Clayton Moore

One would almost think Canon was saying .... "OK FINE here is a full frame mirrorless system now shut up and go away."  Then price it so it never really catches on, but at
least they could say they released it.
Crazy I know ........ but those are crazy prices.

For what its worth.
 
Some cut and paste from a Larry Jordon Blog on NAB:
"While Apple released a minor bug-fix update two weeks before NAB, the more interesting news came from an announcement and two employment “leaks.” The announcement, occurring during NAB, was that Apple Final Cut Pro X now has more than 2 million users. This equals the number of Final Cut users during they heyday of Final Cut Pro 6/7. This is a significant number and not to be minimized.
But, to me, the really exciting news from Apple wasn’t an announcement, it was a “leak.” As NAB started it was discovered that the Final Cut team had added Wes Plate and Tim Dashwood to their ranks............
....................It is impossible to overstate the impact these two people could have on FCP X. Wes Plate ran Automatic Duck for years, specializing in moving projects between applications. A few years ago, he was hired by Adobe for the Premiere team, where he helped redesign how Premiere imports media; basically integrating most of the features of Prelude into Premiere. Now that he is working with Final Cut, my expectation is that the application will start to improve how it moves media and projects between applications. FCP X has always been weak on this score, relying on a host of third-party plugins.
Tim Dashwood also ran his own development company – Dashwood Cinema Solutions – for a long while. I first became aware of him with his utilities to allow Final Cut Pro X to sync and edit Stereoscopic 3D video. Since then, he’s been working with virtual reality and related media.
While Stereo 3D is still relevant, my guess is that Tim will be looking at how to improve Final Cut’s ability to handle 360-VR, ambisonic audio and extend that into AR (Augmented Reality). Especially since, when it comes to VR, Final Cut is running a distant third behind Adobe and Avid.   It is now a four horse race: Adobe, Apple, Avid and Blackmagic Design."
 
https://larryjordan.com/blog/thoughts-and-highlights-from-the-2017-nab-show/

For what its worth.
 
Some cut and paste from a Larry Jordon Blog on NAB:
"While Apple released a minor bug-fix update two weeks before NAB, the more interesting news came from an announcement and two employment “leaks.” The announcement, occurring during NAB, was that Apple Final Cut Pro X now has more than 2 million users. This equals the number of Final Cut users during they heyday of Final Cut Pro 6/7. This is a significant number and not to be minimized.
But, to me, the really exciting news from Apple wasn’t an announcement, it was a “leak.” As NAB started it was discovered that the Final Cut team had added Wes Plate and Tim Dashwood to their ranks............
....................It is impossible to overstate the impact these two people could have on FCP X. Wes Plate ran Automatic Duck for years, specializing in moving projects between applications. A few years ago, he was hired by Adobe for the Premiere team, where he helped redesign how Premiere imports media; basically integrating most of the features of Prelude into Premiere. Now that he is working with Final Cut, my expectation is that the application will start to improve how it moves media and projects between applications. FCP X has always been weak on this score, relying on a host of third-party plugins.
Tim Dashwood also ran his own development company – Dashwood Cinema Solutions – for a long while. I first became aware of him with his utilities to allow Final Cut Pro X to sync and edit Stereoscopic 3D video. Since then, he’s been working with virtual reality and related media.
While Stereo 3D is still relevant, my guess is that Tim will be looking at how to improve Final Cut’s ability to handle 360-VR, ambisonic audio and extend that into AR (Augmented Reality). Especially since, when it comes to VR, Final Cut is running a distant third behind Adobe and Avid.   It is now a four horse race: Adobe, Apple, Avid and Blackmagic Design."
 
https://larryjordan.com/blog/thoughts-and-highlights-from-the-2017-nab-show/

Did anyone see the post on SONY releasing a firmware upgrade for the FS5 and PXW Z150 that will enable Hybrid Log Gamma (HLG) later this summer?  I wonder if other then the announced HLG upgrade for GH5 that Panasonic may be planning that kind of thing for their existing large single chip lens integrated camcorders as well.

Outstanding point.

To be fair that woman does have red hair, so her accurate skin tone is probably pasty white or a little rosy... so pink is not the worst choice there. 

Andrew your past comments about what Canon could have done but did not make me think that for SONY to enter the GH5 arms race presents more of a marketing challenge then a technical one.  
if SONY makes as significant an improvement in things like image and rolling shutter and all of that (in a full frame camera) how is it that ---  (given the right glass) the image would not now become indistinguishable from SONYs own way more expensive super 35mm LSS camera line.  As we have seen, Canon would never do that, certainly not for a line of cameras that already starts at under 3k.  We all know what canon could have done but did not.  What now will SONY be willing to do that Canon has not and how does this not present a challenge for them?  Panasonic still has the difference  between a M 4/3s sensor and a super 35mm sensor but a FULL FRAME camera is a whole other deal.
Your thoughts.

Andrew your past comments about what Canon could have done but did not make me think that for SONY to enter the GH5 arms race presents more of a marketing challenge then a technical one.  
if SONY makes as significant an improvement in things like image and rolling shutter and all of that (in a full frame camera) how is it that ---  (given the right glass) the image would not now become indistinguishable from SONYs own way more expensive super 35mm LSS camera line.  As we have seen, Canon would never do that, certainly not for a line of cameras that already starts at under 3k.  We all know what canon could have done but did not.  What now will SONY be willing to do that Canon has not and how does this not present a challenge for them?  Panasonic still has the difference  between a M 4/3s sensor and a super 35mm sensor but a FULL FRAME camera is a whole other deal.
Your thoughts.

I never thought of it that way, I would say that they do tend to favor SONY quite a bit from what Ive seen.  

It does not in fact make sense for BMD to hurt their professional market.  BUT they could easily do a mirrorless sized camera with some upgrades without going all the way there.   Or they may choose to go the Canon route (at the consumer price point) and instead put ALL their camera resources to slowly ramping up their professional line to eventually go head to head with people like Canon but at a fraction of the cost.  Professionals in the industry may not see the Ursa the same was as  they see Canon C300/C700 right now, (for whatever reason)  but Id guess its just a matter of time and maybe not much time at that.

@hyalinejim, from what I saw, Fuji by default applies some stronger NR cause the detail is lower than the GH5 and both of them are suppose to be resizing from a 5,5K image to 4K.
@TheRenaissanceM, you are very correct about their lack knowledge how to properly measure DR. It is as Driftwood said:
"Cineon adaptation \ log curve interpretation generally looks different from toe to shoulder between different cameras. Its like Slog 2 is good for highlight detail, slog3 for bringing out shadow detail and vlog sits somewhere in between if not too unlike slog3! C log curve differs too. The point is you have to expose\grade correctly with Log & for the camera and DR youve got."

They also don't know how to use the Xyla chart correctly. To properly utilize the chart, you adjust the exposure until the first chip is just barely clipping; then, you count each chip down to find your DR. But they consistently count from the third chip, leaving the exact starting point of each camera's DR up in the air.
Panasonic does usability and reliability better then any other hybrid. Most real shooters are willing to trade 2/3 of a stop for a tool that gets out of the way.

Indeed, for web delivery all this testing is pretty much nonsensical.  In fact I find the whole idea of these tests zoomed in by 400% or whatever a bit absurd as well.

Indeed, for web delivery all this testing is pretty much nonsensical.  In fact I find the whole idea of these tests zoomed in by 400% or whatever a bit absurd as well.

BTW am I worried about this "problem?" Not at all.  And I did not mean to imply that I was. I was shocked to be asked if I was cancelling our nonprofit's orders. Absolutely not. the majority of our work goes to the web, and no one will ever notice. Not even me. If I ever need to shoot for the big screen I will use our Atomos, or 400mbs. 

Yes, that too. They could probably rate a Sony Smartphone Camera better than a Panasonic GH5. 

The difference on this screenshot is dramatic. Thanks! (btw i quoted Clayton with no reason at all, lol, sorry)

I never thought of it that way, I would say that they do tend to favor SONY quite a bit from what Ive seen.  

I never thought of it that way, I would say that they do tend to favor SONY quite a bit from what Ive seen.  

At the very least don't you need to wait for the 400 Mb firmware update before you can make and observation on what the camera is capable of?  And yes Andrew as it pertains to comparing a $2000 camera to camera costing $28,000 is a bit .... er .... absurd,
I'll quote a friend who made some observations on a few flaws in the test:  "Canon freely admits they go to great lengths to make fleshtones look good no matter what. Their entire color science is oriented towards that. "  He also said:  "The "vertical aliasing test" is a actually a test of *horizontal* resolving power and aliasing."  He said much more to me but I wont quote that here.

... it would be massive and super-expensive.

This is one of those - lets see what this looks like.  After all "life" goes by faster then 24fps.

I actually got my hands on one of these and an URSA Mini not long ago and knew right away how BMD has the potential, if they stay focused, to push the competition very hard in (affordable by the masses) digital cinema in the next 36 months.  Its not always how well developed a product is at release, but how it effects the market and this release is actually petty important in that way because it puts the competition on notice to stay competitive or loose out.

The human eye has:
 
About 120 million photo receptors that can detect light and dark and around 6-7 million that provide color and all in about the space of a micro 4/3 lens circle.
The human eye can adapt to detect a luma range of around 46 f-stops
 
So between pixel and sensor sizes, image processing chips, and sensor read-out speeds, cameras have plenty of room to get better even at micro 4/3 sizes (in my opinion).

The human eye has:
 
About 120 million photo receptors that can detect light and dark and around 6-7 million that provide color and all in about the space of a micro 4/3 lens circle.
The human eye can adapt to detect a luma range of around 46 f-stops
 
So between pixel and sensor sizes, image processing chips, and sensor read-out speeds, cameras have plenty of room to get better even at micro 4/3 sizes (in my opinion).