Emanuel

I am not against ergonomics in general at all! (don't wanna be a fool... LOL : )

I am just criticizing the weight some people give to the topic here or in any other cameras forum. There are much other aspects to consider when we choose a camera IMHO. Aside the fact, this issue can also stand in a subjective approach, as Mattias pointed out.

It hasn't impacted the task to not buy a camera IMO. I differently agree that buying/using a camera for form factor is a whole other matter, though. Two different perspectives.

C100/300 are indeed a fine example. Samsung owners praise their devices as we all know here, too. Nothing against on their/your/our likings on the subject matter.

Our job?? It depends on the job you have in the filmmaking business, at least. Come from shooting on 35mm film, pointedly before digital, and you'll never complain against the ergonomics of any of these little cameras.

To me, all this talk is nonsense. Sorry me, but seems so odd all this babble on ergonomics... Without mention the whole set of accessories to customize (y)our camera as you wish.

Maybe a cup of "our favorite chocolate" might come in-camera but such evil manufacturers have decided to put it outside there... ;-)

This ergonomics argument as a 'must mantra' is pure BS, IMHO. Seems to my eyes the same excuse people are used to pop up when a new camera is launched for explaining their filmmaking inertia : ) Who is unable to set up and give to the world any piece of work with and from a G7 or a6300, as for instance, is unable to shoot with any other capture device. It won't matter 4:2:2 whatever the number of bits you have, nor form factor, for sure. No other acquisition tool will save the unfortunate shooter. Neither RED or Alexa.

E :-)

a6500.

Many "scientists" in disguise :-D

We are all artists after all, isn't it? Power on them, democratization follows. 10-bit 4:2:2 on budget... Comes to my mind when ML hack popped up.

17 hours ago, Andrew Reid said:

You only have green, brown and black in your grade.

The blacks are crushed big time.

I'd recommend starting from scratch and reading up on how to grade properly.

There's already too much crap out there that has been graded terribly.

You don't want to add to it... trust me.

Isn't grading a color science? ; )

Your posts coupled to a few *cough cough* likes (what a bitch they are : D) are an exponential growth. Here is why we're unlikely able to see a pre-production review over here... LOL

5 hours ago, Andrew Reid said:

That would explain it.

Panasonic think I am a girl!

Maybe I need to shoot my parkour and dogs before EOSHD can get a pre-production unit.

Remember when they gave me a GH3... and a GH4... and invited me to feedback sessions... This time - nada.

Maybe it was the Panasonic CM1 smartphone review?!

Priceless post : ) One of the reasons I am here. Good humor, man, too!

10 minutes ago, Eduardo Portas said:

I'll take noticeable improvements in reduction of RS and jello any day over improvements in resolution and detail.

No prob though, I'm a patient man.

Eduardo, parece que você está no radar da Kinefinity... / seems you are going towards to Terra 5K... pretty promising BTW (Emanuel :-)

Pre-order placed for two units with them (CVP).

35 minutes ago, Eduardo Portas said:

But rolling shutter and jello effect is still ugly.

You have two possible routes: global shutter or start to deal and take profit of that. Shooting style will say thank you ; )

OK, joke aside, what the hell of shooting are you doing in order to take such minimal rolling shutter so intrusive? : )

Funny stuff... I still remember when people were used to praise the cinematic properties of CMOS sensors against the old CCD technology tagged as videoish : P

Saudações lusófonas,

E :-)

2 hours ago, Neumann Films said:

244Mbps in 6K/4:3/30p.

So, not 2:1 6000x3000?

6 hours ago, Eduardo Portas said:

That jello effect is terrible. For me, it's a deal breaker.

 

GH5 is much better than the predecessor...

54 minutes ago, Dan Wake said:

I wish to avoid aretacts... is 10 bit is enough for color grading and color correction/luts? or we need 12 bit? thanks a lot.

Griffin Hammond's "HAND-CUT" is 8-bit 4:2:0. Is it bad...? ;-)

+1

12 hours ago, BenEricson said:

Looking forward to your tests.

1 hour ago, Neumann Films said:

Do you mean the original ungraded?  That would be the VLog/flat image profile.

Funny reply. Seriously : )

2 hours ago, jonpais said:

I'm not by any means criticizing the filmmaking here, which is of a high calibre, but the the color of the original graded footage is lusterless, the skin tones flat and washed out.

What's wrong there...? Maybe the snow(-like/look)?! : D

Nice grading too, jonpais, season aside, I concur they should have announced this camera six months ago, even though, in the same northern hemisphere :-)

Copacabana, Rio, Yesterday morning...

Well, there's no interesting piece of gear without someone behind, oh my, the point beyond is the quality of someone behind ; ) I stand, PRO means three letters and a romantic idea as far as this topic concerns. A few of PRO people don't even share their secrets at all.

There is useful know-how to learn from professionals and useless yadda yadda too... Such as same technique any curious shooter will find based on a few practice and self D2L ( desire to learn : ) The PRO tag means nothing at least to me. The amateur, on the other hand, is variably more prone to give something to the world, no less often much more than people are used to associate to the professional missing link.

An interesting piece of gear can always bring something in the right hands, for sure.

3 minutes ago, jonpais said:

A five-week class with a professional cameraman for $600.00 would be money better spent than on all this gear.

It depends on both of the parts to equate...

Horses for courses. But, I love the mirrorless camera concept. Nothing related to PRO label misconceptions.

That said, GH series are pro cameras from consumer segment.

Very interesting combo(s):

11 minutes ago, zetty said:

People speak of XLR as the end of it all but in my view XLR itself is nothing but a chunky connector standard that should have never left the studio. If anything, it's the mini XLR that should be used on the field cameras.

But then there's really no need for balanced inputs if the cable run is not very long and prone to interference -- and also phantom power is not something that is necessary with every good mic to be found, e.g. Ambient TinyMike is great and it doesn't require phantom power neither a battery. Feed from commonly used wireless receivers such as Sennheiser G3 also doesn't need phantom power; neither it is balanced, so a 3.5mm jack is totally fine. All you need is a decent preamp/ADC.

You can't be less than just 100% right ; ) One of my instructors at film school was used to say the same since my early days at film school 2 decades ago... 

13 minutes ago, zetty said:

NDs and good AF have also been implemented in the mirrorless form factor -- and so if the heat isn't a problem, I really don't see any reason going for a bigger body. The ergonomics of GH4 with a few programmable buttons and touchscreen works great for me for the run and gun type of work.

Like button on twice mode :-)

30 minutes ago, Cary Knoop said:

In all fairness though the 5x zoom range of the Leica 12-60 f/2.8-4.0 is great!  

 

Indeed. It is roughly an equivalent 24-120mm... Remember my Canon 24-105mm used as FF is only f/4 but throughout the whole range, though.

32 minutes ago, Davey said:

The GH5 is shaping up to be the best sub £2500 camera of all time. Panasonic are truly back on the map - they will shift tonnes of these in the time it takes for their competitors (at that price point) to catch up.

4k 60p will be the new prosumer baseline starting point.

 

Even though, under $1,999 shall be... :-)

2 minutes ago, Cary Knoop said:

Right!

In fact it takes a lot of powerful lights to make a shot look dark!

 

 

You bet ;-)