Davide DB

But that way they would have to redesign all the cameras. There is no space for PANASONIC on the front 😜

Look, I was on a beach with rough seas and I wanted to do a very simple thing: a focus transition between the sand in the foreground and the breaking waves, all at F2.0 with the ND filter. At that moment, I had the old Lumix 20mm F1.7 mounted, which I really like for its rendering and colors. But it was simply impossible, partly because the focus ring (like many Lumix M43 lenses) is not smooth and absolutely not pleasant, and also because it's impossible to "feel on your wrist" the two focus points and move between them. Damn it, it's not rocket science. It's a trivial thing that anyone can do after five minutes of practice. In the end, swearing, I remounted the vintage Yashica 28mm and voila! I truly don't understand who the hell even had the thought that a "non-proportional" focus (that's the correct term IMHO) could be useful for anything. So, the old 20mm F1.7 pancake is absolutely useless: the firmware doesn't support proportional focus, the motors are of a very old design, and apparently, it's not brilliant for video even with the GH7. Panasonic thinks that everyone who shoots video with the GH7 is willing to spend 3600 Euros for the 10-25mm and the 25-50mm lenses. They are crazy. It seems to be a blanket that is too short. All the technological effort has been concentrated toward continuous AF with A.I. algorithms and specialized sensors, and now that we have almost succeeded, we are no longer able to do what we have done for a century: manual focus. Unbelievable.

It's been a while since I had to film on land, and I'm using many lenses that I had almost forgotten about. For my rare terrestrial shooting, I always used old Yashica ML lenses in manual mode, and then I got an opportunity where an entire Panasonic kit came almost for free. - Panasonic Leica DG Macro 45mm f/2.8 - Panasonic Leica DG 12-35mm f/2.8 - Panasonic Leica 35-100mm f/2.8 - Panasonic Lumix G 100-300mm f/4-5.6 But I only used the 45mm macro a lot, which is superb underwater. After two days of shooting (I have a GH5 and a GH5MII, and my buddy has a GH5S), I wanted to throw them all down the toilet. Actually, the image quality of the Panaleica lenses is stellar for my taste (maybe even too clinic), but what really gets on my nerves is the impossibility of using manual focus creatively. They all have focus-by-wire, which means it is not linear, and the focus changes with the speed you turn the ring. I know, I'm stating the obvious. But let me vent, and then I'll get to the point. I rummaged through the GH5MII menus and discovered that since it has a similar firmware to the GH6 and GH7, in theory, it would be possible to choose whether to have linear focus and also set the focus throw. But—and here's the fun part—only on some types of Panasonic lenses. Finding the list is like looking for a unicorn, and when you finally get it, you discover that few of the listed lenses (which would almost be a basic kit) have this capability. It's crazy. Basically, it doesn't matter how many new camera bodies Panasonic makes (personally, I think the GH7 is the last of its kind) if you then have crappy lenses that haven't been updated for 15 years. Playing with continuous AF, I discovered that the 45mm Panaleica macro can't even keep the focus in AFC in basic scenarios. And it should be the king of macro in the M43 line and it doesn't support linear focus. In the end, I had to do some relaxing therapy by mounting the Yashica ML 50mm f1.4 and enjoying turning the manual focus ring. Out of curiosity, what is the situation with Panasonic FF lenses? Is it the same situation there too?

Where I can download S1II raw files to play with?

I don't think photographic RAW can be compared to video, or maybe I didn't understand your point. With a 4TB hard drive, you can store infinite RAW photographs. I dive almost every week and usually bring home about 10 minutes of good footage, which I'd ideally like to archive. For special projects, I might get up to 20 minutes. This means between 100 and 300 GB per session. That's not a small amount. Now, it's clear that shooting in RAW is not a medical prescription, but I was wondering if it's a practical solution for everyone, considering that's all anyone talks about now.

It's easy but archive storage it's not cheap. I mean, for my use case during the years I've building an underwater footage archive. nevertheless i understand that who works on events does not archives footage forever.

The simultaneous release of the Zr and C50, along with Resolve's ability to import ProRes RAW, was truly like throwing a stone into a pond. Now the shilltubers and others are going crazy over RAW. I wonder if this is just a moment or if it will last. I have played with the Zr RAW files you linked me to. Gorgeous. So far, there is no news of C50 files. If any of you have representative ProRes RAW files from the S1II, S1R, and GH7 to share, you would be doing me a big favor. What I wonder is, do we really need RAW? As far as I know, even in cinema it is used sparingly. Of course, knowing you can shoot in RAW if you need to is nice, but has the cost of storage dropped, or did I miss something? Where the hell do I save an archive of RAW files? I would prefer H.265 or similar files that are lightweight and pleasant to work with. I have seen files from the FX3/FX6 that were spectacular and graded like butter in the Color page.

Tanksssss

Actually from what I see Resolve 20.2 support prores raw already. I could find S1II files to download actually.

So, everyone is talking about quality and analysis on the videos shared on YouTube, but no one has had the chance to download a raw file? Did the shilltubers sign NDAs that don't allow them to share the original files? Will we have to wait for the camera to get into the hands of common users?

Do you know if anyone has posted raw files to download? I would like to get an idea between the C50 and the ZR.

Do you know if anyone has posted raw files to download? I would like to get an idea between the C50 and the ZR.

With this aggressive price, in the next few months we'll see if it's capable to shake a little the market. Next iteration of Z9 will probably incorporate some of these features.

Why are you guys in such a bad mood this morning? Is everyone a Roger Deakins now? I'm not a professional, and a camera for less than 3K would be great for me. I film underwater every week, and sometimes I do small jobs too. Nevertheless, knowing that every time I film I bring home half a terabyte of stuff scares me, because I would also like to have the option to make some compromises. Right now I film with a GH5MII, and I only use the ALL-I codec when I'm doing something special. Having a camera that only shoots RAW is too limiting for me. So yes I leave my garage sometimes but Nikon should address that. 😄

I'm not trying to defend GU, in fact. If you've seen the whole video, he says that the files produced by the camera in Nraw, H.264, and H.265 suck, especially compared to the same files produced by the Z-series cameras. And that the only usable codec is RedCode. Now, is that true? Who knows. Neither you nor I have the camera in our hands right now, and I don't think it's reliable to just average all the shilltubers out there. Personally, and I don't need GU to tell me this, I find that putting the word "Cinema" on it is just a marketing gimmick. But it's certainly not the tool that prevents you from making films. Great films have been made with crappy gear for a century. Films have been made with the GH2 and 5DII.