Andrew - EOSHD

The 3.5K image with Magic Lantern RAW video on the 5D Mark III is a truly beautiful image. Might be interesting to compare it today to Sigma Fp-L Cinema DNG, the EOS R5 Canon RAW 8K and Nikon N-RAW.

There is no way he spends the kind of money he says he does, it's all corporate handouts and sponsorship deals. He does not go and buy so many GoPros, doesn't make sense not to rent or get them from the company themselves for free in return for the publicity, so that's his bullshit busted on that front and it's similar in many other ways. That said I haven't watched what you've posted because it's a load of bollocks and I don't see really what your love affair with Mr BEST has got to do with this forum anyway.

I don't know how the fuck he affords this shit.

Older cameras with great JPEGs: Sony a900 Canon 1D C Nikon D3X Nikon D700 Olympus E-1 (Kodak CCD) Hasselblad H3D-II 39 (Medium Format Kodak CCD larger than GFX 100) Leica M Typ 240 (a unusual CMOS made in Belgium) Leica M9 (It's that Kodak CCD again) Samsung NX1 (OK mirrorless and newer but still banging)

Aside from those very odd Pentax users I'd like to wish everyone a very Merry Christmas, and a happy new year resolution of buying more cameras. What is on your wish list and how are you spending the Christmas holidays? 👍

It's not line-skipped. Pixel binning is the modern way of subsampling high res sensors. As for the video rolling shutter and AF tracking, I look at it like this... There are a gazillion options for good AF and good rolling shutter, sometimes you can't get everything perfect in one camera. The GFX 100's image however is unique - there are not a gazillion options with this image or sensor size. It's a pleasure to use for certain kinds of video shooting. You also have the faster rolling shutter of 15ms in 24p 4K on the GFX 100 II if you turn dynamic range priority off. So they have addressed the need for a faster readout on the second model. I don't consider 26ms too ruinous, the a6500 and NX1 were still usable at 30ms, just not for certain things. At 38ms in 8K on the a7r V, that's when it really starts to be more noticeable for all sorts of stuff. 26ms is closer to the 1080p line skipped 5D Mark II which a lot of nice stuff has been made with in the past. Z8 is a great hybrid, no doubt about it, but it isn't the same sort of tool. A 50mm F1.8 looks very normal on full frame, whereas on the GFX 100 it takes on an other worldly quality like a Leica Noctilux. It's that big a difference. I would choose the GFX over Z8 for photography any day unless I wanted a sports & wildlife camera with big telephotos. The video specs are fine, if you can't create something incredible looking with 4K, 10bit, F-LOG, IBIS, and a sensor the size of an ALEXA 65 then god help u all.

Mine too, and in that video Sean says there's a proper camera coming but of course nobody has any idea when. He is against the regular 2 year release cycles and things like that. Here is the big problem for Panasonic though... Even if they do come out all guns blazing with an S1H Mark II, it's doubtful they'll fit an ND filter behind L-mount, and most customers will be even more locked into a rival lens mount like RF or Sony E than they were 6 years ago. So the S1H Mark II could be really really good... It could be a stacked sensor 8K camera and nobody will really care as they won't have any lenses for it. If it is to be truly radical, new sensor technology, groundbreaking specs, under $3500 and cutting edge fundamentals like autofocus, then Panasonic's margin will be thin and people still won't buy it due to the lens mount, although this way it might get some of the faithful to upgrade from their Lumix S1H OG. And it's the same problem with the S1, S1R successors. I think Panasonic's problems run deeper than we care to admit on this forum. I think they're fucked.

You mean Super 35mm. It's not called APS-C in filmmaking. Sony have not abandoned crop sensor customers... it's the other way round, customers abandoned Super 35mm. There's been a big shift to full frame. Surely you have noticed this. There's not really a very big Super 35mm range of E-mount lenses from Sony, it's all about the full frame cinema lenses now. Also with a full frame camera you get both formats in one sensor. Has been this way since the a7r II. There's no need to box yourself into one crop sensor format any more. The FX30 was a very nice gift to people who still prefer Super 35mm, and wanted a lower-cost solution to FX3. Just use a crop mode instead. The FS7 II is still a current model. https://pro.sony/en_UY/products/handheld-camcorders FS5 II is still very capable as well. A lot of those who need a crop sensor might be better off with a 1" camcorder anyway. Canon C70 would also be a good option.

Also, to be fair to Sean... They haven't given him very much in terms of resources for these broadcasts. As an official company spokesman, the first videos were done from his bedroom. Which shows how little these large corporations invest in their staff, even senior ones.

Sean is more senior in Lumix's marketing than people think. The idea for Lumix Live was well meaning, but there's something wrong, as they barely get 800 to 1.5k views per live broadcast. https://www.youtube.com/@LumixUSA/streams This points to a lack of joined up strategy and not making use of their overall reach as such a big company with so many social media channels. Or perhaps the content itself is just not compelling enough. As the main social media marketing guy at Lumix USA, Sean probably has to shoulder some of the blame for that. The strategy isn't working.

The Fringer works the best, much more reliable, dependable than the Techart with really the peak performance in terms of AF, but beware going wider than 40mm as you will see vignetting on a lot more lenses, especially the 24mm f1.4. You can shoot 35mm crop mode (full frame) on the GFX 100 but not in video mode. Minolta MD and A mount lenses work well but for autofocus you need that Fringer EF adapter.

If the Wish camera had a 10mm F2 prime on a 1" flagship smartphone sensor and shot 4K and RAW stills I'd probably get one myself for $150!

With a lens? I don't think so.

The GFX100 is about 300-400g heavier than the SL2 or S1R, so depending on what small nifty lens you put on it, it could in total end up lighter than those. Good luck!

The GFX100 is the most misunderstood camera on the market. It's a full frame mirrorless camera, which just so happens to have an even larger sensor and the highest resolution of any mirrorless camera. In the full frame mode it is 60mp, like an a7r V. In the medium format mode, it is more like full frame+ rather than real medium format like a Hasselblad film camera, so the full frame lenses still work. Had it been an even larger sensor or a reflex camera with a mirror, of course you'd need to get the native lenses but really you don't. So that brings the cost down massively and opens up the creative possibilities more than any other camera I know. Also what people don't understand is that the smaller GFX 100S is a significantly cost cut version, which doesn't feel anywhere near as good. The OG GFX100 has the best build quality and ergonomics of any mirrorless camera, full stop. The size isn't too bad, and neither is weight a problem. It's closer to a Nikon Z9 than a RED. I also really like the top display and gunmetal blue, and the detachable viewfinder which the GFX 100S doesn't have. It becomes completely flat on top without it, which is somehow quite charming and brings the profile down. With it, the EVF is one of the best on the market - big, detailed, fast. With superb IBIS and on-sensor phase-detect AF it has all the bells and whistles. You put a humdrum 50 dollar M42 lens on there and it looks like a fucking Noctilux. And this is the part I don't understand - the lack of awareness for that, and the massive depreciation as if nobody wants it. This was a $10,000 camera when it came out, and it came out in the modern era not in the fucking 90s! At half that price apparently it didn't really sell, so second hand prices kept going down and down. Now it is less than the price of a Z6 III! It makes that camera feel like a complete toy.

They are 80 euros vs thousands, so it's a viable product. No shame in that.

It's like talking Panasonic in a Leica store!

Basic bitches.

Always liked the a9 image. It's crispy

Oversampled 7K or 6.2K footage at 3840x2160 has better fine detail only at the extreme end of a test chart, not so much in real-world. Pixel binned full frame 4K looks perfectly fine these days on most high-end cameras like the a7r V in full frame and GFX 100 even given the 9K to 12K resolution of their native chips. It is highly detailed in 99% of real-world subjects with the occasional bit of moire on things like shirts and fabric. They don't line-skip, instead on-sensor these cameras intelligently merge groups of pixels. It's not as good as a quad bayer sensor as data does get binned, but it's still a lot better than the 5D Mark II 1080p days. At pixel peeping levels of magnification, of course it's more noticeable than at normal viewing. So, even less of a problem in the end result on a big screen. Of course if the subject is extra tricky you can switch to APS-C on the high-resolution cameras and they will oversample or do 1:1 https://www.dpreview.com/reviews/sony-a7rv-review#VH

By advice would be to dump L-mount and get the GFX 100 with the Fringer EF adapter and Leica M adapter for GFX. It's glorious. The extra pizazz it brings to old SLR lenses when you find a good match, the XPan style wide aspect ratio mode, the massive sensor, the really good 10bit 4K, and the best build quality I have ever had the pleasure of, way better than the SL3 with it's terrible screen construction and dodgy on/off button (couldn't even get that right!) As an added bonus... the phase-detect AF works REALLY well with the Fringer EF adapter and the 50mm F1.4, which is hardly an expensive Canon lens, doesn't have significant vignetting on the larger GFX format sensor.

You really want the Sony a7r V rear screen instead, it's much nicer designed 🙂 3.5" would be good wouldn't it? Very brave to break out of that 3.2" maximum! So the old way of doing cameras was when Sony did: a7r for resolution a7 for basic model a7s for video and low light Now the thing is, resolution and speed can be done in one body = flagship a1 Video and low light are handled very well by the basic model = 24 megapixel stuff So they now really only need to do a high res flagship, and a basic model. No need for another s1r, s1... And on Sony side, arguably no need for another a7s camera now a1 and a9 III exist. Make the s5 series the basic model Make the s1h II the flagship high resolution fast 8K video and stills flagship. Sorted with just two cameras! Everyone happy. We can stop moaning. Lumix can profit $$$

Yes huge mistake, especially combined with the introduction of such large, expensive S lenses for L-mount. They were asking photographers and filmmakers to make heavy investments, replacing what they already had with something worse basically - at least in terms of worse autofocus. Canon EF users were not suddenly going to all run out and downgrade to an L-mount lens with contrast detect AF! It's a terrible decision by Panasonic. Something which could have killed their more serious ambitions in the photography market. In video terms, it also sank their lens range. AF is a must now. It has to be reliable and dependable in video mode. If anything, it works even worse in video mode on Panasonic's CDAF cameras than in photo! And this is the other mistake... for a brand with such a video following to fail so badly a video autofocus. The S5 II is still not quite there... Even though it's PDAF, it's way behind the latest Sony models.

Full width 4k 120p is a major difference of GH7 to S5 II X. It's a much faster sensor. It also has the dual readout circuit ala ALEXA in the High Dynamic Range mode. And it is an improved, new sensor vs GH6 with new processor. The S5II X has a lot of cropping going on the full sensor width to do anything higher than 30fps. Also I think the EVF is better on the GH7? So still a lot of advantages but people want full frame and can get it cheap, so that's what's hurting the GH7 the most rather than any defects in the spec sheet. The S5II X is an odd one, it's not flagship material, it's an S5 II with a better ProRes license. They chose to split the cameras into two models to avoid having to pay Apple for what basic S5 II owners and photographers weren't using. The GH7 is the flagship in Micro Four Thirds mount. The S1H II would be the flagship if we're talking L-mount but of course it appears to be AWOL. They would have had to decrease the profit margin or up-the-price on the S5 II had they not done this, for the ProRes licensing reasons mentioned earlier. You can hardly accuse Panasonic of being bad value for money sub $2500 my friend.

The GH6 did have a short life. They have not been releasing a GH camera every 1-2 years since 2009. Up to GH4 it was a regular cycle, but then was a larger gap of 3 years to the GH5, and then between GH5S and GH6 of 4 years (5 if you don't count GH5S as a 'normal' release - more it was aimed at bigger productions, not so much the usual consumers, with the removal of IBIS for example being very good when it's rigged up on Top Gear or the Grand Tour episodes and a low light boost much in demand too. GH6 has had the worst depreciation of all the GH cameras, 2022 release a year later in 2023 halved in value already second hand ($2k to $1K) and then boom the GH7, and it's now worth only $750... so early adopters of the GH6 have had it pretty damn rough. I don't follow the logic of that! You need to do both. This is pretty normal, you can say that about any camera today... Again sorry to disagree but this simply isn't the case, there's no high-end camera full stop since the last decade and we're now half way through the next one. This is a long time for enthusiast Lumix photographers to wait for a new $3k flagship like the S1R Mark II isn't it? So it's not just the high-end production people who are waiting, and the S1H II has more broad appeal than just pros. Eh? Why? They clearly have a licensing agreement already, for the GH7 and no logic or evidence to suggest future cameras above the GH7's positioning won't get the same. The question is will the even be the next cameras.