator into the world - not: this type of color strategy cries "Look how nice it looks!" - and keep you maybe mesmerized, but - outside.

For me your clips are/were extremely useful - putting them such, out of camera, I can make my own conclusion about base color strategy of manufacturer, such as I wrote above. So, please, keep going with them you and every other precious testing contributor. About your last concrete examples - for my taste, as starting point of base skin tones, I prefer look of GH5 as the most neutral between other offers in prosumer market. (But I'd like to have Fuji or Son products, which I also tried and respect...not because I'm especially polite pussy, but really

Hmmm... I think, or even I'm sure from my experience - Alexa's or Red's footages that we seen are simply better and more accurate postproduced. I do it always - as I wrote above about TheCameraStore footage, and I'm sure you know it - one of the main task in PP is to protect and differently manipulate most important areas with secondary color correction tools. I do it always. From my experience, most of the best cameras in the market are seriously capable and very very close pure out-picture wise (i. e. without distracting spectator with bad results) to highends - but manipulation capability is their main power. I know everybody know it - but, please, lets remember again that Upstream color - little bit an work of genius - is shoot with GH2 and Voigtlanders. http://www.imdb.com/title/tt2084989/

For me, as I wrote - color strategy of Panasonic GH is to sugest completely neutral, i. e. human-eyes-seen reality... It is high task, usually belongs to league above. Nothing illegitimate or wrong to have different strategy, especially for prosumer market - I think Fuji tries to be extremely and indeed seriously pleasant, which is maybe a better choice. And I've say Fuji mastered it... I just hope it will not too high mastered it with wow-emulation beautiness. Of course I'm entitled to thoughts... I wanted to say that it is Fuji not Panasonic topic... About your enjoying in my language - to say an private secret... maybe the reason is that, in one side of my life, I'm a writer with Collected works and some big echoes But I'm struggling with (especially) fast writing English Hough - you may call me Vinetoo! Of course I'm entitled to thoughts... I wanted to say that it is Fuji not Panasonic topic... About your enjoying in my language - to say an private secret... maybe the reason is that, in one side of my life, I'm a writer with Collected works and some big echoes But I'm struggling with (especially) fast writing English Hough - you may call me Vinetoo!

That's the topic where we have to be intelligent and where I find the value of evaluating forums as EOSHD. Simply put, I find that there are major and minor upgrades - task for manufacturer is to hide that minor upgrades are minor and present them as enough big... That's, for example, why I'm not interested in GH5s... I think in-reality-minor upgrade and minor (or even major!) downgrade IBIS wise. GH5 is major step in every field - not at least at finally getting Iso1600 usability that stay rich and cinematic-manipulative... GH5s looks as ISO3200 usable, but under the hood of agressive NR I found it is the same as GH5 with Resolve NR. Everything above is a gimic - type of shown in TheCameraStore lowlight scene above. To conclude this excursion trying to be exemplar about the camera I know - Panasonic don't squeeze everything from new senzor... just little bit of finer color manipulation... so I even expect there will be one more GH camera between now and widely expected 2020 Tokyo version. GH6 or similar with GH5s sensor and back of IBIS integration and even better color-codec usage. Sorry if I pollute Fuji topic too much with such observations.

Cash. But I'm very cautious to sell everything I tried and didn't find best choice for me (and you have to be lucky to accomplished it if you are not in the big market country). Just now I kept only Voigtlanders 17.5 and 42.5 and Olympus 75mm. Reason for Voigts - I found that you have to have every single gout of light for Panasonic GH5 to keep it under 1600Iso. (That's also reason, besides construction, why I preferred V42.5 over Panalaica 42.5 which has T value about 1.6-1.8) Reason for Oly - also light capability and pure optical (not electronical) details discerning power that, in conjunction with ETC mode, made this lens as 3-4steps zoom (because of pure sharpness, it is quite easy to magnified in PP a little and stay quite safe).

Please, can you clarify this more - how camera alone could know where sharp detail is needed, where not?

"turn off" is not the same as "turning down." - Of course, it's true. About the rest - you are probably right, but I'm simply not technically competent to say anything relevant. Just, from the experience - Panasonic GHx cameras extremely suffer in too demanded low light circumstances, especially trying to make fake-clean image with strong noise reduction calculation. GH5s is, from my angle of view, again wrong step in the same direction. BUT returning to Fuji topic - I think that Panasonic with its color science evolution (from GH3 onward) bravely looks after to match first Canon, then even Alexa's, i. e. mellow-quite natural profile (look at excellent add-solution of @Sage luts). Contrary, Fuji, as I wrote earlier, to my eyes has different choice - to dazzled with some hyperrealistic, as inner-iluminated skin and other tones. From examples that I saw in this topic, it seems to me that xt2 has better, more balance colors than x-h1. Is that result of next step in to-dazzle-emulation work? I don't knnow, it's just my opinion without experience with Fuji cameras, so probably, or surely, wrong.

Well, it not have to be true... You can turn off Noise reduction to -5 - and from my experience I'm quite sure TVstore did not make such choice. Why? Because scene is extremely poor lit (contrary, Fuji scene is extremely good lit) and they choose to killed any shadow and recreate world of Georges de La Tour... As a result, picture is so sublimely clean of noise... and of details. Three guys around computer and Resolve didn't even protect faces, they leveled everything equal... I dare to say, very naive and amaterish job. Going to adventure with 3200 ISO in the dark with GH5, The must is, first, to have T1.2 option in the sleeve, and second, find a way to minimized effect of noise reduction to a main subject. Choosing such extreme lowlight scene for Vlog presentation of GH5 is very very strange choice...

"I think the Fuji looks better than the GH5" - Agree. "...this is very digital and video-y to me" - Don't agree... I think that Panasonic footage is completely destroyed by Noise reduction...but, as in the case of Fuji version, maybe it is stylistic decision - here we are returned into atmosphere of flat comics? "...but is that part of the Eterna profile?" - I don't know, but probably name Eterna has some root in meanings of Eternal, so yes - it must be Bluer than blue... "I admit the girl might of swayed me to like it" - Mkabi, all of the sudden, I'm filling so sad... she's gone... again... but as always, not at all in my direction... "I have neither Fuji nor Panasonic... no glass... nothing." - I have Panasonic and glasses. But looking at this footage, I wouldn't buy it again if it is the best GH5 can do

I'm sure I'm wrong, but Behind the Scene to me looks better than Actual Scene - which actors flow in greenish/tinish (jazzish?) spleen, perhaps stylistic decision.

Perhaps my blue eyes, but I see very strong green cast... so title could be Becoming an Avatar... THAT'S called Teal and Orange ... (I have to whisper obvious... woman is beautifull).

Thanks for clarification - but as I already confessed, I'm, in fact and sadly, a boiled frog - but I know that there are around also strong human characters with resisting anti-frog capability

2500 euro? From actual tempo of rising prices, in my purple dream I imagine that at 2020. new GHx will be 3500e

No, I'm afraid... not even theoretically... it seems to me that we are frogs in the pot, pushed to accomodate every year to more 500 $/Euro degree...

So nice formulation, at least for me. Great place and always great joy to meet such spirit shining between lines...

1. MB to @jonpais Just because you got canned from being a moderator doesn't mean you all of a sudden have to agree with everyone. 2. MB to @kisaha If it is passive aggressiveness, flame baiting or just pour wording, I don't know. 1. I think @Jonpais couldn't guess this newer ingenious thought of you without your direction. 2. I think @kisaha is extremely impressed with three options that you so generous offer to him. Trembling because of your psychologistic omnipotence, I dare to say that you need a simply mirror - or that sometimes you sound too mirrorless.

This , I suppose, can't be enough stressed. Two 4k focal length possibilities. There's also and third for HD, multiplication is x2.7 and with GH5 we can shoot with All-I amazing 200Mb HD codec - if final delivery format is HD, and if you can go under 800 ISO value, with one fast prime you indeed have some sort of zoom. For example, with Voigtlander 17.5 there are 17.5/25/47.25 = 35/50/95mm full frame equivalent options for HD, or 35/50 full frame eq. in 4k. As everybody here knows - even in work circumstances, shooting is mostly some sort of loving process. If you love your lens(es), you'll find a way to make the best out of it. So, I dare to quote here Little Prince as shooting guru - “It's the time you spent on your rose that makes your rose so important..." (Saying that, just to add - shooting with m43 electronically controlled lenses, for getting mellower cine-image it is usually "the-must" usage of some a-la-mist filter for taming oversharply contrast. From my experience - although I didn't try last Oly pro f1.2 primes - just two of them could be left without filter cloth - one of two is Olympus 75mm on Panasonic, and I don't know why. It is not only that its true detail-discerning capability closely match that of, say, Canon's L 1.2, but also and in color rendition and grading flexibility...)

@Mattias Burling @mkabi But when new technology and all those sarcasticaly-born humunculus find its way into Fuji, I supposed all of that will suddenly become very cool...