Philip Lipetz

The 18-135 NANO is the way to go.  Much smoother AF than with a STM. SAme optics. Also the ability to add a power zoom module.  BTW I am selling one since our nonprofit is switching to GH5s.  Although it is not the best optically, it is good enough and the AF difference is astounding.  Absolutely accurate AF following with no hunting.  It is the ONLY lens to take full advantage of the dual pixel AF.  I ended up using it in preference to any other zoom since focusing was dead on.

Opps, was that the sound of the industry being turned upside down?

Opps, was that the sound of the industry being turned upside down?

Yes, notice as video. What matters most is the effective color resolution, and in that the BMPCC2 will be better. Introducing more spatial resolution without also increasing color resolution results in the video look. Something looks off, and it is discontinuity in color gradient  as it does not change at the same frequency as does the spatial information 
 
 

Yes, notice as video. What matters most is the effective color resolution, and in that the BMPCC2 will be better. Introducing more spatial resolution without also increasing color resolution results in the video look. Something looks off, and it is discontinuity in color gradient  as it does not change at the same frequency as does the spatial information 
 
 

Why is everyone comparing this to the GH5?  It has the same sensor as the GH5s.  That is it’s direct competition 

Why is everyone comparing this to the GH5?  It has the same sensor as the GH5s.  That is it’s direct competition 

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

Why no in between? I would disagree that CLog doesn't need 10 bit. That was my biggest complaint with the C100mkII is the weak codec.

I just want varicam colors with a s35 sensor, e var nd, and some kind of raw out for ~5 grand. Could care less about af, ibis, or higher 4k slo-mo options.

Dave thanks for the info, don't mind these pricks... they know not what they do. 
Everything you've mentioned seems very plausible, Canon is known for their tier system. They also believe 4K is not the be all end all for all shooters, so it would make sense that they retire the C100, drop the C100ii price, and bring the C200 in at the original C100ii MSRP.
Thanks again, can't wait for Cinegear.

The Mix Pre 6 ($900) looks like a nice upgrade from the Zoom F4 ($650): https://www.sounddevices.com/products/recorders/mixpre-6 (MicPre-3 only has 3 inputs- can't use for 4-channel Ambisonic 3D recording, which is what I use the F4 for). The extra $250 is for the analog limiters (amazing!), build quality, and excellent sounding preamps (not just quiet- also a very full sound; though couldn't find a review for the new Kashmir preamps).

Yeah looking boring so far but remember... it doesn't start proper until Monday.
And leaks usually don't start to appear until the day before.
However I am not that hopeful for much excitement on the camera side. Sony probably won't come with an A7S 3 just yet... Panasonic probably won't come with much as GH5 still fresh... Canon probably asleep and Nikon probably doesn't even know NAB is on

Fritz, superb idea!!! This is done on other forums to keep the trolls out. I like it!
Orangenz, it's amazing isn't? I watch these guys adjusting speed to +5 and responsiveness to -5 and then 20 settings in-between to achieve the 'perfect balance', and all I did was use central area focusing at the default settings. Done. I think some guys are making this more complicated than it needs to be in many instances. Sure, it might not be perfect for every situation, but hell, I've used it in a variety of environments and it's worked every time.  

The key is that with the 709 profile you have to adjust the knee in order to get the extended dynamic range.

Why hasn't someone said it? The GH5 is what the Canon XC10 should've been.  Same professional market hybrid.
 

At several differnt location I have been told by people who had the prototype cameras that Like709 was the way to go unless I was recording to an external recorder, then V Log L.
Question, Slashcam.de has shown that VLog on the GH5 is truncated so has only half the expeted bits depth . Like709 is not supposed to be truncated. Is the external VLog feed truncated? 

Did you catch the strong hint about "lens integrated"cameras?  
It seems like both Sony and Panasonic have decided to move into higher cost more professional cameras.
I would gladly sacrifice stills capacity in order to have integrated neutral density filters.

Where the director wants you to focus on when looking at the image rather than your eyes hunting for meaning, subject, bright spots of the image.  When the subject or narrative is not clear, the eyes will wander looking at extraneous detail such as sharpness, noise, etc.

They say that PDAF degrades IQ, and they had to make a choice between PDAF and the vast improvements in GH5 IQ

I have shot both. The kit lens is a very good kit lens and you will be happy with it until you see the Leica 22-60 at work. Much better flare and contrast. 

Slashcam.de is a very trustful resource for anyone interested in videos. For years I use their unbiased knowledge in matter cameras and other stuff. There is an English version of their site, but all tests come first in German. See in their careful test that the 10 bit file works fine in comparison with the 8 bit (look at the forehead of the doll on the adjusted image -  last one): https://www.slashcam.de/artikel/Test/Panasonic-GH5---8-Bit--10-Bit--4-2-2--V-Log-L---alles-OK----Die-GH5-in-der-10-Bit-Praxis.html#Die_G  

https://www.slashcam.de/artikel/Test/Panasonic-GH5---8-Bit--10-Bit--4-2-2--V-Log-L---alles-OK--.html
Next part of the Slashcam review, testing 8bit vs 10bit and V-Log L.
Summary:
They say there is some issues how NLEs interpret the white point and black point of the footage
In Premiere Pro CC neither 8bit nor 10bit fit to the whitepaper from Panasonic.
In Media Player Classic - Home Cinema the files look exactly the same
In Davinci Resolve under OSX the files are different again, even in comparison to Premiere Pro on Windows
In FinalCut X the files are practically identical but they can't really judge the white and black point because it gives % instead of values Latitude for grading with V Log is, as expected, better with the 10bit material than the 8bit. A lot less posterization when bending the image. They think both Adobe and Blackmagic have to fix compatibility within their software to really make the most out of the footage and be able to actually judge the 10bit V Log of the GH5

James Miller demonstrates that this is an codec problem that disappears when an external recorder is used, suggesting that the 400mps upgrade will help or elimaite this occasional problem.
https://we.tl/wC2RIj8TjI
 

C5D trashed the Cannon XC10, tanking sales for a year until Andrew published tests that restored its reputation as  brilliant camera under the right conditions.