Oliver Daniel

Bloody hell, this month is nuts. You have to bear in mind, for Panasonic, they will need to differentiate this significantly so they don’t hurt the GH camera appeal and the status of the EVA1. Not really sure how they would do that. I’m going to have a wild guess at a new mount with a new line of lenses, which will also fit the upcoming Olympus system (who have patented numerous full frame lenses). Plus a bundled EF adapter. I’ll guess at no crop functionality for M43 lenses, to differentiate the system. Also pretty much identical specs to the other GH cams apart from higher MP, DR and sensor size. My last guess is it will be more expensive than the A7III but less than the A7RIII. This talk of A7SIII sensor, 8k and RAW sounds silly, but who knows. This camera world is throwing surprises everywhere.

Thanks. I’ll get something like this from a UK store.?

You’ll smile when you read this. After a brain spasm of a meeting today - the choice has been made and has gone ahead. It’s the EVA1, GH5S and GH5. The Atomos Sumo will join the EVA1. (@Sage will love this). We also need to update our gimbal. At the moment it’s a toss up between the Ronin-S and Tilta G2X? Tough. After all is said and done, I’m going to cry for week as I’ll be living on instant noodles and cheap biscuits for a while! ?

Used the FS7 a lot. The image is thicker and still better than most in its price range, nearly 4 years later. Astonishing. Certainly a contender - just the bulk on my grip and motion equipment! EVA1 and GH5 with Sage look = awesome. I haven’t dismissed this. The crop of the EVA1 HFR bothers me though. Plus gimbal AF isn’t the most reliable. Ursa Mini Pro - used it today on a multi cam shoot. Incredible image but for handheld work, it’s like holding a tank. Mini it’s not. Awesome for studio work on sticks. FS5 II and co.... safest and “best” all rounder. Biggest issue is the FS5 II is a bit out of date without the external option. A7 cams (so far) not 10bit. Kinefinity Mavo. Probably looking the most impressive but unproven and the most expensive option. Certainly the most desired, but will there really be much of a noticeable difference for clients? Is it worth the hard fought extra effort for what could be for (possibly) very little extra value? Plus HFR modes are very cropped. Important factors really: 1. A-camera must be lightweight and work with my current gear (like Edelkeone Motion Kit). 2. A-camera will 90% of the time be hooked up to a large monitor, off camera. 3. A-camera must have very high quality HFR (client demand). 4. A-camera must have very high detail, clarity and dynamic range. 5. B-cameras must be great for gimbals (great AF desired). 6. B-cameras have decent HFR options. 7. B-cameras have decent stills capability. 8. All cameras work easy together in a workflow.

Yep, just waiting in my car now for others to arrive for a shoot. It’s Saturday morning. What am I doing here? ? In all honestly, my new setup will most likely be all Sony - regardless of how much I personally desire the Mavo setup. Sometimes it’s worth exploring a bit of mania. Only thing that bugs me a bit on the FS5, is when recording internally, it’s way behind all the others. Nothing is ever perfect.

I lost my mind years ago getting into video. It's a completely insane profession. I can't quite remember why I'm doing it. I might just get all of them, maybe RED Monstro and a Venice too. ? Or maybe I'll stick with an iPhone and Osmo Mobile 2. Ultimately, it's down to image quality.

Haha, don't be, every year is rock bottom and sky high - never in between. Although what i'm about to say might be completely contradictory..... I'm actually now seriously considering being extra more patient and going for the Kinefinity Mavo as A cam and the BMPCC 4k as B-cam (I have cheeky pre-orders down for both). My reason? I'm positioning my work more higher end than it is now, and emotively, I much much much prefer the images these cameras (will) produce. Also, now I'm having to re-purpose everything on social, I've found the true power of not making them look like shit online is down-converting from higher resolutions (as a lot of my work is shot higher than 50fps and slowed down). Also having to constantly insanely crop and zoom for picky clients. So I may just work more jobs, save some more cash, be patient and go for it.

GH5 is hard to beat really. It’s a unique camera that can film almost anything you throw at it. The emotive part is missing for me though on the GH5. When I use or see great full frame footage, I feel tingly. I don’t quite tingle with the GH5, even on the XL SB. I don’t think weak Sony colour is a thing anymore. You’ve proved that with your Sony profiles and arguably, I’d say the FS5 II in Venice edges the C200 for colour. General viewers just think “4K is better”, even if it perceives to have little difference to 1080. Up until 2016, I barely got asked about recording in 4K. Now it’s one of the first thing EVERYONE asks. So for Dave, yeah 4k is a plus because “4k is better”, isn’t it? ?

The ability to crop and reframe without it looking like s**t. Also “future proofing”, so when 4K is the normal viewing standard, his older work still has that 4K option for viewers.

Thanks. Yes, I have more of an emotional connection with the full frame aesthetic and how lenses with interesting bokeh resolve. Hopefully as an unexpected surprise, the A7S III could possibly have 10bit HDMI out to the Ninja V. That would be awesome. Cant knock the GH5 cams for what they do though. I’ve had a blast with it, so it makes my final kit choice a head scratcher. Still, the combo of FS5II, A7S III, A7 III and A6700 to cover every possible scenario is edging it. I’m happy to wait it out to see how the upcoming cameras end up.

For what reasons are you using the A7 III more? Curious to know as I’m deciding whether to go all Panasonic or all Sony for my new venture.

Wish I could do reviews but I struggle to find the time. Also not sure if I could offer anything unique as this area is pretty oversaturated as it is. When the upgrade arrives, I’ll let you know my views at least.

The problem I've found with a lot of these reviews is that some people using the system haven't made the simple "trouble shooting" adjustments when a problem arises. At first, my slides were very jumpy but I fixed it with a simple tightening of the screw in the slide module. The system isn't perfect but they deliver really astonishing results, if you put patience and creativity into your shots.

Yes and the app has been re-worked, looks far better and much less cluttered. This company make some of the best and most interesting gadgets for filmmaking in the world. I want every product they have! ?

Haha yeah, I've always said that these camera choice dilemmas do get in the way of the real purpose we're all imaging nuts, however when the images you produce are part of a business model which feeds your family and pays your rent, you do have to make the right choice (I haven't before and my product quality dived!). If I was shooting stuff for pleasure and fun, I'd just stick with a Sony A7 III, some mid-range lenses and a Zhiyun Crane for everything. Actually, I'm off to Greece at the end of the month for a holiday, and I'm perfectly happy taking the A6500 and the shitty kit lens. It's a fine setup for what I need it for.

Actually just saw I get a Free Upgrade to this - phew!

I have the Motion Kit which was released last year, and it's a really, really awesome piece of kit. The major difference with this one is the laser targeting, as on the current Head Module you use the app to adjust focus on the object and you "record" the position and focus. They do make it look so easy on the promo! Once you get used to it, it's easy to use the settings however to get the right shot requires intricacy and patience. Their kit is expensive, but it's the right price for the target market as the shots really do stand out compared to boring old tripod pans.

Yes, versatility is the priority aim of the game. The camera setups needs to cover almost every scenario possible, as that's how my work is going. Everything is so different that one camera can't do it all. The main thing that bothers me most about the Sony package are the internal codecs being weaker (should I need them at any time), and that's about it. With the Panasonic package, mainly it's the cropped 4k 60p and 240fps, only correctable by purchasing wider lenses (which in the high quality range are very expensive). I wouldn't ever intend to use the A7 cameras for green screen work. I do also have a BMPCC 4k on pre-order. My comparison chart still says the Sony package edges it (to cover ALL situations), but not by much. May have to test the GH5 properly on a gimbal.

Awesome, seems to respond really well! I'm using Verde on a new food commercial - will share when it's done!

Z Cam E2. A curious little package but that thing needs time to be "beta tested" first. With the Sony, you may of missed the point where I said the Atomos Sumo 19 is required. 90% of the time, the A-cam will be hooked up to a large monitor for client and Director viewing. So recording externally isn't a problem. As part of the puzzle, the Sumo 19 is essential. I've not ignored the fact the EVA1 smashes the FS5 II for recording internally (the FS5II is disappointing here), and with the the GH5 you've got a pair of monsters. BUT... the Sony mirrorless cameras with PDAF, low light, better stills and full frame aesthetic (that I personally love) cannot be ignored. AND THEN... the emotive part of me wants a Terra or Mavo plus the BMPCC 4k as B-cam. I think functionally within my business, that may not work. I now have 2 weeks to place an order...... I wouldn't use the A6500 for the main body of work, only as a carry round camera. I have one. Indeed I love my GH5 10bit, I do. This is why the choice is not easy at all.

Well I've not decided 100% yet. The EVA1 plus GH cameras is a very worthy package indeed. My main issue points with the EVA1 is that it's a bit bigger than the FS5 II, more expensive, no EVF, and cropped HFR. It also has significant advantages such as better internal codecs and Dual Native ISO. I just have to weigh up, overall, what's most useful to me so the problems will get out the way and let me shoot. On the comparison that suits my business model most, the Sony lineup is edging it. Still yet to rent the EVA1 to decide. I'll be keeping my ore-order of the Pocket 4k anyway. Just too good not to have ? The 4k, non-burst 120fps of the Terra 4k is highly desirable. Yep, the examples I've seen of Venice colour with the FS5 II shocked me really. Then again, the EVA1 is very strong with it's Varicam colour, and certainly the GH5 is another camera with @Sage insane Alexa conversion. That thing is nuts! What it comes down to really is the least headaches possible when running a business which creates extremely varied content in a large variety of situations. One minute, I'm in the woods near dark chasing a monster with a gimbal and LED panel, the next day I'm in a dessert restaurant doing motion slides of food and then i'm filming a music festival with only a camera and one lens, simultaneously capturing very controlled interview setups. Given the way things are going, the setups needs to cover every imaginable situation possible and not give me too many headaches!

Righty roo. I think I've made my choice. After comparing the feature sets of every setup, plus my very own emotive desires to image, I'm going with: Sony FS5 II with Atomos Sumo 19 (my director partner wants the monitor big ass!) Sony A7 III (and Sony A7S III when announced) as B and C cameras, with A7 III for stills. Keep A6500 and possibly upgrade to A6700 if it's worthwhile (personal carry camera, bits and pieces). The thing that tipped it for me was: Vast experience of Sony cameras, since 2012. Venice colour science on FS5 II is amazing! This bypassed me til now. Solid Gimbal AF. Low light. Much better full frame stills ability. Slog workflow (I love Slog). E-mount is hugely flexible. FS5 II can fit on DJI Ronin S and my Edelkrone Motion kit for the odd special shot (should i actually buy it, hmmm). HFR does not crop. 4k 120fps. Variable ND filter on FS5 II. Can get FS5II for a sweet £3.5k.

I firmly believe in the right to talk freely, but you have to question whether such topics are actually a benefit to what EOSHD is all about? First and foremost, people come here to talk about geeky camera stuff. You might attract a trouble making swarm of trolls if EOSHD suddenly got known for political discussions, and people might find that unwelcoming. I think you should have a sub-forum, with a chat about relevant industry topics, so it doesn’t get too personal and off vibe.

Well it’s just like TV really. Most of it is nonsense and garbage, however there’s plenty of brilliant content in there. I think the problem is, it’s much harder to find the quality stuff, and people get hypnotised by the low quality click bait stuff, and the good stuff barely has space to breathe. The way I use it though, I find it a great resource. Plenty to see.

Is this the first and only feature film created about a video editing application? Website for the film here. I've not watched it yet, but I can see the creators have passionately made this film to prove people wrong about FCPX. I agree!