zlfan

if gh7 has a firmware update of aria log c3 uncompressed prores4444. gh7 will sell like a hot cake. lol.

probably c400 s16 mode can do almost uhd 4k, as its s35 mode is 6k.

interesting, if c400 can do s16 4k raw, it will be better than gh7, as c400 has built in nd filters. yeh, the price tag is 4 times, guess related to 4 nd filters. lol.

this is big wish and fits well with the video shooting.

it is true that m43 still has its niche. full frame mirrorless body like s5 2x can be the same as gh7, but the lenses can not be as small. so the size savings on the camera do not contribute much to the whole rig. I actually think full frame mirrorless should be like canon r1 or Nikon z9, just like the dslr canon 1 series. of course, there are small light full frame mirrorless like Sony r1x, which has its niche. but m43 can also be very small if doing the same thing as the r1x.

gh7's 4k prores or mp4 suppose to be oversampled from the full frame m43 sensor's 5.7k. gh7's 4k raw is 1x1 pixel by pixel mode. it is not oversampled. it is less detailed than the 5.7k raw. but the c4k raw is prores raw hq, 5.7k raw is prores raw. so the c4k raw has less compression. so it may not be much worse than the 5.7k raw. a little bit worse, maybe.

if you still keeps the s16 kern or Angie lenses, very possibly this gh7 will work, but without infinity focusing.

I adapted a cooke 75mm f4 s16 lens to a nikon 1 v1 with a 1 inch sensor. works fine, no vignette at all. maybe wide angle s16 will see vignette on a 1-inch sensor. I doubt about it though, as it is 95 mm2 vs 110 mm2. most branded lenses have image circle a little bit larger than their native formats. some famous lenses like Leica lenses, are actually reaching medium format image circle sizes. so I think s16 lenses on gh7's dci 4k crop mode, even wide angle ones, will be fine. if no need for infinity, c mount is fine.

https://www.dpreview.com/reviews/panasonic-gh7-initial-review Video The GH7's headline video feature is support for internal ProRes RAW recording, including both ProRes RAW and ProRes RAW HQ, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets. ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop. Raw CodecResolutionFrame RateCropDestination ProRes RAW or ProRes RAW HQ 5.7K (5728 x 3024) 29.97 25 24 23.98 Full widthCFexpress card or external SSD*DCI 4K (4096 x 2160) 59.94 50 29.97 25 24 23.98 1.41x

according what I read on the dpreview, the dci 4k of gh7 is 1.4 crop of the m43, m43 is 224 mm2, 1.4 crop is 50% of the area of the m43, so the dci 4k crop mode is 110-120 mm2, this is basically 1 inch or s16. I think s16 is 95 mm2, 1 inch is 110 mm2. there are some 1 inch lenses at c mount or Nikon 1 mount. if no need to reach infinity, these lenses can be adapted to gh7 too.

of course, a c mount s16 4k to 6 k to 8 k raw camera is good

there are some s16 lenses with pl mount, and 2/3 lenses, they can be adapted to m43 mount. gh7 can do dci 4k prores raw hq 60p s16. with a good s16 lens like Zeiss 10-100mm, it is very powerful. right now there is not many good s16 digital cinema cameras.

I think an even more impactful cam is something like s5 iii with a 6k full Frame and a dci 4k s35 crop prores raw arri log c3. this is like a Alexa 35 at $2500, plus a Alexa lf when in full Frame mode. that 15 stop dr is nice, that highlight rolloff is unique, but a $2500 cam can do 95% of a mini lf and an Alexa 35. this is what a new cam should be, just like 5d3ml in 2015, r1mx in 2009.

gh7 still has advantage over gh6, as gh7 can record prores raw, and has better dr. so gh7 can match to Alexa even easier.

I think s5 2x is an old sensor, the reading is not as fast as gh7 sensor. arri c log make it easy to color match Alexa to this gh7.

super 16 mm / 1 inch dci 4k prores raw hq 60 p. this is really something. finally, a 4k raw s16 cam is available to the general public. I am itching to pull the trigger now. either gh7 or om 1 mark ii. probably gh7 first, then wait for om1 mk iii.

is 15-stop dr easier to win a Oscar than 11-stop dr?

r1mx kind of olpf integrated on prosumer cams will be big features. how many prosumer or hybrid cams have good enough olpf? how many do they have something like olpf?

I can color grade GoPro 12 footage to surreal colors, and impress many viewers. but still it is no r1mx, f3, 5d3ml. experienced viewers can tell the differences.

if someone say the latest prosumer video cameras are better than r1mx, epic-x mysteries-x, 5d3ml, f3, I really doubt his judgement, no matter what kind of achievements he has. you can say the latest prosumer cameras are sharper, more dp, more convenient, but are they really better in the whole image quality? I seriously doubt so. for the latest top cinema cameras like Alexa35, that is another story. but prosumer cams? hybrids?

if you talk to some experienced dps like David Fischer, if he has to choose two cameras, either c70 or r1mx, will he choose c70? I have to shake my head, when people blah blah showing their ignorance and try to shut up real knowledgeable people, even by attacking them personally. yeh, you don't agree with us 24pers, you are from Egypt, you are a shoddy md, or double mds?! if you are in our camp, you are a good guy, worthy padding on the shoulder. politics is every where, even on camera forums. lol.

it is funny that people claim that they are abreast of the curve, yet they don't even have extensive first hand experience on the latest ml firmware, mlv app, and the whole workflow. a lot of issues complained here have been solved during the past 10 years. now 5d3ml 14 bit 5.7k anamorphic 1x3 and 3.5k 1x1 crop modes are very robust. if you use 14 bit, you don't see pink color or banding even after heavy cc. I just sigh and walk away when I see people arguing about something about ml that they don't even have hands on experience and don't even update themselves with the latest tricks. if you point out, they will show their "knowledge" and look "down" at you. lol.

people are funny that they can define "cinematic" or "filmic" by trend. r1mx's olpf was tuned to mimic the film which was the standard in Hollywood at the time, and now reviving again. so r1mx is much more suitable for cinema projects than the latest breed. for the resolution, r1mx 4.5k 24p ar 2.4 is enough for commercial theaters. if you want to challenge the r1mx's filmic character, you are challenging a whole generation of experienced dps, including David Fischer.

I am sorry if my tone was too strong. I did not intend to offend you.

i understand that you have made significant achievements using 5d3ml. i never doubt your professional quality. but ml is improving, it is amazing. i test all of my video cams by my own hands. i try to optimize each one, but 5d3ml is the best in terms of iq. as i said before, ml cams have severe rolling shutter, dr is lacking. but if you can control your shots, 5d3ml generates extremely beautiful color. some of my 5d3ml footage is no less than any hollywood level features in terms of iq. of course, my footage is just landscape, not comparable to the hollywood features' storyline, constume design, art design, etc. but iq wise, i am impressed with my 5d3ml footage more than amazon prime, netflix, or local theatre movies. i am not joking.