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I was just poking around in the menus and noticed there is an option where you can switch between Full and Pixel:Pixel, so that's the same as the ETC mode on the GH5. It looks like you can use this with any resolution. Also, you can record C4K in Prores RAW, which is a 1:1 sensor readout, so exactly a 1.41x, or a horizontal crop factor of 2.934 from FF (the GH7 horizontal crop factor is 36/17.3=2.0809). The bitrates are a bit heavy though at either 1700Mbps or 1100Mbps and it's Prores RAW so you can't import it directly into Resolve and will need to transcode with a third party utility. This thing has so many options, and the more I poke around in it, the more it feels like a cinema camera in the body of a MILC. -
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Personally I don't care. But it is not OK toward EOSHD.com web site. When they post an article like this they should at least post also a link to the original publication. If they adhere to some professional standards or simple human courtesy. It is Andrew's time, effort and money that make this site and forum possible. So placing a link to original posting and forum would be the correct thing to do. Not to mention that if some of cined readers buys the EVF, and finds out it doesn't work for his camera, they would conclude they were lied by cined. Without having the full discussion here their article may be simply useless. Will double check and let you know -
Those are urban legends. Every blind test I personally witnessed and those we know from youtube shows exactly the opposite. Color science, micro contrast and any other superiority claims falls short. Even professionals can't distinguish between different cameras and lenses. Like this one: https://www.youtube.com/watch?v=xZjIz8sB2vg Or even older and much more professional Zakuto Great Shootout from 2011. Does anybody still remember it ? Canon 5D Mark III is outdated compared to modern cameras. It is OK for fun and experimenting but that's it. 1080р is line skipped, so real resolution is somewhere around 1600px not 2K. Rolling shutter 21-22ms is OK but again far from modern standards and dynamic range is around 10.5 stops. It is a DSLR, so no EVF, you have to use external monitor. Workflow is not optimal as you need to transcode first from mlv to Cinema DNG. Compared to the low resolution, files are relatively big and take a lot of space. I don't see any reason for Magic Lantern project to exists when now we have so many cameras with internal 4K RAW Video recording.
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@PannySVHS I've now tested the Crop Zoom (CrZ) mode in 1080p. This is the first test, and I exposed for the sky (which it thought was the right thing to do) which meant that the plants were a bit low, so I ended up bringing them up a little in post. The Prores HQ is great at retaining noise and so there's quite a bit visible despite me having shot this at base ISO 500. I've found that ETTR is definitely recommended if you want a more modern looking cleaner image. I also used the 12-35mm lens at F4.0 for all images as that's where it's the sharpest. First is comparing the C4K Prores HQ vs 1080p Prores HQ (on a 1080p timeline): Next we compare the CrZ vs zooming with the lens. I have prepared these images in sets of three. The first is the CrZ image, the second is zooming with the lens, the third is the CrZ image again but with sharpening added. This allows you to compare both CrZ images directly with the 'proper' one, as the more zoomed CrZ images did look a little soft in comparison when viewed at 300%. Around 14mm (1.16x): Around 18mm (1.5x): Around 25mm (2.08x): Once I got those images into Resolve and looked at them I decided to re-shoot it with a better exposure. So I chose a different framing that meant the sky wasn't influencing anything. However, I didn't realise that where I was standing was going in and out of the sun, so some shots were washed out and I had to compensate for it in post, adjusting contrast/sat/exposure/WB to match. Tests are never perfect but are enough to give a good idea of what's going on, and in real use where there is no A/B comparing going on no-one would ever spot it anyway. There's also a slight difference in exposure between the C4K and 1080p modes too, which is a bit odd. I imagine it's due to changing the sensor mode. I compensated for that in all these tests too. C4K Prores HQ vs 1080p Prores HQ (on a 1080p timeline): Around 14mm (1.16x): Around 18mm (1.5x): Around 25mm (2.08x): I am actually rather encouraged by these results, as my previous test was in low-light and I did on something with much sharper edges and that showed differences I'm not really seeing here. However, it's not really surprising that the GH7 did this well, as even with a CrZ of 2.08x it's still reading an area of the sensor around 2776 pixels wide. I say "around" that wide because there is a slight crop when you compare the native 5.8K mode with the native C4K, 4K, and 1080p modes, but I think the 2.08x crop will still be oversampled from the sensor by a good amount. The other thing I noticed was that I couldn't adjust the CrZ function while I was recording, the button just didn't do anything. I'm not sure if that's because I have it assigned to a button and that there might be some other way to engage it while recording. Maybe through the controls that are used to control powered zoom lenses, not sure. Anyway, it looks pretty darn good to me, and the grain actually reminds me of the OG BM cameras which are quote noisy at native ISOs too (and also lots of seriously high-end cinema cameras too).
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