zlfan

I guess some Sony bodies have ibis that tamron lenses cannot utilize well.

I feel it is a little too blue too. generally I like the look. it kind of making gh7 sort of cinematic.

thanks a lot for the info. will research on this. I have some manual focus lenses over 100 mm, especially from medium format. so it will be great to have good use for them. now I only use them for taking photos. it will be great for video shooting. some lenses are very interesting, like bronica 110-220 vivita series 1 70-210 etc. will research and try this gyro stabilization approach.

very nice footage. I think this is about at 8k level, oversampling to 4k on YouTube. on a 27 inch 4k monitor with a viewing distance of 1 foot, this is noticeably better than c300 og's 1080p upres to 4k in davinci. from my experience, this is the most demanding viewing method, more than commercial theaters, more than large screen 4k tvs with a viewing distance of 3-5 meters. on laptop, the difference is not noticeable. neither is on iPad, nor on iPhone.

my understanding is that "cinematic" is actually "exclusive" in reality. most of the times the exclusive features are aesthetically more beautiful, sometimes arguable, sometimes not appealing.

why HDR in door? does not make sense to me. gh7 has a nice look here though.

seems to me that Tamron > canon=nikon=panasonic=olympus > sigma=sony >tokina?

this video is so dark on my laptop. it is 4k HDR 10+.

a lot of hard buttons, like peaking and zebra. manual focusing in evf is fine as long as I set the evf to bw and the peaking line to thin red lines. battery life is ok too. one battery lasts about 2-3 hours.

I stripped one of my c300 og to only body, no side grip, no top handle, no xlr lcd unit. paired it with some super zoom like efs 16-300. I did some street shooting, very effective. I can shoot wide and far without changing lens. internal nd is nice. if I take it for travel, I will bring a 50mm f1.8 for low light. the only issue is that I cannot pan and tilt freely. c300 og has 720p 60p but not as detailed as 1080p 30p. if for static shots this rig is fine, the size and the weight are acceptable for travel. not the smallest but very useable.

from a business point of view, Nikon's hybrids may have the best raw in the future, as Nikon acquired red with its decades of knowledge of one of the industry's best raw codec tuning under the hood. also, Nikon does not have pro video camera department for protection. however, from a historical point of view, although Nikon introduced the true DSLR revolution with its d90, earlier than 5d2, it is not willing to add more buffer to Nikon v2 and v3, convinces me that Nikon is still controlled tightly by Japanese industrial conglomerates. anyways, I still have high hopes on nikon, as its z mount is also the shortest flange distance. sony, sigh, except its accidental error on fs700/r for excellent sdi out raw, its later low to mid tier cameras have crippled sci out raw to protect its high end Venice/2 cameras. on the other hand, Sony spent decades on codec implementation in hardware and firmware, its internal dsp is actually good enough. I will not bother with Sony's low end cameras' sdi out raw. canon is similar to Sony, except there is pressure from the free open source magic lantern. so canon has to compete with magic lantern on feature providing. however, seems to me, canon is trying to use sensor as the differentiator, r5/r5c sensors are behind c70/c300 mk3, etc. I guess the logic behind is that even magic lantern can hack the latest canon mirrorless, it cannot do much with the lower quality sensors. panasonic is the only one really aggressive, possibly due to its lacking of still photography camera department before. Panasonic seems also like canon, using sensor to differentiator its high end cinema cameras from its Lumix offerings. olympus, its board controlled by Sony investors, is not willing to step on Sony's toes, even willing to go belly up. its ibis was supposed to be the most disreputable technology 10 years ago. yet it did nothing to exploit this.

if a camera is famous for its log shooting, better to follow the crowd. its raw may not be that juicy.

seems to me that it is better to choose the cameras with the tradition or reputation of raw if wanting to shoot raw. at least to test the camera even if the spec says that it can sdi out/hdmi out to raw or can record raw internally. seems to me that "raw" is a glowing hat now, not necessarily true raw, which is actually very dumb, but fresh, juicy, real meat. it is funny that a real good raw, tmho, is the free offering, magic lantern raw.

In the comment section, this video's author agrees that Lumix is far better than Sony. Maybe the wrong setup on gh7 causing more jittering. @KenCoCreates 2 weeks ago Boost I.S. Is meant for tripod static shots when handholding. Be careful when walking around and panning on it because it will cause jitters and I think it hurts the sensor a bit. Other than that E-stabilization on high is so good. I use the LUMIX G9ii Microfourthirds all the way for me. Show less7 Reply · 1 reply @JasonMorrisphotocinema 2 weeks ago That makes sense. Realistically the lumix was far superior to the Sony in stabilisation anyway

https://www.youtube.com/watch?v=1GokSOqok1k at 10:10, seems zve1 is pretty close to gh7, maybe equal to s5ii/x.

on crop sensor, what is the advantage of anamorphic lenses over ff lenses plus a metabones reducer? the reducer can give you almost ff look, one stop more light, all the current available ff spherical lenses. Philip bloom used to shoot his cat a lot. sometimes, there are hidden talents in cat shooters. lol.

to be more specific, 5d3ml has a 1920x1920 sub crop mode in 3.5k or 3k crop modes. I used it several years ago. the footage was ok.

this I totally agree.

i totally agree with your analysis. i think the bottleneck is the end user's monitor/tv/screen+projector now. if these can reach to the level of very high end production monitor or even better, like 12 to 14 bits, ips, oled, 120 inches, dr of 15 USEABLE stops, then a35 and raptor etc are really essential.

I know you are an experienced dp, actually I am honored that you are interested to see my footage as you only want to see very high quality product as I can tell. just I want to keep anonymous on this forum, so that I can speak freely. I truly appreciate your interest, bow to you.

anamorphic lens originally was to increase the resolution of the final footage, although this notion of resolution increases is debatable itself. nowadays, for 4k, 6k, 8k cameras, resolution is not an issue. shooting for TikTok and traditional aspect ratios together seems the current reason of open gate and anamorphic modes. actually, for TikTok, there is no need for over 1080p, as people watch on their phones. at least I don't see TikTok like big screen tvs. on 5d3ml. there is a 1080px1080p crop mode. if the true purpose of open gate and anamorphic is not as a differentiator using that cross flare artifact to show that I am using expensive anamorphic lenses and you cannot afford them, I think 5d3ml 1080p 1x1 square mode is the best, as it is 1:1, raw, 14 bit, 1080p enough res for TikTok. also, rolling shutter is smaller in this mode as the sensor size is about 1 inch.

depends on codec, the behavior is different. for mpeg2 50 mbps, which is a standard for broadcast news, the panning artifact is blurring. once panning or tilting starts, the image is not clear. once the camera movement stops, it is clear. for xavc (Sony's mp4 implementation), the artifact is jumpy or choppy. for prores, similar to xavc. actually, theoretic discussion of the reasons of panning artifacts is not useful to me. as I am a practical man, the only way I find out that can solve this problem is using uncompressed or true lossless raw cameras if want to stay at 24p, or go 60p if the camera can do 60p and does not have a thick codec. I have seen blurred or choppy panning or tilting all the time, even on famous camera reviewers' footage. there is no deny that this kind of artifacts exist. I doubt that there is a practical way to prevent this happening on a camera that does thin codec 24p. most of time, experienced dps avoid camera movements at 24p if they use thin codec cameras, as you see from their demo reels.

from my use on Nikon v1, I doubt the notion that bigger sensor has better dr, as v1's dr is better than many apsc sensors. smaller sensor will have worse low light, that is for sure. bokur wise, I think m43/43 is good enough for most cases, maybe not enough for portrait and fashion. maybe a long lens at 200mm on m43/43 is fine. I use 43 55-200mm hg at 200 mm f3.5, out of focus is actually very nice, and you don't need to worry about half face is out of focus. I think 43/m43 for shallow depth of field seems an optimal format if background still needs to keep some information.

on my YouTube channel, I did a rough statistical analysis on the upvotes, 80% from go pro 12, 15% from magic lantern cams, 5% from f3 and red m-x cams. when I use go pro 12, my style is very different, as I know the camera movements will not reduce the image quality. in almost every shot, I do panning, tilting, walking, etc. also the camera is so small, I can go closer as people accept this as a toy cam. many times I attend events that I will not bring bigger cameras at all, I bring go pro 12 in my pocket, and can get some shots. the end results actually are very compelling. magic lantern cameras are very good for color. f3 is also very good for color, just ergonomically not easy to handle. red m-x cameras may have film like rendering so that please people's eyes. in general, I think a small action camera with m43/43 sensor, so that the low light is borderline usable, with gh7's ibis and af, with a pancake lens at f2.8, I doubt people will have other cameras. at least this camera will be used much more frequently than other cameras.

the same. either 29.97p or 59.94i. there is a difference of the loss of quality, though. 59.94i footage rendered in 29.97p has horizontal line skipping artifacts when moving the cam. 29.97p has jumpy movements. just did a 23.98p prores hq 4k from c500 og sdi out. jumpy or choppy panning. from my experience, only uncompressed or low compression raw holds up at 24p.