EthanAlexander

This isn't true. You aren't accounting for the light advantage already at play with larger sensors. So, when you stop down two stops to get the same DoF, you're ok because FF has a two stop sensitivity advantage over M34.

Then just stop down the lens . Don't want to go down the rabbit hole of equivalency, but there's no reason a full frame camera can't achieve the exact same DoF as M43 and vice versa (Although it's easier for FF to achieve shallow DoF with current lens offerings).

Personally, I don't really care about mirrorless - I was more thinking for the FS5II and FS7III. But, literally the only thing that the A7SIII needs to do is add 4K60 and 10 bit. If they can't figure out the heat on that they should just quit lol

The only reason I'm sad about the omission is that for ever step forward Panasonic takes, it puts more pressure on Sony and Canon, and they'd be forced to make something even more incredible if this had IBIS. I have zero plans to move to the panasonic ecosystem, I just like competition.

No IBIS but plenty of BS ? Guess they got tired of Canon getting all the "seriously?" faces

High bitrate 10bit h.264 is practically the same as ProRes http://brightland.com/w/h-264-vs-prores-equivalent-quality-with-3x-smaller-files/

This. Not only does it make shallower DoF possible, and bring in more light, but it practically doubles the number of lenses you have if you use both a straight adapter and speedbooster.

They already make one - it’s called the FS7 ? But seriously the only thing they could add that wouldn’t make it an FS7 (or better) would be IBIS and the touch screen auto focus they’re doing in mirrorless. That would be a pretty killer camera though!

Is this one of the factors that led you to your decision to go other directions with music? Also, have you considered selling your YT channel to another filmmaker, or partnering with one so you could do less work but keep it active? We need channels like yours so we do have choices besides Logan Paul.

I think your frustration is misplaced, Andrew. I fail to see how it is up to google and FB to kill their own platforms by curating (censoring) content. If they did that then they would be overtaken overnight. Period. I work full time in marketing at a company that sells 90% online and I can tell you that YT and FB are perfectly oiled machines that serve consumers exactly what they want to see. That's why they are worth billions. What you've overlooked is that if consumers truly wanted different content, then YT and FB, using the exact same algorithms, would serve up that different content. It's that simple. My own YT and FB feeds don't show me the crap you're upset with because I never interact with it. It shows me camera stuff, exercise stuff, and puppy videos lol . That's it. If you really want content that's curated (again, censored), it already exists: It's called TV and nobody wants it.

Lots and lots of good points @mercer! All things considered, combined with a speed booster the GH5s should be enough for 90% of people (who don't need DPAF) and I applaud Panasonic for pushing forward like they are. But you're right, there's just no way to substitute for sensor size at the end of the day. There's a reason RED, Arri, and Sony are going "full frame" with their high end cinema cams, and it's not just marketing hype.

Thank you @mercer Now we're going to have thousands of people uploading videos of 10bit VLog footage shoot at high iso at night where there's not even 10 stops of dynamic range in the real world but we're still going to hear that anyone who shoots otherwise is a Sony or Canon fanboy who doesn't understand It's time to get out the popcorn - there's going to be a lot of funny threads.

I own one of these and have used the other extensively and I'm going to have to say no to this. Not even close to my experience. Also, what do you even mean by modern/old codec? They're all h.264!

How so? (genuinely interested in why you think this @IronFilm) The variable ND and E mount make it the clear winner for my work and many others. It's also smaller and lighter. And it's cheap enough to buy the raw upgrade with recorder and still be cheaper than the EVA but you'd have higher bit depth and higher continuous frame rates. I'm biased as an FS5 owner but I really think it's the other way around and the FS5 is a better buy for most people, and that for anyone who needs more should look past the EVA and get an FS7 ; ) - & FWIW The test wasn't even shot using optimal settings. Shooting Slog 3 at 8 bit in this test is just silly. 4K on the FS5 is really quite good when using a cine gamma. Same with the high frame rate. And everyone and their mom knows to over expose Slog which means he should have put middle grey higher around 55% not 41 -

@DaveAltizer Have you tested focus for stills with non-native lenses? I've got way more EF lenses than E. Regular Metabones for stills and speed boosting for video (no auto focus) could mean I don't need my 5D3 and A7S. Might still do it just for the speedboosted 16ms RS 5K-oversampled S35. Seems like a killer way to go. Tried this out?

This is going to sound weird but... shoot less log. I spend way too much time color grading just because it's fun, but I could be using that time for more productive things when log isn't absolutely necessary. BTW I wouldn't say this if I weren't so impressed with the latest EOSHD Sony color profiles.

Never made any DCPs but I'm very picky and can spot TV crap like "motion smoothing" from a mile away so I'll give you my thoughts: If you force SDR to display as HDR, or force Rec709 to display BT2020, 9 times out of 10 it looks weird. Sometimes it works but it's like forcing an old mono Beatles track to play stereo... it just isn't right. On a more general note, once you start experiencing the true contrast and color that come from actual HDR content it's very hard to go back to SDR material. It's got a depth to it that is almost like watching in 3D. But again, I generally forget about all this after watching for about 5 minutes and I get into the film... Unless we're talking the motion smoothing gimmicks. I never get over that ; )

I used to buy blu rays for the movies I wanted in the highest quality, but the convenience of digital (iTunes) outweighs that now. I can tell a difference in picture quality, but after watching for 5 minutes I forget about it and get into the movie. I recommend buying iTunes now because they are automatically upgrading HD to 4K HDR as it becomes available - for free! I bought a 4K Apple TV and my movies look fantastic now. I can barely tell a difference between them and the few 4K HDR blu rays I have. The ONLY exceptions are Christopher Nolan movies, which display the full 16x9 IMAX sequences on blu ray, but stay at 2.35:1 on iTunes. I don't get why, especially since Tron Legacy switches between the two aspect ratios on iTunes. TLDR: Buy iTunes movies for the free 4K HDR and convenience of the cloud.

@IronFilm Audio is the only one that hasn't been picked yet... It's up to you to defend the most overlooked part of filmmaking

I know what we all really want is an Alexa 65 and $100 Million to finance our feature, but there's only so much Santa can do in two days...

@Marc_MS Are you saying you can't open the PDF? There are no files to install on your computer - all you do is read the PDF and change the settings on your camera manually. The rest, life the shadow fixes are LUTs to use when grading on your computer after you shot the footage.

A while back they messed up the price of a new sony lens by $500 and they honored it. https://petapixel.com/2017/08/03/amazon-honoring-500-pricing-error-2200-sony-lens/

This is not true! Sorry, Don you're very knowledgeable but I want to clear this up: SSD can be swapped. Therefore I would definitely get the newer Kaby Lake.

You can change the SSD later, or just use externals of course. The rest is non upgradeable. I'd get the 2017 for sure.

@Lovund Looks great! Any BHS shots you can share? Lighting diagram, would be cool too. What made you go handheld? Budget, time...?