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If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

skipping ahead to version 14?... like how some buildings don't have a 13th floor?

Please research what log means

I will archive your face if you don't shut up

I can't read this thread and not get upset about Samsung throwing in the towel and not giving us the NX2.

Haha You don't disappoint.

No love for the 1DX-II? They deserve some serious rage if they overlook that camera.

I use standard on an old gm1 for all my product videos on Youtube. Looks nice imo. Would probably look just as good for landscapes, etc.

I cant remember why I stopped using it, but I remember commenting something about it around here on the NX1 thread. I wouldnt recommend the DIS, it might be usefull for some occasions, but more often than not it would ruin the image. Heres some NX1 footage if you're interested, almost everything in my channel is from the NX1.

Introducing Rapido Single Focus Solution: http://www.rapidotechnology.com/ Test Video: https://vimeo.com/213997325

Just set my GX80 up as single point, smallest box, back button focus - nice and snappy when shooting video (even in low light) with a 14-140ii. The GH5 should be equally as fast if you avoid all this complicated fannying about with settings nobody really understands. Edit: AF-S and not AF-C

Well I have to confess... this pisses me off. Not only did they not fix the crop, but they also pretty much gave a big FU to the owners of the 1DXMkII. A camera that many have argued needed C-Log from even before launch. The annoying thing is the hardware in these cameras is more than capable of producing 14 bit raw at 24p, or 60p. It is simply a neutered in order to protect the Cinema line. Personally, if my intention was only to shoot video I would not choose the DSLR form factor. And I believe the same is true for most of us. Crippling the capabilities of these cameras is pure BS. I feel like the only real threat to Canon is Sony. It they can somehow fix their color science and perhaps increase their bit depth to 12 bits... as I'm not certain 10bits is a huge difference. Then they will have a real winner on their hands. But it cannot be in the A7 series... it must be in the larger A9 series. As a larger battery is needed. Also there needs to be ample space to allow for heatsinks to dissipate heat. Dam you Canon...

Well, well, well... I have just managed to buy an absolutely mint condition used LS300 for just under £2K and will take delivery of it next week. I'm mildly excited at this development.

For how many frames, and how fast can it upload to a computer? And that 4fps might be the shot you miss and it gets. Why do we need any camera better than the Old Nikon F5 was? Because they make better and better cameras, and I guess this Sony IS a better camera LoL. If your livelihood depends on a camera I would be buying the Sony.

But that's a general problem. Looking for footage to judge a camera is a nightmare. Subjectively 90% is: BMPCC -> log footage with barely any contrast / saturation added X-T2 -> photographers with sharpness & contrast cranked up shooting jittery handheld Sony A7 -> massively raised blacks everything GH5 -> Slooooow mooootiooooon brooooooooo *slow mo running intensifies* ... also, M31 LUT with 100% opacity starts to haunt my nightmares

Hmm, I thought nobody here liked the 'video look'. That clip was very nice, but it surely had the video look. Until you have both cameras at the same spot, with the same lighting conditions as in that ski video, you just can't make that assessment. All these corporate produced demo shots from new cameras look great. Most of the GH5 videos that people post are heavily graded, making an assessment of color capabilities nearly impossible. Precious few people really excel at grading IMO. That's why for me, grades videos don't tell me much about the camera.

Yes, the 40.5 just screws right on to the Möller. I use a redclamp. Here is the rig I used for the footages... Gh4 - Edelkrone Pocket rig on lens support - M43 to canon FD - Canon FD 50mm 1.4 -55mm to 52mm - red clamp - Möller - 40.5mm to 52mm - Focuser8- 67mm to 72mm - BW nd filter - lens hood

DON'T THROW AWAY away your original footage as transcoding is not a perfect copy unless you use one of the uncompressed formats which will create huge amounts of data.If you transcode to a Premier / Resolve friendly format you will be looking at creating a lot of data of multiple times that of your original stock footage. The benefit of working with Proxies / Optimised media is that you can delete it after you have finished the project so it's not long term storage and with your fast CPU it won't take long to generate it again if you need to go back to the project later. Also when you come to do your final render the NLE will use the original camera footage so there won't be any danger of loosing any image quality.

I was hoping for this. Hopefully they drastically improved their stabilizer. Then it is finally goodbye for Premiere for me!

Regrading gamma DR (with .95 green channel and +5 mbl), I find myself using it again as of late. Something about it just works for my workflow. But I really enjoy Ricardo's settings as well. Been trying gamma DR with impulz luts for a more normal color look and then I use Ricardo's natural settings and vellichor luts for a stylized look. Yeah, dis degrades image quality. At least if you're pixel peeping. Better off using warp stabilizer in premiere.

Interesting specs, but this is the camera for the rich at 5300 Euros. The A9 II will come out in just 9 months, tumbling the price of this one. I'll just stick with my GX80... good enough for stills and video and un-matched value! Period.

Soft footage fix :

The really flat gamma settings can be harder to bring back contrast and beautiful color in post and don't really seem to increase dynamic range much over the tweaked standard profiles anyway, I don't know, most of us are probably using the above poster Ricardo's settings, because he clearly knows how to make that camera sing! I'd be very careful with DIS. The edges warp super easy and can ruin the footage. The only time I really use it is occasionally combined with the IS of the 16-50 S lens for some discreet handheld work, like if I'm filming in a store, somewhere without a permit, etc. Using it like that, it's rock-steady, just don't try panning like crazy with it, running around, etc.

A minor segway for people who wonder why the hell anyone would shoot on nikon still: I was editing stuff from my last shoot yesterday. Interior shot exposed for the exterior sky (so there was just a tiny bit of data in the blue channel). Flat profile on nikon d5500, as flat as possible on the gx85. Blue skies recoverable from both shots, interior on the gx85 absolutely unrecoverable, no problems on the d5500 (and if only they had a decent codec it could be pushed much further). I dont know how the gh5 and log will compare, but the *usable* dynamic range on the nikons is still better than I've seen in this segment. I love my nikon gear, I also want them to be around in 10 years time :/

Looks like there is 2 USB outputs on this as well. Could be handy.

it was made official no cameras from Samsung... http://english.etnews.com/20170406200003 Now only if we could get that source code or whatever kino and them need... ML Can squeeze 4k Raw out of a 5D MK3 I know raw video could be possible on NX-1 Im sure this is over simplifying but it seems you would have to just tell the camera to record 24 8mp raw files a second... It can do 15 a sec with 28mp raw... this seems plausible I really wish I knew reverse engineering... or forward engineering even!

I'm reading a lot about this being a pro sports camera so just my thoughts as a working pro sports photographer... In terms of speed, this thing obviously ticks a lot of boxes. But its not just speed we need in terms of fps, af and evf refresh etc but its speed of the glass and the throughput of images. Like any other manufacturer trying to usurp Nikon and Canon, the response to this in my particular field (no pun intended) - and it may will be different for non-sports dedicated photojournalist - is "Yep, thats very nice but where is your 400mm f2.8 ?" and "How fast can I review, select and get an image out of it?" For the lens issue, honestly if they turn up trying to turn anyone's head with that 100-400 they launched today and offering it as the answer they'll literally get laughed at. I've shot with an f5.6 lens of course but its the very specialised constant aperture 300-800mm "Sigmonster" that only sees the light of day (quite literally) for very particular circumstances like Cricket or motor racing when there are range issues. For low light football, even in Category A stadiums holding major finals, its a major risk unless you are absolutely sure that you can guarantee the light. For slow shutter speed stuff like profile shots its fair enough but not when you need to push the shutter speed for action shots. Even with bodies that do a gazillion ISO the end result can look rough. But its not just the light gathering thats the issue, its the subject isolation that a 2.8 gives you that you just can't replicate with a 5.6 So I'm baffled why they haven't brought out a 400mm 2.8 at the same time. The image throughput is another issue and it remains to be seen how intuitive their image review process is but already one alarm bell is that I can't see an image lock button on the back of it. I've droned on at length about this on another thread but its a massively important function for ingesting only the relevant images out of a few hundred when you're in a hurry. And we're always in a hurry! If they haven't made that mappable to a function button then, like Fuji, its such a fundamental feature that you wonder who they've actually been doing any research with. With regard to the ethernet port. Well, yes, its a decent feature to have but if we've got an ethernet port at our pitch position (a bit of a luxury actually) then we have it connected to our laptops for two reasons. 1 - Its the laptop that is needed as a central comms point (it may be taking images from several cameras, its FTPing edited images, its receiving emails from agencies etc) and 2- We can't be tethered to the camera when shooting as its as dangerous as it is restrictive when you're working in these environments. I've attached a picture of my shooting position from a Champions League final (yes, the gap between the two larger gentlemen). When you are in such a restricted space and juggling two long lens cameras, while simultaneously editing images on a laptop that is literally perched on your lap, the last thing you can be is physically attached to it. The cameras get totally abused in these circumstance with being dropped (intentionally sometimes) so cables are a no no. And, of course, we're never shooting with just one camera so there's no way we're going to be adding a router into this equation, hence we need a wireless module. Even if they are the ludicrously expensive ones like Nikon and Canon do. The bottom line I suppose is if we can't capture what we can capture now and work the way we all work now then there is no compulsion to change, especially when there isn't a massively compelling price differential and the lenses that they do make that would be worthwhile (the 300 f2.8 and the 500 f4) are a lot more expensive than the equivalent offerings from Nikon and Canon. And thats before we get on to the fact that those lenses from the other two are battle hardened, proven pieces. Has anyone ever even seen one of those Sony long primes outside of a trade show? In their defence - and seemingly unlike Fuji - they seem to be taking a serious approach with regard to service levels that pros would need and I'm sure we'll see their presence at events with mobile workshops and equipment loans like Nikon and Canon do. This is a good sign but, again, they face an uphill battle here because even at regular events where there is no official support, you'll always be able to borrow something in an emergency off another photographer. So, if I need to use an ultra wide for an exterior stadium shot, for example, I can probably walk about 20 feet in the photographers room and cadge one for 20 minutes off another Nikon shooter. Not quite as easy when you're the only Sony shooter in the room! So, if they're to do this (at least in my field and it could be very different for non sport shooting photojournalists etc) its going to take a lot of persuasion to get people to change. Just producing the body is the tip of the iceberg. I often compare this to what happened to RED when they thought producing the original RED ONE would let them take over Hollywood. Its everything else around the capture device that needs working on too and thats why they're many generations down the line and still on the coattails of the established dominant player. There is definitely a market for a mirrorless camera to take over in my field but I still believe it will have a Nikon and/or a Canon badge on it. The market for the goods we supply as sports photographers is shrinking financially and people tend to get even more conservative and will only switch when there is a major financial incentive. I just don't think Sony tick that financial box and its where Fuji might have an advantage. The resistance to change is what they need to get over and for every sports photographer like me that wants to make a change there are probably at least a hundred that don't. This isn't a number I'm plucking out of thin air either. Next week, will be the first Premier League game that I've shot on a mirrorless system (the X-T2) and I would hazard a guess that its the first Premier League game that anyone has shot with it. Am I nervous about it if it will perform ? No, not really as I've run enough tests to know IQ wise its up to but I do have reservations about how much it will get in my way in terms of getting those images out. What I'm more nervous about is having to field all the "What the fuck is that?" reactions from the other snappers and the sneering about using a 'toy' camera. Overcoming peer pressure is going to be a bigger task for Sony than overcoming EFV blanking to be honest. I bet you its a fine camera though.

@Ken Ross (Photo)journalists don't care about the unrealistic phantasy or parallel universe of "enthusiasts". Dreaming around doesn't make profit. Only sharp photos/1080p footage with decent compositon and unique selling points - ready to send and immediately published - are profitable. It's all about capture the moment - and publish it, as fast as you can. Neither place nor time for dreaming or tweaking around... Just try to find some reliable (not lunatic) infos about bitrates and quality requirements for US- or European broadcasting, relevant for photo- and video journalists. You'll be very surprized: there is no 4K 60fps. Just try to quit a phantasy world and dive for some moments in reality...

Fixes almost all the problems I had with my A7r II, full readout and much fasterrolling shutter performance, and a quick access menu. I want one.

@Zak Forsman the 13th letter of the alphabet is the letter M... which stands for marijuana the way a letter oughta ?

Holly Shit, that video has some serious detail, and i my mind beautiful color in it, especially in the beginning. Christ I have GAS.

based on that video posted. The color already looks superior to the gh5 Yes, the Gh5 is Video first and has more features for video. But color and image matters. This is decent.

If I was them and trying to build a flagship that was trying to knock the other two out of the water, I'd have turned up with all guns blazing. As it stands, even if they want to appeal to hybrid shooters by emphasising their video chops, by leaving out 4K60p they're already been outgunned by one of them. Strange decision.

Fritz, they're on, but awkward to use. So let's say you're viewing your scene, and you see areas of overexposure as indicated by your zebras. You begin to adjust exposure down, but as soon as you press the exposure button, the zebras disappear! So rather than adjusting exposure down until your zebras disappear, you're really just guessing. If you adjust exposure down by 1/3EV and then exit the exposure adjustment, the zebras will either disappear if you adjusted down far enough, or reappear if you weren't aggressive enough in your adjustment. If the zebras are still there upon exiting exposure adjustment, you then need to hit the exposure adjustment again, and bang, the zebras again disappear as soon as you hit the exposure button. It works the same way on the G85. I can't begin to understand Panasonic's thinking on this.

Maybe this battery makes its way into the a7 range?

This isn't a camera for making movies with video, it is a camera for getting a video of someone being shot or stabbed for the nightly news and stills of same for the newspaper..

I am sure it (they) will come. Meanwhile, it seems A mount lenses with an LA-EA3 adapter on this camera will be close to (if not) native which means 300 2.8,500 f4 and 600 f4 lenses from Sony Minolta as well as some third party super teles. I can see quite a few Canon Pro sports shooters getting one of these to use alongside their DSLR with their Canon lenses at least for a while. More for general photojournalists though I think at least until the exotic teles are available. I would also think Canon lenses will work well enough for sports in many cases on this camera. As far as this forum goes, I think a much more important part of the announcement is the battery adapter kit launched alongside. For the other E mount cameras too.

The body is just ridiculous. I have trouble handling the D4 with the 200-400 f4, what's the Point of this Camera?

No picture profiles is a bit of a disaster and shows that they are not aiming at video shooters with this. Seems Sony would much rather we buy a 10bit 4:2:2 A7S 3... With picture profiles. Looks like we will have to hold off on the purchase and wait to see what NAB brings!

Why would Sony add 10 bit? They're already number one in this segment. They know most people don't care. Panasonic added 10 bit out to the GH4 only after they'd let their AF100 die. They were replacing both it and the GH3 with that camera. Sony are doing very well with interchangable lens camcorders. Why mess with a good thing? They are in Canon territory now - want pro video features? Better shell out.

S-log is one thing, but no picture profiles? I like the colors from the A7rII only because I can modify them to my liking with PP. Trusting Sony's defaults is a bit too much to ask. Look at these color clipped clouds:

Maybe buy a couple of their weather-sealed primes?

So not a video camera, really. It's a bit of a gambit. I don't know why people in the market for an FF with amazing autofocus in this price range would pick it over Canikon, where they have the best selection of sport lenses and bodies that won't be a pain to balance them on. With the A7 series they at least had the street market down pretty well.

Looks like a very, very capable camera but..... Why were they whooping that lens? If it is for sport, they're going to have the same issues as Fuji by having a body capable of getting them into the D5 and 1dXII level IQ wise but not having the lenses to go with it. The 300 and 500 primes they have are actually way more expensive than the Nikon and Canon equivalents and without a 400 at all they've got a major gap.

Semi-excited (I guess that is what the Oscars feel to others?). You can pre-order one of my kidneys, I need to get prepared in case something good gets announced. Looking forward to an even smaller 4k fullframe camera with fully articulate screen (ribbon cable MBF 1 month though), 10bit 4:2:2 recording (overheating after 5 minute though), fast and accurate PDAF (but with a 3 page menu to setup that loses settings when you change focus mode), with a new higher res EVF & screen (which dim to 10% brightness when recording) and 240fps VFR mode (but all framerates with 45ms rolling shutter). Video button has been placed inside of the battery compartment to prevent accidental pressing. 5000$, releases next month but you won't be actually able to get one until September. Of course just kidding... somewhat... maybe. EDIT: http://www.sonyalpharumors.com/sonys-new-α9-camera-revolutionises-the-professional-imaging-market/ It's the A9... even though the stream just only started. Anticlimactic ;-) Sounds amazing for photography, but the condensed spec sheet on SAR sounds like video will be the same codecs like the A7s II? So looking at a 4500 GBP price, probably not yet what we hoped for. So where is the A7s III? NAB on the weekend?

Iscorama 36. I took this photo 3 days ago. Camera: Panasonic GX80. .

Probably the WB of my camera is not correct anyway. I read somewhere it wasn't neutral, and people kept fiddling with WB shifts deep in the menu. Since it's Easter, let me cite he Bible: you shall know them by their fruits. What they present as the results of their deeds needs further corrections in post in order not to look weird, some scallop it with special luts. I use sun, shadow, clouds or bulb, which already is twice as precise as analog photography was with tungsten and daylight film (okay, some used glass conversion filters for in-between values, some welcomed minor casts because they captured the atmosphere of the place, some corrected in the darkroom, does that sound familiar?). People make all their colors look neutral with custom WB. Afterwards they complain that their colors look aseptic and digital and apply a look lut that mimics film.

Well I use Resolve, so that could be the difference. I am not paying Adobe anything a month for shit! F them.

Another non-starter for video, although as a stills camera I quite like it Nikon seem to have caught Canon-itis. A well known condition where you lose your memory and release the same camera every year with a different badge.

Here is a very nice article about optimizing storage configurations with Premiere: https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-2015-4-Storage-Optimization-854/ One comparing CPU performance: https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-2015-3-CPU-Comparison-849/ And one comparing GPU performance: https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-2015-3-Pascal-GPU-Performance-840/