anonim

So, mostly marriage with deceased/resurrected Olympus bride.. of course, with signature inscription "BM Best man Andrew Reid"!

Yes, it seems very important to know... especially regarding thread title

"Crop factor" usage of cameras with obvious issue from DP's perspective... that found their way to different Cannes 2019 selection sections: MAIN COMPETITION (Palme d’Or Contenders) - “Sorry We Missed You” Dir: Ken Loach, DoP: Robbie Ryan Format: Arri 16mm Camera: Arri416 16mm DIRECTORS’ FORTNIGHT - “The Halt” Dir: Lav Diaz, DoP: Daniel Uy Format: 4k Camera: GH5S Panasonic Camera Lens: 18mm-50mm zoom lens Panasonic, 70mm-100mm zoom lens Panasonic - “Lillian” Dir/DoP: Andreas Horwath Format: Digital, 2K, Lossless CinemaDNG RAW — and 4K for the drone footage Camera: Blackmagic Pocket Cinema Camera Lens: Voigtländer Nokton Series - “The Orphanage” Dir: Shahrbanoo Sadat, DoP: Virginie Surdej Format: Alexa Mini-S16 HD mode/ prores Camera: Alexa mini S16 HD mode UN CERTAIN REGARD - “A Brother’s Love” Dir: Monia Chokri, DoP: Josée Deshayes Format: Super 16mm, 7219 Kodak Camera: Arri 416 - “Liberte” Dir: Albert Serra, DoP: Artur Tort Format: 2K Camera: Canon C300 Mark ii (crop mode) Lens: Canon 11-138 (S16) OUT OF COMPETITION - “Let It Be Law” Dir/DoP: Juan Solanas Format: UHD 3840×2160 Camera: Panasonic GH5 Lens: Leica 12-60mm 2.8/4

Blackmagic EM1 4k/6k with IBIS and Braw would be something! Of course, with BM 12-100mm parfocal cine lens as Fincher-kit. It's important that all technology s here - and now, as it seems, open to be united. I bet that art-for-all visionary impulse in Grant Petty is seriously challenged. BTW, Imo both argumentation - @Super 8 and @kye are super correct and nice for reading, but from different approaching angle. Those who are primarily afraid for future proof investment, logically have to least believe in longevity of m43. Who's oriented to spend least money and create artistic content now, will at highest degree enjoy incredible offer of so mature and more and more evolving and affordable highend lens ecosystem of m43 (cine zoom, anamorphic, tiltshift lenses. (Actually, I think that Olympus codec/non video restrictions constrained further development of m43 format and stopped best usage of their technology.)

Live now, express yourself now. What's the point about just evaluating, calculating, being scared of lose or what will be better money future investment, instead of using any of marvelous option and sharing results? We are at the peak of possibility to do it - maybe mostly grateful to m43 offer. At some point we will not have capability or existence to do it - I know we all know it, but just to remind

I see just great chance for Blackmagic to acquire missing parts in production chain and technology. Ibis, lenses/optic, stellar weather sealing, precision quality - next step to bring closer to higher indie market something very similar/parallel to Arri's offer of quality. They even share some nice ambassador person. Being marketed as photo oriented camera, today is imho some sot of suicidal decision. Its not about m43 or FF etc. - it's about new 5G world, exclusivity of screen media, and changed field of creativity. Less and less creative people will be interested/occupied with photos, more and more in video/sort-of-movie making. Creative language is (first and secretly) based on distinguishable form of expression: taking photo today is evolved even in kindergarten. Just wealthy retired buyers and specs/GAS fans are primarily interested for sensor size and endless web discussions about it. New buyers, young aspiring artists or travel adventurers will simply ask - what is best/cheaper tool/line for articulation of more sophisticated creative impulses and ambitions. (Inside of four East EU country where I have credible info and insight - interest in Panasonic FF is zero. Actually, there where m43 line was always live, FF offer mostly even not exists. You need special order.)

What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.

But as far as I notice, cutting edge technology nowadays in respective field (and market) is always coming first to m43 format and just with delaying time (not so non significant) to FF? Aren't you quite obviously in a proper or best topic - so not by chance - for such quoted preference - because of well founded expectation that GH6 will be first camera from some future best technology offer? Or, in another words - it seems to me that exactly weighting leading technology as particular aspect of interest, in last decade m43 is The system that regularly leads in that sphere and has to be in special favor for such primarily preference. That's why we are in GH6 topic, expecting that it will be the again the first with some combination (not just one isolated spec) of new technology offer with higher level of usability? (And btw, just because of mentioning of usage of vinyl recording as retro in the same time with cutting edge quality - in term of high(est)end quality (that was idea of quoting), vinyl recording is not surpassed with digital (at least at classic music field that I was sometimes called to judge)... Unfortunately I have no similar opportunity and experience with highest quality film based camera vs digital to suggest if it could be the same case, at least in some spec. Imho there are some limit in creative art that solely technology can reach because of nature of human perception, and after that limit it becomes obtrusive and need self-establishing propagandist ideology to be really accepted. At the end of the day there's no modern manufacturer that can approach near close to quality of Stradivarius or Guarneri violins. Even Steinway's pianos have been perfected about 15-20 years ago (to the last little drop, but actually much earlier) and there's no necessity nor expecting regarding further developing without impossible destroying innate human audio perception. So, as far as I can see, we are in the middle of trend of serious democratizing creative opportunity, and it is at least one reason to feel privilege to leave today and to read such greatly elaborate research contributions as Kye's - that discussed how close we are in approaching natural perceptive limit for truly artistic usage - in topic about 3000e cameras.

https://kinotehnik.com/product/lcdvf-bm5-optical-viewfinder/?mc_cid=9049a6a9a0&mc_eid=2f8b1ca3ab

Actually, it was Aristotle in book 2 of The History of Animals. But for that (as famous ironical) quote is responsible B. Russel from the first/second page of his The Impact of Science on Society, But in defense of Aristotle, it has to be said that final inclination of Russel was not quite true - because Aristotle indeed study that "teeth problem" - so is not example of non-scientific or, better, non-observational philosopher - but in rush derived his conclusion from animal world that he actually very deeply studied. (Moreover, problem about this quote looks different with keeping in mind that in further original text Aristotle mentioned so called 'wisdom-teeth' and slight differences regarding period of its maturity in case of male and female, as some foundation for his claim... Sorry, that's some sort of second profession of mine :)

There's no reason to imagine - Kenji Mizoguchi alone and above all others is The example to study and study

I tend to disagree. It seems to me that there are in general much more people that chase for specs and newer camera simply as some sort of an excuse not to go and spend more time enjoying shooting (with different reasons - having not enough time or energy, being obsessed more with technical aspects than creative expression etc. ) Such people pretty deeply study every single camera and enjoy in comparing and discussing them. And that's market wise ok and actually desirable. Today especially FF camera manufacturers greatly count on such potential buyers, because production of FF camera is now greatly in line with nowadays widely adopted selling strategy - greatest possible profit per one camera instead more cameras with with lesser profit margin for one (as is obviously Blackmagic's choice). Back to topic, I think that crucial task and problem to resolve for Panasonic is to, above all, seriously rethink their selling strategy (mostly after GH5s mistake and more earlier after giving up camcorder type m43 cine camera line), especially regarding GH6 and m43 in general - it could be their last chance to keep old and attract/get new numerous buyers in the field they gained ultimate reputation, and in the race with now much more flexible competitors.

Since I had and thoroughly used whole sets of Leica R and Zeiss Contax lenses, maybe it's not too unworthy to mention that there are also pretty big differences between lenses in either of lines. Precisely, above quoted Leica R 35mm f2 is indeed, without doubt by far the best lens between R's (even not just at pixel peeping level), following, I'd say not so close with 60mm f2.8 and 90mm f2 - but such combination of sharpness and mellowness at the same time is unique even for R's. (Even every last revisions of famous 50mm's need higher aperture to avoid noticeably even center softness on modern sensors.) So, comparing best of the best of whole line, with edge focal distance of an zoom, actually is compliment for Sigma 18-35. Interestingly, from my experience, if I have to choose similar unique character for one single Contax lens, I'd choose Distagon 35mm f2.8, even rather than Hollywood 28mm. (Also Contax 35-70 is surprisingly great, but for me not as much as its cpair Leica 35-70... Also very 'cinematic' SOOC result with modern cameras could be achieved with pretty underdog cheap, but mechanically brilliant R 28-70.) R's also have lesser focus breathing than Contax's. Another similar remark is that R line is mechanically on level upper to Contax line, and age deterioration with proper care even with intensive usage is remarkable close to zero, which couldn't be said in term of 1:1 for Contax's (although they are at the same high league in comparison with often confection-type of modern lenses).

"An Elephant sitting still".... Beside profound and tragic tone and breathtaking (and technically quite indie-achievable) cinematography, one of the most exceptional usage of tracking (walking) shots for cinema/story language, as also totally natural lighting. About both these aspects, maybe to someone could be interesting interview with DOP https://filmmakermagazine.com/107340-at-the-mercy-of-the-sun-cinematographer-fan-chao-on-shooting-an-elephant-sitting-still/#.XllD1KhKgxv https://filmmakermagazine.com/107089-its-inspirational-that-he-creates-a-language-to-tell-a-story-thats-his-own-hu-bos-an-elephant-sitting-still-discussed-by-dps-ed-lachman-and-philippe-rousselot-and-critic-adriana-prodeus/#.XllFb6hKgxv https://www.imdb.com/title/tt8020896/

Short shot with Pocket 4k and Dzofilm 20-70mm Parfocal Cine Zoom T2.9

Dzofilm 20-70mm Parfocal Cine Zoom with Pocket 4k

Compared pictures look to me identical, maybe a touch bit more of DR on P6K2Alexa part because of higher black point, judging from leaves in background and clothes. Although it is obvious one, I'd like to mention idea and give a vote for making similar PowerGrade transform also for P4K.

Yes, unfortunately the same info about 8 bit stayed also at bhphoto from day one of announce (that was first I checked).

It seems rather 4:2:2 8 bit as earlier. https://mirrorlesscomparison.com/preview/olympus-omd-em1-ii-vs-em1-iii/ What's nice addition is Auto ISO while recording video in Manual mode.

Me too... All this thread looks more and more like Crucifixion of Blackmagic. (There's also somewhere even mention of Messiah.)

"We believe that what the market is telling us is that in the near future, all those video features should be available from high-end to enthusiast-level videographers." What a pathetic rhetoric to say: "Market = price. We can't survive with such autistic price race. There's not so much wealthy retirees, rich daddies sons and hype specs hunters as we expected... sadly L-ogic of such annoying number of buyers is not yet in FF-Bokeh stadium nor ready to be suffocated in our L-mount necessity... We are forced to go back to old G position (of logical quality/price ratio)."

Just to be completely fair, there's neither recording option to hard media.

At least with 60/24p RAW 2600/1800Mps there's no reason to worry about time limit for recording.

But 1DXM3 has better specs than S1H that is 4000?

My greatest impression - thanks to @Django - is that now we have option to check I wish it button at one of the official selling page. Moreover, that button being located somehow under title information about Being developed (without info when, no really what, except misty alluring descriptions)... It's so funny that, in all market uncertainty, giants started to behave at crowdfunding manner or as political opinion polls before elections. When at march 2018. Blackmagic made their announce for 9 month in advance, it was for me like very cheeky behavior conceived to prevent buying cameras from other manufacturers (I noted that it will open Pandora's box of announcing) - at that time it was commonly to all (not just camera, but computer etc also) industry to announce full specs and fixed date 3-4 months ago, not so rarely even publishing preproduction tests or - symbolically - showing body under the naive, pure, poetic veil as Eva1. Do you remember those not far away days? Now such behavior, when Petty went out with preproduction model showing how BM writes to USB-C disk and full list of promises seems as fairy tale. Look at us - actually we are talking about our own assumptions build over assumed possibilities judged by Canon previous strategy... inside of topic that call for our assumption of what Panasonic Sony etc can do regarding these assumptions squared chaos. Imho little bit as specs-addicted-zombis in some Twilight zone