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  1. Like
    sudopera reacted to ricardo_sousa11 in Vellichor Film & Wedding LUT pack   
    This thread was created so we can all share our opinions on the lut pack, as some of you may know, these were created specifically to the NX1, however, I've made some tests on Sony Cine4, Nikon D800 and Canon 5D Mark 3 with very pleasant results.
    The lut pack contains 9 different luts, ranging from color to black & white, stylized looks to achieve a filmic effect on the nx1 footage.
    Heres a sample of what to expect from the looks :
    Fully Graded with Greenleaf
    Later today I will add new screengrabs of all the different looks, and what its best used on.
    Feedback is very very important, this was created for the community, and I will follow all of your opinions in order to update the pack and deliver the best possible results! I hope you all have fun and like using them as much as I've had created them!
    Happy gradings!!
    Buyhere : https://sellfy.com/p/HNAk/#
  2. Like
    sudopera reacted to dbp in Wedding videography advice   
    That sounds really pleasant actually, the most stressful parts of the wedding video removed. Sign me up!
  3. Like
    sudopera reacted to Jimbo in Wedding videography advice   
    Hi Jimmy,
    I've been shooting weddings for 5 years so hopefully I can help out a little.
    I shoot with 2 x GH4s and a mixture of fast glass (adapted and native). The GH4s do a great job and I love the small size (as I'm very sensitive to being unobtrusive). However, I would suggest, as others have, that the C100 MkII is the dream camera for weddings and events if you can afford it. I've been very close to pushing the button a number of times but I'd have to switch my lenses and get a larger Glidecam and I'm not willing to take the financial hit at present.
    The C100 nails lowlight, skintones, internal NDs, small file size and great audio, pretty much all the key elements to the technical side of weddings. But... I've seen people craft beautiful weddings films with pretty much every camera we discuss on these forums. You're A7sII is no slouch for this kind of work, although record times, reliability, battery life stopped me going down that route and sticking with the trusty GH4s which have never let me down. If there is a particular camera you just love shooting with, then you can make the technical limitations work.
    Regarding size of C100, I wouldn't worry too much about that, even in the UK. It's not too big, and I think what's most important is the way you approach the filming. Some people won't like being filmed whatever camera you use, but an apology, smile and some self-deprecating humour will usually win over even the most vehemently shy/grumpy guests. Most people are fine.
    I would suggest the other key area of investment is sound, especially decent lapel mics . Mic the groom for the ceremony (vicar/registrar too if they don't mind) and mic speaker for speeches individually if possible, or get them to hold a mic, or take a feed from the venue's PA system (if you are working at one specific hall then you should get this down pretty quickly!) I think killer audio from the ceremony and speeches is one of the areas that can boost your films to the next level, and the sound bytes can drive your highlights films too.
    A few tips off the top of my head:
    - Attend church/hall rehearsals where possible, good to ingratiate yourself with vicars (some have had bad experiences with photogs/video guys) and good to suss out all your angles ahead of time, and meet the close family and friends. Getting them onside can make the days so much easier.
    - It's invaluable for ceremony, speeches and first dance to have a wide "safety" angle set up to cut too
    - Editing is a real bitch when it comes to weddings, if you're like me you are going to feel that intensity to film EVERYTHING but every shot you take is going to have a knock-on effect with your editing pipeline. My footage is better when I shoot less and observe more; waiting, looking, for special angles and moments. Of course, sometimes you've just got to grab what you can given the day's timings.
    - Don't overcomplicate your gear. I personally find it very easy to get bogged down into lens decisions, shall I go Glidecam now, shall I get the tripod out? Ultimately, I've found my best footage comes from when I'm stuck with a single lens (usually a prime) and I'm handheld or monopod and I'm just enjoying the filming.
    Weddings isn't my dream work either, but wow is it a good place to learn fast, and work with footage that involves beauty, emotion and story... all key ingredients to narrative films. If you can handle weddings you can handle just about any filming environment too. Not to put you off, you'll be fine, but you have to get creative and think fast and plan ahead to get good shots in an environment you don't have control over.
    If I can help any further with specific questions, feel free to message me or what not.
  4. Like
    sudopera reacted to dbp in Wedding videography advice   
    I dunno, if anything, I feel like they should get it. It's a chaotic shoot where getting the moment trumps all. Not to mention alot of it is done in horrific mixed lighting/backlit conditions that look like crap on any camera. Even the people that do high end wedding work have tons of footage that looks pretty junky compared to controlled shoots. Only so much you can do, given the conditions. 
  5. Like
    sudopera reacted to Cinegain in GH5 10-bit 4:2:2 internal?   
    I once went to Stockholm in person to pick up the Panasonic G7 and saved me 230 or so bucks (had to be there anyways, but still, http://www.prisjakt.nu proved helpful). I ordered the G80 from UK and for EU body prices got included the 12-60mm, a Panasonic 64GB card and a battery grip. It does help to look around. Usually I check http://geizhals.eu . I find it very helpful to get some oversight.
    That said... 1999 for either E-M1 Mark II or GH5 is a matter of perspective. So here's mine...
    No DSLR for me. I don't like mirrors and I don't like optical viewfinder. I'd rather just have an EVF and excellent liveview; what you see is what you get. Plus, mirrorless cameras just about standard give you peaking, zebras and all that good stuff No fullframe camera for me. What fullframe cameras would there be? Let's see... eh... Sony. Well have you seen what those bodies retail for? And then you need big bulky 35mm covering glass that ain't cheap either. Don't know. Just not for me S35/APS-C. Now we're talking. Excellent. Yes, I'll have one, thank you! What can I choose from again? Ah, more Sony. Well... they sound good on paper, but in practice... between the overheating, rolling shutter, color issues, poor design and its price... there's not really that much that makes it an attractive choice. I think I'll pass until they come up with something a little more reliable and enjoyable. Fujifilm XT-2. Ooh, me likey. Too bad there's no sensor stabilization, vari-angle touchscreen and headphone-jack on the camera body. Tough. Canon? The new EOS-M5... overpriced stripped down 80D much? Maybe cool as a gimbal AF tool, otherwise nope. Nikon? Not making anything. Samsung? Dead; although the NX1 is pretty sweet. But you know... the XT-2 would pull ahead of it. Well... that's kinda that. Unless you want to go proper cinema style camera and throw a couple of thousand bucks at it, but at the cost of losing a innocent looking versatile hybrid system that packs a punch That leaves... drumroll please! Micro Four Thirds, MFT, M43, M4/3. Now... I kinda made my peace with the 4/3" sensor a long time ago. Hell, some even accepted the limited conditions the BMPCC would shine in. S16. And as such I don't need ISO12800. I mean, ISO1600-6400 would be kinda nice. Don't really like to go beyond ISO1250 right now due to the decrease in peformance. But somehow, you just make it work. You work around the sensitivity by lighting, by using more sensitive lenses. You work around the crop. The shallow depth of field. With a smaller sensor you kinda lose some color accuracy, dynamic range... I mean, it's not like you're not paying for it somehow, but you manage. In return you get to have one of the most versatile systems out there. With small bodies and small pancake primes. But you can also rig things up and use speedboosters. And especially with the features in the new E-M1 Mark II (which I feel they should've just called a E-M1 Pro/E-M Pro to avoid the negative backslash it being so much more expensive than its predecessor), you now have one of the most complete cameras on the market out there. Compared to a mirrorless APS-C Sony... it has a far better choice concerning lenses native to the system and sensor format, it has that vari-angle screen, dual cardslot, superior sensor stabilization, neglectable rolling shutter... and most importantly... it's reliable. Compared to either XT-2 or NX1 it has the vari-angle touchscreen (frontfacing option) and 5-axis sensor stabilization. You just can't really fault the E-M1 Mark II on hardware level. The GH5... we don't know much yet, but it looks like we're going to keep that GH4-styling. That's good and bad, because I was actually hoping that with the GH5 they would really re-think what they wanted the top of the line GH-camera to be for general video production, as well as more advanced cinematic application. So I was thinking a different style body, more room, better interface, more ports, bigger ports and all that good stuff. Still though, even with a GH4-style body and souped up internals, this could be something very different. We already kinda know that its sensor and processing allows for internal 4K at 60/50p and 4:2:2 10-bit at 30/25/24p. There's 6K Photo. If the E-M1 Mark II's processing and speed is any indication of what the GH5 might be like, we're really getting some performance. And people who've been using the GH4 as a production tool, will gladly embrace the improvements in noise control and overal image quality that has already gotten a boost with the arrival of the G7, GX80 and G80. Not to mention the probable inclusion of sensor stabilization. Rolling shutter could be neglegible as well. Super slowmo. Who knows? Ultimately though, this is a tool not to be underestimated and of great value to independent and indie filmmakers, production houses and the sorts. Would I say 1999 is pricey? Yes, most definitely is. But I think the E-M1 Mark II makes sense. There's all this Olympus PRO glass and these people need a camera to go with it. It's not some incremental upgrade, it's a new game altogether and offers things in a complete package we haven't seen yet before. To those who think it's not worth it, they have a great selection of alternatives... the E-M1 with firmware upgrade is pretty solid, E-M5 Mark II, E-M10 Mark II... Panasonic G80. Talking about that last one, that is a fine camera for people looking for a serious hybrid camera that don't neccessarily be using the more pro applications such as V-LOG L. Pay less, only use what you need. The GH5 on the other hand is the ultimate video production tool, by the looks of it. Either used stand alone or rigged up, if it sells for 1999 it will provide shooters with a the most complete video package under 2000 bucks yet. If they would tell me 'we have a promo going on, one time offer... we see you have the GH5 in your basket, we'll change that to a URSA Mini 4K (that you're not allowed to sell) but leave the 1999 price. Which camera should we ship to you?'. I'd probably go with the GH5. I just really like the idea of a camera that I could use with a 20mm f/1.7 pancake lens and at the same time could rig up to be a set-up too legit to quit. But that's just me. You also got to consider that because of the pro features, less people will have use for it... and in turn therefor they sell less units and need to increase prices. As has been said before, we're just a marginal piece of the pie... the people that care a lot about shooting video with stills cameras, so when they cater to us, I'm really excited. And currently I see the E-M1 Mark II and the GH5 as the most complete packages out there for hybrid shooting with a video edge. There's always things that can be improved, but that's going to remain to be the case.
  6. Like
    sudopera reacted to Inazuma in The 4K Fuji X-T2 is here   
    At 1080p I would say ISO 3200. 
    4K it's ISO 12800 or near that anyway. I do have a higher tolerence to noise than most people though I think.
    Here's a clip at 10,000
    The good thing about these Fuji files is that unlike some other cameras, it doesn't really kick in noise reduction much at high ISOs and so details remain quite visible. Using noise reduction in post gives great results. 
    One somewhat annoying thing regarding ISO I forgot to mention earlier is that you can't change it whilst recording. 
    I've yet to see any macroblocking in 1080 or 4k. The bitrate for 1080 seems to be variable, usually between 30 and 100 mbps.  There are no artefacts in 4k either but there is a little bit of moire and aliasing in 1080. You can see that here https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=nikon_d5500&attr29_1=fujifilm_xt2&attr29_2=canon_eos80d&attr29_3=panasonic_dmcg85&attr72_0=1080&attr72_1=1080&attr72_2=1080&attr72_3=1080&normalization=full&widget=378&x=0.03472009788926267&y=-0.5420819490586931
  7. Like
    sudopera reacted to Tiago Rosa-Rosso in What Trump means for new camera technology   
    Lets not forget that EUA is not a democracy, it never was. It's plutocracy. The only positive thing on the election of of Trump is the none election of Hilary. But these doesn't mean Trump is a solution, by the contrary, Trump is very dangerous. So I think Resistance has to start now. I know americans like to say god bless america, but if I where you, I would put my faith i God, I would instead say that the supreme court bless america, and I hope that this big problem may serve as way of bringing people together, interested on their political system, and on how to change it from a plutocracy to a real democracy that is indeed  representative of the people. A government of the people, by the people and for the people. And also a government that delivers an affordable small camera that records 12bit 4444 in 8k with a very efficient codec that makes small files, ready to go and easy to edit. 
  8. Like
    sudopera reacted to Eric Calabros in First leaked image of FS7 II   
    now only needs a sim card, we can easily dial phone numbers with these buttons, and talk with our client. 
  9. Like
    sudopera reacted to BrorSvensson in So what ever happened to 1080p?   
    the real question is, what happened to 2.7k? it would be amazing to see all these 4k capable cameras that can to 1080p120fps to add an 2.7k 60fps mode. 
  10. Like
    sudopera reacted to Katrikura in 12 or 10-bit RAW Magic Lantern!!!!   
             Again the boys lantern MGIC surprise us. A1ex, just determined as record the raw video in 12 bit or 10 bit, although it is a finding emerging, it is only a matter of time to debug the application and develop a specific module raw 10 or 12 bit.
    As you know, the problem of actaul RAW 14 bit, is what is fantastic, but you need very fast and stable cards (1066x) to record on average 4gb x minute and sometimes, depending on the quality of the card becomes unstable recording . With the current discovery means we can record RAW, but with greater stability and less space or at a higher frame rate.
    Today is a great day for the Magic Lantern filmakers community.
    Sorry for the bad English
  11. Like
    sudopera reacted to Oliver Daniel in Out now: FCP X 10.3   
    This is controversial-ish, but I feel after looking at Premiere that in comparison to FCPX it's pretty "old-school". Not that old school is bad. FCPX is clearly a lot more modern with the way it's constructed and performs. 
    More of the critical non-users are bashing it again. Ridiculous really. It's an ace editor, and in my opinion, the best. 
  12. Like
    sudopera reacted to Cinegain in Samyang/Rokinon zooms are coming!   
    Well, if primes start at around 1999. This must be somewhere around... 2999~4999.
    If I were to go zooms... I'd save up for those Angenieux Type EZ ones then... They'll be better in every single way. Or just stick to stills adapted home modded ones from Nikon, Sigma or Tokina.
  13. Like
    sudopera reacted to kaylee in OMG I GOT A 5D3!!! ??? - Magic Lantern raw best practices 2016 *ALSO* Try Resolve - its free!   
    OMGZ GUYS I FINALLY GOT A 5D3!!!!! ??????
    for those interested i need it now for stills so i bought it used off craigslist here in california for $1800 - came with 4 batteries, battery grip, 2 chargers, sd card, cf card, and 40mm pancake. its still under the resellers warranty (not canon, local shop) for another month, two small marks on the bottom of the body otherwise in great condition, and 12k on the shutter.
    the seller was legit and he already had magic lantern on the sd card! so....
    Whats the easy way to do things in terms of workflow? Mind you i am brand new to this so dont spare the details. I have a mac with the adobe suite, fcpx and resolve lite. speaking of which...
    i really have to thank you all for teaching me so much over the years ive read this board. when i first downloaded and opened resolve i had NO idea what was going on. thanks to a lot of learning i am now able to get into it a bit and i love it - resolve is AWESOME. and ykno what? it wasnt nearly as hard to get started as i thought it was going to be
    so this is a special message for anyone who has had the ambition to try resolve but is too intimidated, or someone who tried in the past and gave up almost immediately (me lol). its really not that hard at all, for me the big disconnect was never using a node based app before and being terrified of that for some reason, but nodes are kinda like a tree of adjustment layers - its just weird looking at first ?
    /anyway please prescribe me a raw workflow!!! id like to use resolve cuz i wanna learn it anyway but im open to whatever. any tips/tricks/pitfalls to avoid also much appreciated!!!!!!
    thanks for the inspiration and all the knowledge guys!!! i really might not have bought this camera if not for eoshd ?
  14. Like
    sudopera reacted to Cinegain in Sony Will Announce the A6500   
    Yeah, I was so stoked for the A6300 when it was announced. Went and got the conversion kit to E-mount for the Veydras. And then... Sony happened. They always deliver on paper... and then in practice... grmpf. Between the overheating, rolling shutter, color channel clipping and out of camera colors and lack of fully articulated touchscreen and headphone jack... maybe meh-ish batterylife... Why don't they indeed take the A7-body style and just throw in an APS-C sensor?
    The thing that's really going to make the difference is the lenses you're going to throw in front anyways, so why not up the body in terms of ergonomics, features and have solid heat disappation, room for a bigger battery, proper audio interface, maybe even dual card slot, vari-angle touchscreen... yeah, basically more like an APS-C Olympus OM-D E-M1 Mark II what I'm concerned! Actually, exactly that! If it wasn't for the up in sensor performance (mostly noise profile), better selection of wide angle lenses/easier to get shallow depth of field (and being close to S35 right of the bat) and the possibility to boost towards fullframe... I would've happily kept true to the M4/3 format. But I would like to dial in 3200 ISO without worrying too much, use lenses and have less of a crop factor and the ability to boost towards fullframe (that is why I don't need fullframe cameras, which are chunky and expensive cameras (some with 4K crop!) and the beauty of APS-C is that you can also use some more compact APS-C lenses, although Sony hasn't done enough with that themselves I think).
    Neways. Probably not a good idea to get your hopes up for this one... but maybe, just maybe, they've learned something over the course of this year? I'll stay tuned!
  15. Like
    sudopera got a reaction from webrunner5 in Dont forget Olympus (em1ii)   
    It is very hard to please people these days. When one company finally brings 4K 60p and at the same time 4K 10bit 422 internaly to the masses (that we all whined about for a few years), now all of a sudden it is not that important. Sorry Panasonic we were just kidding, we don't actually need better image quality, we need autofocus that is connected to our brain so we can shoot, read magazines and drink coffee at the same time.
  16. Like
    sudopera reacted to tomsemiterrific in Canon XC15   
    Just received my new XC15 with XLR attachments. Just threw this up after a hard day's work in the shop---so you can sample the quality of the audio.
    I also used the new Production Camera custom profile that is also in the Canon C300 M2.  But this is just a sample of the audio for talking head stuff:
  17. Like
    sudopera reacted to Cinegain in GH5 Prototype   
    The BMD Micro CC was marketed with global shutter... in the end... they couldn't deliver on that promise and pulled it from the (seemingly finalized) specs (which made me order it). I was rather bummed when I found it was going to ship without the feature, which goes to show I'd rather have them release specs that they know they'll do, rather than making a prediction as a hard statement and then hopefully manage to pull it off somehow. Also... Craft Cinema Camera...
    But yeah, I do get that they had to say something at Photokina. I was expecting them to! We all want to know: is it in the making? When should we expect it to hit the market and what can it roughly do?
    I do think it's going to be a significant step-up in the way the m43 crowd shoots video! Like the hacked GH2 and GH4 were! In between the GH4R and (paid) firmware upgrade... and the G7 and GX80... I think we're going to be in for a treat. But you've got to be realistic. The GH5 is going to be the most productive and allround video tool in the DSLR and mirrorless market and have the best bang for buck. Yet sensorwise... it's not going to rival fullframe. Then again, that's only logical. Light gathering ability for each pixel is just not the greatest. But you know... isn't that the case with actual movie cameras either? If you look at Blackmagic and Kinefinity for example... you're expected to light your scenes and manage. Shooting ISO6400 is just not something you would/could go and do. That doesn't make fullframe options less interesting, especially for the run-n-gun type who shoots a night scene with just the camera on little to no budget... because then you can't deny the benefits of its flexibility. You can put it in any lighting scenario and it will cope with the conditions (to a certain degree). If that's the most important thing to you, look no further and get one of the Sony A7 series cameras (with their own issues; really comes down to the game of: pick your poison). I think it will be another one and a half year perhaps (2017?) before we see the new tech (organic photoconductive film (OPF CMOS) sensor with global shutter) hitting the market. That you may rightfully call a 'gamechanger'. But we're not there yet. It's a step up, as said, with V-LOG L and an anamorphic mode as firmware upgrades... with the GX80 sensor performance and stabilization however... we've seen that we can expect the GH5 to be a significant up from the GH4. And that is just how you need to see it. Still gives you struggle for wide focal length lenses. Isn't magically going to see in the dark with no noise or create crazy shallow depth of field by itself. But it is great value for the money and it certainly will be a treat to use stand alone as well as rigged up.
    Secretly I was hoping for something between the GH-line and the Varicam, because getting a cinema tool step up from the GH4 and end up between 2999~9999 you'd be looking at the Sony FS5/FS7 (or something older 2nd hand), Blackmagic URSA Mini/Production Cinema Camera, Canon C100/300/500, Kinefinity Terra, (2nd hand RED package perhaps). In other words... a lot of people learn with the GH-line and when it's time to step up, their native lenses are probably useless and they have to look at different brands. If I were Panasonic, I would want people to stay in my eco system (and keep their money coming my way), hence create something Kinefinity/Blackmagic style that keeps in mind users coming from a GH4. Something like a true successor to the AG-AF100 but adhering to the modern standards and expections as well as being more compact and affordable. I mean, at around 3000 USD you buy a body only A7SII or A7RII. Can you imagine the things Panasonic would give you for that kind of money?! Something like JVC did (somewhat out of the blue) with the LS300... but done the Panasonic way with the GH heritage. Unfortunately the GH5 won't be that. I thought... ok, the G80 is now roughly the ultimate hybrid camera for stills and video. Maybe they make the GH5 really premium and focussed on video like that. But from what it seems, this is another ultimate hybrid camera... instead of what I was hoping, something in between the GH-line and Varicam (or as I've called it before 'the VC5' (a more serious cinelike approach to the stills hybrid GH5)). Doesn't make me less excited for the GH5 though. Might tick all the boxes anyways (with features that are now well implemented, ditching the YAGH-brick for a more viable solution and still being nice to use as-is, as well as being discrete on the streets and affordable to purchase).
  18. Like
    sudopera reacted to webrunner5 in GH5 Prototype   
    Discussion on Newsshooter 13 comments
    Photokina 2016: We ask Panasonic all the questions about the GH5
    Will ; a reply to Mark Ellsworth 4 days ago
    "Right, but the micro43 standard is rather open about sensor size and aspect ratio. Crucially, the standard requires that the imaging area of the sensor be a specified diagonal measure. All Micro43 cameras but two have featured identically sized 4:3 ratio sensors. The GH1 and GH2 featured larger sensors that covered that diagonal in 4:3, but also 16:9 (and necessarily, 3:2 as well). Because lenses produce a circle, standardizing the diagonal ensures that every lens will still cover.
    Understand, this is not the same as generating 16:9 or 3:2 imagery from a 4:3 sensor, where you just throw away some of the pixels from the top and bottom of the 4:3 imaging area. This involves using fewer pixels on the top and bottom, but also additional pixels on the sides. So your 16:9 image is both shorter AND wider than a 4:3 image taken with the same camera.
    As regards video, this means that the effective sensor size is actually bigger, and the "crop factor" is thus less. The "crop factor" of the GH4's full sensor is 2, but the 4k video in the GH4 uses only some of the full width of the sensor, so the crop factor ends up being close to 2.3. In the GH1 and GH2, the larger 16:9 imaging area resulted in horizontal crops closer to 1.8 or 1.9, if I recall correctly.
    So the GH5 may be a return of the multi aspect sensor. And if it is, this would explain a few things. Namely the 6K photo mode. Nominal 16x9 6K (not full DCI spec) is 5760 x 3240, much like we call 3840 x 2160 4K. A 4:3 sensor with 5760 pixels wide would be 4320 pixels tall and thus a 24.8 MP sensor, quite different than any yet seen in Micro43. But if that width is only in 16:9, the 4:3 imager would be 20.9 MP... slightly more than half a megapixel more than in the GX8's sensor. So with a minimal reduction in pixel size, this theoretical multi-aspect sensor is possible.
    In addition to the benefit of 6K photo mode, there's more magic in a 5760x3240 16:9 imaging area. That size is exactly 1.5 times wider and 1.5 times taller than 3840. 1.5 is a kind of magic number in this regard. Oversampling by a ratio of 1.5 allows for computationally easy downconversion with improved color accuracy at each output pixel. Don't take my word for it either: you can look at the specs for every different version of the Arri Alexa, which generates its 1920x1080 from a sensor with 2880 x 1620 pixels (which it now allows you to record all of, a compromise in the original design that attempts to eke more resolution out of the sensor at the expense of color accuracy).
    In summary, it doesn't take much of a leap (basically, just Panasonic returning to multi-aspect sensor, and developing a new sensor design with pixels only marginally smaller than their current generation) to arrive at a possible GH5 with internal 10-bit 4:2:2, a horizontal crop factor of 1.8 or 1.9, vastly improved color accuracy in video (in addition to the greater color sampling rate), and a true 16:9 6K photo mode with no interpolation or computational trickery".
    Pretty interesting post by Will on Newshooter. He might have sort of a answer on sensor size of the GH5. Food for thought..
  19. Like
    sudopera got a reaction from andrgl in NEW Zeiss Cine Zoom   
    Out of words
  20. Like
    sudopera reacted to TheRenaissanceMan in GH5 Prototype   
    How do you figure? The 4.6K has a native ISO of 800, and enough DR to push that 2+ stops.
    True, but remember that codec also ties in to low light performance. A thicker 10-bit codec will mean smoother, less compressed shadows, which means better-looking night scenes.
  21. Like
    sudopera reacted to DPC in Dont forget Olympus (em1ii)   
    They're so clever at Panasonic and Olympus... At each iteration of the flagship model I hope I'll only need one, but every time I can see a good reason to buy both.
  22. Like
    sudopera got a reaction from photographer-at-large in Dont forget Olympus (em1ii)   
    Here is an interview with a guy that tested the preproduction model, he has a lot of praise for IBIS, especially paired with the new stabilized 12-100 zoom.
  23. Like
    sudopera got a reaction from Flynn in Dont forget Olympus (em1ii)   
    Here is an interview with a guy that tested the preproduction model, he has a lot of praise for IBIS, especially paired with the new stabilized 12-100 zoom.
  24. Like
    sudopera got a reaction from kidzrevil in Dont forget Olympus (em1ii)   
    Here is an interview with a guy that tested the preproduction model, he has a lot of praise for IBIS, especially paired with the new stabilized 12-100 zoom.
  25. Like
    sudopera reacted to Jimmy in GH5 Prototype   
    There are people that will find a way to work with a DSLR shape and others that don't want to... Neither are right or wrong and the manufacturer is not gonna start adding video based ergonomics to suit a small % of the product user base, so the point is pretty much moot.
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