Fritz Pierre

Nikon makes an incredible 80-200 zoom....don't get the 70-200....you can see the lens reviewed by Ken Rockwell...it was also used on the earlier Bourne movies...it's an AF-S F2.8 80-200 ED...it will cut with your Leica 12-60...the penalty is in weight...but speedboosted with a XL the lens is around F1.6 through the whole zoom range...the image is outstanding but you can't handhold it.

https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2380057.m570.l1313.TR0.TRC0.H0.Xnikon+AF-S+80-200+F2.8+ED+f2.8.TRS0&_nkw=nikon+AF-S+80-200+F2.8+ED+f2.8&_sacat=0

and this is around what you will pay for a good one...I own the 17-35, 28-70 and 80-200...and ar any selected FOV these zooms look like Primes.

2 hours ago, Mattias Burling said:

Yes but one doesn't have to do like Canon or give up and go bust. One can at least try to get the word out  
Imo its better to get one or two reviews every odd week than 0. Also they could focus and send it to people who knows how to use it.
Of the mainstream bloggers its probably just Philip Bloom and Marcus what ever his name is who's worth the effort. But they would definitely get the word out.

Do you have any pertinent information on Kinefinity going under?....I considered the Kinemax at some point...personally I love the image out of the camera, and even more importantly as I seem to collect lenses, not cameras, their mount system. The reason I did not go forward was that I found in communicating with both Kinefinty in China and The HD shop in Germany, I was not getting my questions answered, in fact some questions asked over and over during  a period of say 3 emails were ignored. Almost an attitude of you're asking too many questions!  I then let the idea go, with some regret though. From what I understand though, they have a very large market in China, which may explain their seeming disinterest in distributing seriously in the US..of course this is all information from the Web....as for delivery failures, I never believed they could deliver a Global shutter 5K at 14 stops of DR, nor did I believe BMD on the 4.6k....as the Sony F55 demonstrates, there is a penalty for global shutter that few are prepared to pay in terms of DR today...that's why the F65 has been much more successful at rental houses.

There are for  and against comments on using the XL speedbooster as opposed to the Ultra on the GH5 if you use Apsc lenses...firstly what does the extra 1/3 of mean as you go higher in ISO....it's the difference between shooting ISO 3200 and ISO 4266...maybe the difference in getting a usable shot or not...secondly the XL will give you the maximum FOV period....if you move the camera a lot, it may vignette....you can crop in post till it dissapears....that crop will still be wider than the Ultra...I use an XL with both a Sigma 18-35 and a Tokina 11-16, and as I prefer a camera whose presence is largely unnoticed (I move cameras as little as possible) I get no vignette in 16x9 AR....if you did get vignetting, however slight, you can always zoom slightly on the lens...as the wide end on M4/3 is sought after, and fast and wide is expensive, why not use the widest possible FOV and fastest lens and do a little post?...everything digital requires post....why is a slight crop difficult?...the reality is it's one of the easiest thing to do on a NLE system....so again, IMO the choice between the two is a no brainer....it's the XL speedbooster...my interest however is narrative....for fast turnaround adding an extra stop in post may be impractical....where you control the environment though I'd say the choice is clear...

I agree with @Ironfilm....several things  I like, though I don't own one, about the UMPro,  but most of all the Mount system which I believe is owner changeable and I read they are, or have come out with a Nikon mount too...So it's like the Kinefinity, which also has an appealing mount system. The value I build up long term in my gear, lies in my lenses (not my cameras which tend to come and go) a decent mount is first....to really make the right image you have to light....THAT'S really where the beauty comes from....so in reality any of the cameras mentioned daily on this forum and certainly any of the BMD cameras will give you that....there is however no LUT to light a set for you...you can also use a Cfast to SSD adapter on the Pro  and shoot to SSD media which is much more affordable and then the built in  ND of course is huge!....these are 3  things about this camera for me....lastly there's a member who shoots on a 4.6K...he shoots really great looking footage @AaronChicago so you can get an idea where the 4.6 or 4.6 pro can get you to.

Yes....I bought it as an afterthought...to try with the Focus point set feature with the GH5 (95 percent of my lenses are legacy and adapted glass) but this lens is hard to take of the camera...a joy to shoot with...

Sorry...typing mistake, I meant "but as my 12-60 already gets me so wide"...I would recommend that if possible you try the Leica 12-60 at a shop...you will be surprised at how wide 12 on the GH5 is. If you're looking to get ultra wide in a truly economical way, I've linked the SLRMagic 8mm below...at f4 but only $176 and no adapter needed....and it's tiny. You also don't need a Speedbooster....the mount is m4/3 already.

https://www.bhphotovideo.com/c/product/1322738-REG/slr_magic_slr8m4_8mm_f_4_lens.html

I would never put a drone over a person like that....if you crashed into the ceiling or if the white comforter caused the drone to lose its perspective because it's not contrasts enough, well, the result could be disastrous...consult with a Key or Dolly Grip on how best to accomplish your shot....you're in SoCal..,find one in the 411 directory, offer to buy them lunch on a day they are not booked and describe your shot....there main objective is to rig anything  safely!...they will know.

PS...I own a drone and would never subject talent to that kind of risk!

The Tokina 11-16 gets you down to 7.4 mm at the wide end with a Nikon to M4/3 XL Speedbooster for around  399....the Speedbooster is of course extra, but considering crop factor and in the case of the XL adding 11/3 stops of extra speed to every lens you own in that mount, it is an incredible bargain....7.4 mm at f1.8 is Sigma speed!...I briefly considered the 8-18 Leica, bit as my 12-60 already gets me so wide, and as movement along the edges of the frame  gets weird when you pan on a lens  below 10 mm wide, I opted for saving the $1,100...the combination works really well for that rare occasion anyone would go that wide!

@Riadnasla you are referring to an actual steadycam style stabilizer with vest...is this correct?....If you are, I would look at a Came TV or symilar cheap knockoff style vest arm system, and the actual mechanical "steadycam" you buy that carries the camera is where I'd spend the money....although they take practice, IMO a gimbal will never equal the beauty of footage from a good steadycam operator. As the C100 is not that heavy and gimbals are the rage now, you can probably find a glide cam or something symilar quite cheap used.

At $3000 the Leica may actually turn out to be a bargain optically....very little in any format is going to touch this lens...lenstip does not glow easily in their reviews??

@EmanuelI could be speaking under correction here, but I don't recall the GH5s' DR being the greatest at 2500...what I've read is 400 is the cleanest...2500 is noisier but the GH5 does not lose latitude at the 2nd of it's dual ISOs which is 2500....400 which is the 1st and is apparently  cleaner with the same DR....in an extensive article I read the other day, the way it works was described as (with a grain of salt at this stage) if you need above 800, you reset to Native ISO 2500 and dial back to say 1200 if that's required....the Varicam LT has also been described as being the cleanest when used accordingly, and in the old days of the hacked GH2 the ISO bug fix for the hack was to go beyond where you wanted to be, and to then dial back for cleanest IQ....Panny cameras just love getting pampered??

Maybe!!☺️☺️....if true, means I'm definitely buying another camera rather soon though!???

14 hours ago, webrunner5 said:

I have heard that number thrown out by some Panny people also. But with using V-Log L on paper limits you to 12 stops. I just don't know. This sensor, this camera Ought to do better than the Gh5 does. I don't really see how something that obliviously does better in low light not have some more DR! I guess we will find out soon.

Agreed...but Frazer did not say it comes with VlogL included...he just said Vlog...could have been a slip on his part, but  IF this camera has 14stops of DR it would use the identical log as the EVA and Varicam as it would have the latitude for the full curve!...anyway, a bit confusing at the moment.

OK...late to the ball...just saw Matt Fraser of Panasonic call the DR on the GH5s at 14stops!!!....whereas Nick Driftwood called it the same as the GH5...at 12 stops.....14 stops is well and deep into Cinema Cam territory...I know they tweeted and measured with the EVA before it was out in the wild and then before release it was called at 14 stops....Matt Frazier claimed it could also hold 14stops at 2500 ISO....can anyone confirm?...this would be extrodinary!

3 hours ago, DBounce said:

Well since the GH5 is discontinued I guess you will have to hang up your camera bag Oh wait, its not discontinued... All is good in the world again... just keep the GH5 and add the lowlight camera of your choice. 

Why is everyone hating on the GH5S? Would you be happier if all we had was the GH5? 

Do you have a GH5? Honestly, while 3200 can be used if you have no choice, it really is not a great option in my experience. I have my GH5 locked to max 1600 ISO.

I was referring to the shot in the Video you posted....as I have already clarified also in the post you quoted me from, I never go beyond 1600ISO and in a post before that if there were skin tones in the shot, I would light...you may not have read that earlier post, as this thread is now the length of a small manuscript.....in a brightly lit night scene like this, as an establishing shot for my use why not....except 1600 would also be fine for this comparison video...anyway obviously standards and needs differ

1 hour ago, jonpais said:

Not overly fond of bright night scenes that are more intense than direct sunlight. Maybe in small doses? I use lights - in fact, I love having control over lighting - so high sensitivity isn't a big deal to me. 

@jonpais....lol....The only thing this video demonstrated to me is that even at 3200 ISO the GH5 is perfectly usable...I will likely never be beyond 1600 but if 3200 is a must....it's there effortlessly with a bit of post

7 hours ago, IronFilm said:

Or even "seventeen stops" if someone is pedantic and totally ignoring noise levels!! :-P 

This is why it can be so tricky to trust stated DR numbers, unless you see them side by side. 

(for instance reduser fanboys are well known to overstate DR!)

 

If only that GH5's in your sentence lacked the apostrophe! 

That awesomeness of own Nikon lenses is you can very easily use them on any EF camera. 

 

Yeah....I love the Nikon AF-s 2.8 ED zooms....don't know if you've ever shot with them, but they render color very close to my M4/3 Leica lenses except very slightly warmer...effortless to cut together though!

This thread has gotten so long I forget how far back I read a post that Panasonic has to be careful...other companies are nipping at it's heels....really!...which companies???...though I whine about the EF mount on the EVA, because most of my legacy glass is in Nikon or FD mount, I find the image drool worthy...as a cinema camera at that price and size...who's chasing Panasonic...and the GH5 & now the GH5s...and the G9....I'd say Panasonic is very nicely positioned now, and by the time another company gets even close, Panny will be miles ahead with yet some new innovation...I love the image out of BMD cameras too, but find the Panny's so great to shoot with...no real competition I can see anyway!

5 hours ago, IronFilm said:

 

And yet people will complain over and over about a camera having 12 stops of DR instead of 14+, and call it "not a cinema camera because the DR is too low"

 

Seems like a hobby to some....the complaining I mean

I would also point to a very important observation by @AaronChicago...having a camera that can shoot in the dark can be a novel concept as with the A7s years ago, but beauty in Cinematography comes from light and how a good Gaffer shapes that light....being able to shoot in the dark may work for a brief emergency shot you have to get (referring to narrative of course) but as ugly as a midday image without the correct shade and bounce is, the equivalent is true for shooting practically in the dark...just the other side of the spectrum to shooting in noon sun...the image in both cases is flat and uninteresting...it's light in whatever form you use it, that creates the beautiful imagery we drool over in the Cinema...the camera comes fairly far behind that...that's maybe the biggest reason for me not rushing to get in a pre order....I don't shoot in the dark and the GH5 gives me a more than adequate night shot, of say cars moving by in a wide city street shot....if there are people in the shot and they are significant to the story, there would be lights too.

5 hours ago, IronFilm said:

Exactly. And that is the original GH5 which comes out ahead of the a7Smk2

Yes, twice as much light falls on a FF sensor than a 4/3"
And people repeat this over and over as if somehow this is an automatic trump card which wins the argument. 
When this is very clearly false!!!

Even a super simple test of this statement shows how outrageously false it is. 
Compare say a 5Dmk2 video vs a GH5 (the original! Forget about the GH5S for now).

Clearly clearly the GH5 is doing better in lowlight than the 5Dmk2. You'd have to be blind to say otherwise. 

So hopefully that makes it super clear it is not just about the amount of light which falls on the sense. As rather arguably what is more important is how the light is used by the sensor!

It might almost be best to forget about sensor size (as it is the sensor engineers who need to worry more about that than us), and just focus on the resulting image instead! :-)

 

 

I basically almost NEVER give a downvote. But was forced to join @jonpais here and do the same! 

As SERIOUSLY? Have you even shot with a RED ONE any time in the last couple of years or so? I have, on quite a few shoots (usually sound department, but sometimes as DoP too). Never by my "choice" though! ha

Under the right conditions the R1 can be nice (but so can almost any camera....), but the lists of cons for the R1 is so extensive! That for 97% of users here the R1 would be a bad choice indeed. 

 

Heck, even I'd rather shoot with a BMPC4K + URSA Mini 4K combo than shoot with one RED ONE MX. (which the two cameras together secondhand would cost similar, or less, as what a RED ONE does)

And the 4K sensor BMD used in them was the worst BMD ever put out!



 

Interesting fact in the discussion on DR and the manufacturer's DR chart posted a few pages back...the Red 1 was rated buy Red to have 13 stops of DR but after being used by DPs for a few months, was assessed at a more realistic 9.5 to 10 stops....Steven Soderburg and David Fincher started using them immediately so this can also put the DR argument to bed re image quality in the right hands...for run and gun that of course changes...re the EVA and GH5s....the EVA is a 14stop DR camera....perhaps a bit more, as Panasonic tends towards rating DR conservatively...the GH5s is said to have a 14bit sensor but the processor uses 10bit in its internal recording (still an unequalled feat in a body this size, though often overlooked in the discussion....if one graded the 10 bit image one understands the sicnificance)...the GH5 and the GH5s share 12 stops of DR BUT the GH5 stays at 12stops at 2500 ISO which is huge in itself...but as exciting as the camera is, I would not put it in the EVA's league (if not for the moronic EF mount, I would have bought one)...the EVA will turn out an incredible cinema camera for the price....and the GH5s currently drops 9frames of timecode sync every time you turn it off or change the battery...this can no doubt be fixed in a FW upgrade, and lastly, I will no doubt buy one, as I think owning a GH5 AND GH5s will give me the perfect camera for $4500 ??

I own both the GH5 and GH2...the GH2 is, even today, a fantastic image producer...but it's not remotely in the league of the GH5....the GH5 is a professional tool and is probably used more as such, than by hobbyists....as for the Vimeo or YouTube lack of GH5 footage...our very own Jonpais has posted clips of the GH5 that are amazing in every way...if someone needs more "proof" of what the GH5 can do, probably not the camera for them...and lastly, I would venture that probably the vast amount of camera posts on YouTube and Vimeo are done by hobbyists, as they are free publishing media outlets...professionals have their work on a reel, and usually link it to someone they are interested in working with. (I could be dating myself badly here, as I don't even have a website) all the same...I never post publicly....interpret that as you wish....it matters little to me....as does the camera I use for that matter...I only care about the results I get in my work....period....again...I know this is off topic...I urge anyone in doubt of the GH5's capability to view Jon's work with it!

Jon....I'm on my 4th year with one drive....flawless....in your defense, I gaffer tape the connection of the cable to the the port on the little drive...on the ruggeds and the large Lacie drives, they have all failed...on these no issues...another with 2 years working flawlessy and a 3rd brand new that I've yet to use.

You can also look for a solid state drive MacBook Pro with say a 250 Gig drive and pair it with a 2 or 3 Terrabyte Lacie (I like the Porsche designed ones at under $200 and add FCPX for an additional $299) I had the same issues with the MacBook you describe...in and out for constant repair....motherboard...screen etc. During an appointment to check something the trackpad froze and the person helping me looked at the history, and after a chat with a manager swapped it for a 2014 MacBook Pro 1 Terrabyte retina...for my machine plus $300 (a $3500 machine!)...I think a visit to discuss your machine and it's history at a Genius Bar appointment may yield a result....worth a try anyway...bought the same machine I described in the opening post for my daughter for $300 with a slightly banged up case as we wanted a DVD SuperDrive and none of the new ones have them.

5 hours ago, mercer said:

How is it not another camera? That’s the only thing we’re sure of.

Sure of another camera or another GH5 version...and based on what does the certainty come from?...if I've missed something that's not just a rumor, I guess I'll be pleasantly surprised on the 8th...though I have to say an Anamorphic lens or an improved version of Vlog would be the things getting me excited lol