Emanuel

I don't think there's antipathy, but not to understate 8-bit acquisition.

Dave, will you be able to compare the three regular GH5, GH5S and X-H1?

Funny. I find the above example much more interesting for the subject matter there in that picture than this whole hole this new high sensitivity offers. Not every tech aspect will really help this art and craft. Just thinking out loud here, not directly addressed to any side on discussion :-)

@Young What about Olympus, any clue as far as this issue concerns? I am wondering if this is something related to only Fuji's, PDAF cameras or actually more beyond than only there. I find it very seriously on this example posted from this new Sony camera. It is rather funny like some usual suspects rest silent on this one... Actually a few of them, as for instance Yuryev, are pretty quick to identify all the sort of shortcomings on other devices (go figure GH5 series or Fuji :D) but when it is a Sony... well LOL :-)

@webrunner5 Go on Sigma glass, Don : ) Funny you had dismissed the GH5S suddenly now :-)

Just shooting circumstances, only that ; ) even though, in theory and practice, codec and bit rate may help... :-)

Don't be so pessimist : ) Non-intra 200mbps should be enough to overcome eventual weak bit depth issues... :-)

I see. Thank you for your enlightenment from your own experience. I wonder if this is also related to QC issues not present in every single unit. Sensor related obviously.

In Resolve it is easier I think. Really 100% effective? Maybe better to prevent it from shooting.

No way, I am not mod but this thread is going in the perfect direction. Thanks for that. I think lower ISO would bring you out to mitigate the issue I guess. Perhaps the reason why in my experience I've been rid of it.

Sure Matthew, if you follow my posting you'll find the same attitude, no worries : ) I mean it seriously. I had added a similar perspective inside some other paragraph meaning but you seemed to have missed it from my earlier post :-) Indeed (out of likes again... this 10-likes limitation is a bitch but post count is post count :D) aside the fact these cheap devices are not exactly outside because of lack of cinematic properties despite any much more expensive tool must bring some add-on to play with, well said, I invariably much appreciate your insights too :-)

@Matthew Hartman Well, well, I'd say they don't give a damn for the camera to be used. Not when money pops up anyway. Not exactly to save their pennies for ; ) That's a double-edged sword. Arri as camera manufacturer is a different story and yes, they had to go after whatsoever. Michael Bravin episode (I even had the chance to trade some messaging with him then) is there to testify. Jim and Jarred also took their part on their marketing plot. The same a couple of years later with Sony. This decade. The transition is made in the previous decade though. Of course, DoPs have their input to give but the fees side of the story still stands. Indies will always mark the history of this medium since when Chaplin, Griffith, Fairbanks and Pickford founded United Artists a century ago. I guess you missed that part from my previous post (Cheers, E :-)

Thanks for answering : ) Fair informative. Unable to see the camera info metadata from here. What camera and lens exactly? What about exposure? Have anyone of you tested to play with in order to mitigate the issue?

Thanks for the link. Here's another one on topic as far as Fuji concerns:

BTW, have you ever noticed this issue shown in the next links with your current Fuji camera going on your style of shooting at theatre along back light setups?

The streaming can be 8-bit 4:2:0 because people have no need of more. Take a look here: https://www.rtings.com/tv/learn/chroma-subsampling Delivered or even produced for Netflix, no way, no less than 10-bit 4.2:2 But the issues you mention are coming from low bit rate and compression quite likely.

Agreed. Different needs apply. In any case, a matter of bit rate more than color sampling as 2nd line of factor to weigh heavily than the usual bit depth yadda yadda yadda... my fair guess. Practice variably redefines theory and people tend to neglect it :-)

@Kisaha Very nice to know, my friend, what's exactly your name? Kudos for your course of life -) Any shortcomings you had noticed? Here's some informative link on topic: https://fujiaddict.com/2018/02/27/fujifilm-x-h1-autofocus-explained/

And what about other PDAF cameras? Same issue?

Well, it is always my usual post on topic in these last two years and a half at least... We need to actually demystify that thing : ) If any 1 million -- in this case, 16 million colors is enough, why to spend 4x the same amount strictly necessary to handle the same as due?

1. Bit rate 2. Color sampling x. Bit depth 100 mbps can be short where 400mbps or 200mbps for a non-intra codec AFAIK like that one used on X-H1 can overcome further issues. Here's some informative link: https://fstoppers.com/education/can-you-see-difference-between-10-bit-and-8-bit-images-and-video-footage-166977 And this one endlessly posted over here before: sample extracted from (minute 28:30): https://vimeo.com/114978513

Minuscule...?! In my country we're used to say men do not measure to each other... Neither cameras! BTW I am 183 / 6 feet tall :-D

To you and everyone who cares about the minimum requirements I believe: I've never noticed that with Panasonic or am I only a happy camper from unrelated shooting style?

Waiting game... hehe Exactly my mood here. At least until NAB expecting Blackmagic and a7SIII entries but each day more centered on the new X-H1 toy and perhaps that GH5S too if nothing more interesting won't pop up in the meantime.

Same here hehe @DaveAltizer Compelling insight man! : ) The best of my hats to you ; ) BTW once we are together in the same camera models vibe I guess, what about your input on GH5S vs X-H1? I'll be rather interested to hear from you towards it, especially with your surprising findings on both GH5 series' entries now. When? Any tip?