Flynn

Three shots.      The first from 2005 with a IST*D at ISO 3200 (Adalita from Magic Dirt)
The next from 2011 at a festival I was shooting for with a Kx at ISO 3200 and the last from 2015 with a A7s at ISO 102400 (US rock band 10 years)..
I used a fast shutter speed for the A7s shot as the band is very fast moving and the light was also changing rapidly.
While not great, I think the A7s shot is far better than the IST*D shot.     These days I would likely delete that IST*D shot but back then some from that gig were used on their 2005 Warner album Snow White at small size in the collage.
 
I have shot several festivals, sometimes for the festival and sometimes you just have to take what light you get.
The A7s shot was in brighter light than the Magic Dirt shot but that is another advantage of better high ISOs - I can use much faster shutter speeds when I want.
I never even tried my Canon 7d for live music.    That camera was for other things.
 

I shoot live bands in whatever light is available to me and have done so with many cameras since film SLRs.
I can not change the location and I can not add light.
Each generation has gotten better and better but for me, the A7s is the camera I always wanted as it means I can use 5.6 or even f8 if I want to.    I just don't worry about ISO anymore.
I do use ISO 51200 and even higher from time to time (ISO 80,000 is fine for me often and sometimes 102400 is as well).     The bands, and odd newspaper have been happy to use some of my shots at 51200.
I use auto ISO and what I use depends on where I am aiming at and the light available.     I would prefer if it stayed at lower ISOs but sometimes, in some of the bars and pubs I shoot, there is just no choice. 
With each camera I have used, I have had my limits.      Original A7 was 12800 with the odd shot a bit higher, Pentax Kx was ISO 6400, sometimes ISO 8000,  My GX7 (I have only used for live music on the odd occasion), I don't like over  3200 (6400 in a pinch).     Earlier DSLRs were a bit lower.      Film and ISO 3200 was mostly very grainy but I was restricted most of the time to using fast lenses.
 
A few years ago I shot in a club/bar that was lit by a couple of shaded table lamps.     I was using an APSC DSLR at the time and ended up with very few usable shots.     I would have loved to have an A7s there.    Many of my current venues are just pub corners and one is an outdoor beer garden with all gigs at night.
I mainly shoot stills but I use the same lenses with the same  auto ISO settings for video and have been very happy so far.     

I have a rule. Even with A7S. If you need more than 1600ISO, you probably shouldn't be shooting there in the first place. Either change the scene's location, or use lights. Simple.

What horror film is shot in 25,600 ISO?! 
There are specialized security cameras with infrared and other technologies, you are not going to put a A7s as a security camera, first of all, it would be the first to be stolen!

Doesn't look all THAT bad to me.
Sure the other cameras look better and I wouldn't want to use the GH5 at ISO 6400 anyway unless I had to.      I think for the A6500 I wouldn't want to use at ISO 12800 unless I had to but any of these cameras is not going to be at its best over ISO 3200 anyway.
GH5 seems like it will be a wonderful camera for video (regardless of sensor size) as long as you can control the light or keep it at lower ISOs.     It will also be a nice M4/3 stills camera with all the normal pluses and minuses the sensor size gives.
Maybe in a couple of generations, M4/3 will have the low light/high ISO that some want but just seems beyond M4/3s for now. 

Shot this for the tourism board a few months ago, different edit for them, but I had so much footage that I just threw this together. Trying to work on my social media subsciptions
 
 

Use Tito's calculator :-)
http://www.tferradans.com/blog/?p=13386

Don't know how/if the camera's noise reduction settings affect the raw stills, but the problem doesn't appear in the raw files.  By the way, there are raw files with two different noise settings (NR1 and NR6) available for download, and there is no noise reduction smudging in either. 
 
The problem is reduced on the jpegs with noise reduction set to "1."  If the noise reduction is working in raw mode, I am not seeing any smudging, so perhaps this problem is just limited to jpeg processing.
 
Wonder how the noise reduction in the GH5's 4:2:2 video will compare with that of the jpegs.

Actually when I read this across various sites, I realized, that there may be many reasons for this:
1. Nikon isn't really stellar at video, and the 1" camera market does have an interesting emphasis on video.
2. Sony is literally monopolizing the newer 1" sensors, and using them for its newer RX100 models. Everyone else gets a generation or 2 older version, of the 1" sensor. 
3. Panasonic's FZ2500 and the LX15 seem to have captured the Market of two of the Nikon DL models. This apart from Sony's own RX10 iii. 
Nikon announced the 3 cameras exactly 1 year ago, and then their R&D Department sat over them all this while, with almost no noticeable movement on that front (no product reviews, or cameras given to photographers, like the way Sony and Panasonic do for models before launch).
In the meantime Panasonic and Sony were in a race to bring out new 1" sensor models, making the Nikons effectively obsolete. The Nikons would have had a price advantage, but, they spent way to long in the R&D, and that probably jacked up the final costs, thereby completely ruining a very interesting series of camera. 
 

Mind power cropping! Should be able to manage...now on to mind power desqueezing! :-p
Found another test vid btw, not too bad either.
 

They mention it being used with full frame in their B & H listing.
"Please note that SLR Magic cautions that for full frame work a 75mm taking lens is required, a 50mm taking lens may only cover when your camera is in APS-C or S35/APS-C sensor mode. When using this adapter on a 25mm , the image will cover a Four Thirds sensor."

Interesting read, thank you! As some might know I also have a love/hate relationship with the Voigts. Sold and rebought it twice. The image is awesome, but there are just times when you need AF - especially when things are going fast. 

nagual, Tiffen has some very informative vids showing tests with their filters. You might want to consider getting one if you want to cut down on the sharp video look. Also, you might want to look into the Veydra lenses. If it was me, I'd get the 17.5 and 42.5 Voigtlander. But you'll miss out on autofocus and these lenses are much heavier than the Panasonic/Olympus offerings.

As someone who was a Nikon shooter for a LONG time and was looking forward to the 18-50 this is very disappointing.

And here's the review - 
 

Actually noticed I got mixed up with the 8Z, I actually meant the B&H as the screw on adapter best suited to accompany the 16H. With so many models and variations it's easy to get confused about which is which lol! As for the 16H look compared to other Kowas, it should be very similar, as was said it's really just the element size and adaptability for APSC and full frame, they all work but some better than others, hence the bigger 16H, 8Z, and B&H being so sought after. Another correction, the 16H doesn't have orange flares, I misspoke, it flares blue as well but it's a warmer less blue color that mixes with the source light more than the SLR Magic which tends towards blue colored flares much of the time. It's different looks and depends on what you're after and what you like.

I could be wrong but there appears to be 3 types of kowa 16, the 16h/8z/Elmoscope II/kowa for B&H that has the widest lens elements, then there is the 16s/16d that have de 43mm back (with a smaller back element) and front element is also smaller than 16h type, and finally the 16a/vidoscope that have the smallest back element and the front element is same size as the 16s type. It can get confusing as there are kowa 16 lenses that don't have h or s or a distinction but can be same size as any of them. I only have personal experience with the s and h type and have an h type that only says kowa 16.

I'd be worried you're not gonna like going from full frame to m43 and you won't like going from Canon to something else. I'm not all that crazy about "Canon colors" but a lot of Canon users are absolutely miserable when they move to something else. The move to a smaller sensor and the change in colors, it's a constant complaint you see on forums from Canon users. "I don't like what I'm seeing." I would hold onto the 6D and make sure the company you get the GH5 from has a liberal return policy.

Thought I would share this just for fun.
These days I think most shooters know that the black hole sun problem in some Blackmagic cameras isnt new. For example Arri experiences it as well.
And its easy to avoid and even easier to fix in post.
Today I experienced a pretty much identical phenomenon on an even older type of sensor... film.
These are shot with the ever so lovely and joyful Fuji Packfilm System. FP100 glossy.

Its more blue, but still.
 

Totally doable, Ive seen it happen on other forums many times. Logistically its not a problem, they would still ship individually.
And I've also done what you did by emailing. I asked a retailer in Sweden if I could get $500 of on the A7sii because they had earlier had such a discount. They said yes. 
So these "limited" time discounts aren't ver limited at all.

I've been acquiring anamorphics and these two have been high on my list. I bought a 16H when it was advertised as an 8Z, not bad either way and I got a GREAT auction deal on it so a win's a win. The 16H has warm orange flares and the SLR Magic, from the reviews and videos I've seen, has more modern blue flares. That right there is already divisive amongst anamorphic fans and it also comes down to taste as well, which some have already mentioned with artistic preference in terms of flare quality. I prefer blue flares so the SLR Magic is fine with me but I haven't tested one yet so I don't know what it's like working with it and what my lens choices are. As for the Kowa 16H, it's really handy and the size compared to the big boy projection lenses like the Hifi 2 or something makes it a dream to work with. Paired with the SLR Magic rangefinder, it's a really great and completely practical solution but you're still limited to the 85mm and up on full frame and 50mm and up on S35. To note, I wouldn't use it as a run and gun handheld solution as, whether paired with the SLR Magic rangefinder or not, it can be a wonky setup. In that case, a straight screw on anamorphic adapter like the SLR Magic would be much more capable. Even so, matching those warm orange flares with anything else can be a challenge and, coincidentally, the most practical companion to the Kowa 16H would be the Kowa 8Z as you could hard mount that with a thread adapter. It's expensive either way you go but no matter what you buy, definitely have the rangefinder, it makes just about any anamorphic adapter setup just work. I'm going to be making a video about anamorphics sometime in the near future, I'm still planning it out and debating what to include and the SLR Magic 2X is high on my list, I just wish there was more information and real examples on it as just doing a basic search online there's very little out there and makes me wonder if not a lot of people are using it.

Would like to know what you think about our newest work.
Shot with the infamous Panasonic GH4, internal V-LOG 8bit, -5/-5 NR and sharpness. Used Panasonic lenses: 12-35mm 2.8, 20mm 1.7 and 42.5mm 1.7. Used a Tiffen Black Satin Filter to get rid of the sharpning artifacts still left over at -5 and add some smoothness to highlights and shadows.
Budget: about 0$.
 

I'd be worried you're not gonna like going from full frame to m43 and you won't like going from Canon to something else. I'm not all that crazy about "Canon colors" but a lot of Canon users are absolutely miserable when they move to something else. The move to a smaller sensor and the change in colors, it's a constant complaint you see on forums from Canon users. "I don't like what I'm seeing." I would hold onto the 6D and make sure the company you get the GH5 from has a liberal return policy.

I'd be worried you're not gonna like going from full frame to m43 and you won't like going from Canon to something else. I'm not all that crazy about "Canon colors" but a lot of Canon users are absolutely miserable when they move to something else. The move to a smaller sensor and the change in colors, it's a constant complaint you see on forums from Canon users. "I don't like what I'm seeing." I would hold onto the 6D and make sure the company you get the GH5 from has a liberal return policy.