TheRenaissanceMan
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Sony spent ridonkulous money at the last World Cup advertising their 4K TVs so I was very surprised to learn how few TVs they actually sell (a lot but not as many as LG and far far less than Samsung). I assume they overprice everything.
Like crazy, yeah. LG's more modest OLED sets actually cost less than Sony's LCDs! It's unbelievable.
As far als I'm concerned the 5DS is shit. I'd rather own a 2nd-hand 5D3 if I'd insist on using a Canon. I tried to explain to a friend why I think Canon is bad, but he didn't really get it. Most average consumer stores are still mostly filled with Canon and Nikon stuff around here.
Ming Thein's been doing some great stuff with it. http://blog.mingthein.com/2015/07/02/canon-5dsr-review-part-1/
To be fair to Canon; The one thing they excel at is their color science, and their ergonomics aren't bad.
But Canon is not the only one with great color. Think Fuji or Olympus. Too bad they don't have good video.
Don't forget Nikon and Blackmagic. And unpopular opinion: I think Panasonic and Samsung have the best color science in the game right now. We're all just so used to the Canon look that we've adopted it as the gospel truth of camera color.
Well, you can say "it's not that simple," and be right in almost any discussion of merit. Sure, we need all the facts before jumping to conclusions, but then you can't make statements like "Hybrid video is not driving these stocks" either. In any case, it's not just about video: Andrew is talking of decline of the DSLRs in general. We may like video here, but most DSLR buyers actually shoot stills. Bottom line though, I agree we don't know for sure why Canon's profits declined, but like all good forum members, we must speculate! And Andrew's argument fits the prevailing narrative and common sense.
But if hybrid video is driving these stocks as you seem to think, then where are the camera division numbers in these quarterly reports?
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That is a totally different mount.
Which, had you read the topic, you'd see we were discussing.
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Actually, I just read that the NX mini 2 was leaked last month with photos and specs... And supposedly will have 4K on their 1" BM sensor recording in h.264.
http://www.personal-view.com/talks/discussion/13271/samsung-nx-mini-2-4k-little-mouse-/p1
Is it possible to adapt M4/3 and c-mount lenses to that mount? If so, it could make a nice little companion to my BMPCC for 4K and stills. You could even throw a Speed Booster on it!
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The camra is great, the only problem is that A7s ii will have all this and the 5 axis stabilization - then you have to buy that too. -:)
Except the completely different sensor size, extreme slo-mo, and amazing built in lens.
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This scene has somewhere of around 20-25 stops of dynamic range from the sunlight to the bottom of the box, no camera would get it,
How can you possibly tell how many stops of dynamic range in the scene just from looking at a raw still? Most high-end professional DPs can't even do that.
The scene wouldn't have worked without ETTR, the woman would have gone to black, she's a already noisy with ETTR.
...so to shoot it well you need to reduce the DR of the scene yourself, as in put a high fill light to the shadows and decrease exposure until shadows are back to their non-lit point, or go the other way and reduce the light coming from the window by putting ND gels or wait for the sun to come down
Or instead of using ETTR, he could've exposed for his subject and let the window's exposure fall where it may. The BMPCC has a nice enough rolloff to just let it blow. I'll never understand why people prioritize the windows when they're shooting indoors.
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Hey Andrew, how's the highlight rolloff on the RX10 II? The original clips fast, hard, and yellow.
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Andrew - any thoughts on getting the rx100iv (which I assume has a similar picture as this one) vs a bmpcc. I'm ok with the 5m limit - we'll use it for music videos, none of which should have a scene that lasts more than a few minutes.
I tried the lx100 but felt like it was too contrasty no matter what I did - the bmpcc was way more fun to grade and skin looked much better to me. Wondering how the rx100iv would compare...
I would definitely stick with the Blackmagic Pocket. Despite its drawbacks, it's a far more capable music video camera. The RX100 IV is nice, but it's going to give you a more broadcast, consumer camera look, which is not what most artists want in their videos. Mine usually prefer a more "personal" aesthetic with some character.
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SLR Magic 10mm t/2.1 would be my vote. Such an amazing lens.
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Finally, a new Micro Four Thirds sensor! Holy shit!
I too am very curious what the crop factor will be for 4K . I'm hopeful that they'll return to doing a pixel mix on the sensor, but for 4K this time. That way we can get lower noise and a lower crop factor. Noise will also depend on this 20MP sensor, though. If it is indeed Sony's, I'm pretty hopeful. Their 20MP 1" sensor is amazing, given its size, so this should be even better. Granted, some of us in the past haven't cared for the colors/motion cadence of Sony sensors (like the GH3), but time will tell with this one.
I really doubt it will have VLOG, but I hope that stabilization actually works in video. Also, why did they move the focus mode selector so far away from the grip? Now I won't be able to reach it with my right thumb. Strap lug placement also looks like it might dig into the right palm, but we'll see when it comes out.
If they do this anything like the GX7, initial price is going to be high. Over $1000 for sure. -
Hey Andrew, any chance of getting an answer to my questions on the last page? Or does anyone else with a G7 have some insight?
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Okay, but how good is the 1080p HDMI signal of the GH4? Is it 10bit 4:2:2 with clean downscaling/binning from the sensor's 4K? Would, for example, an Atomos Ninja Star record high quality 1080p video from the GH4?
Absolutely! I know several users who use the exact working style I described and get exquisite results. I'm away from home without my laptop, but a casual search should bring up some samples. If you're smart about your picture profile and settings, you can get stunning 10-bit 4:2:2 footage out of that HDMI port.
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So you've concluded the XC10 will not be a matching B camera for the C100/300 images as it has a:
1 -Different sensor size and pixel count therefore different sensor technology (which is 100% unknown to anybody outside Canon Semiconductors)
2- Different processor model?
Okay.
Instead of listing the hundred things they do have in common I'll say we wait to see actual side by sides to know whether it will work as a B camera for the C line or not.
But we can say, because we've already seen it in the C300 II launch film!
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Yes, but my strong suspicion is that 10bit external recording really helps with the LOG footage. The material would for sure not grade as well if it had been recorded with the internal 8bit codec.
Of course, but external recorders are getting cheap and most people just downscale their 4K anyway. I'd record everything externally, but have the internal 4K going as a backup in case there's a shot that needs cropping or stabilization.
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There is no way that it has the same performance as the senior cameras, since it is a different sensor size and pixel pitch. The only thing the same between the cameras is the codec, and I don't consider that to be "compatibility".
No, but having the exact same gamma, color, processing, CFA, and sensor tech means it'll intercut pretty well with its bigger brothers. I don't have the link on hand, but the C300 II launch film had a couple XC10 shots in it that looked just fine. It'll stick out less than GoPro footage in Hollywood flicks--I couldn't believe the pov shots in the second Hobbit flick actually made the cut.
I still don't think the XC10 has a lot of appeal for people in our price bracket, but YMMV. -
What I find really cool about all these grades is that despite being completely different, they all look good in their own way. That's really encouraging. Some cameras can only pull off one or two looks successfully; one advantage of LOG (and good color science) should be the flexibility to successfully pull off many different kinds of looks.
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Problem with the X70 imo is its lowlight. Even has trouble keeping up with the tiny sensor in the xa20.
But neither one's really a low-light camera, is it? It's a good image in decent light, but that 1-inch sensor and slow lens aren't helping the XC10. I think the 10-bit 1080p from the X70 makes it more compelling from a narrative/corporate standpoint, but that's just me.
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Lots if moire in the a a6000, but nice form factor and evf.
Is that in AVCHD or XAVC-S?
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weird that full frame pixel binning is so much faster than one-to-one sampling of the middle of the sensor. Would have thought it'd be the other way round
The GH4 is exactly the same. 1080p from the full sensor has much less rolling shutter than the 4K crop.
Shame about the rolling shutter. Usually when something looks too good to be true, I assume it is. We'll have to see whether there's any meaningful difference in detail rendering or dynamic range vs the A7S. -
4k to 1080
In: Cameras
No. The "4k to HD" theory is correct. One certainly can sacrifice resolution for a gain in bit depth.
However, such a conversion cannot increase the color depth -- one can never increase the color depth of an image without introducing something artificial.
The theory that one can get 10-bit HD from 8-bit 4K has been disproven. The bit depth increase is paltry--something like 8.67 bits instead of 8.
If you want more robust footage to grade, hook up an external recorder. Otherwise, just downscale the 4K normally and revel in the detail. -
Seriously thinking about it too. The images seem lovely, even from the original RX10, even better aesthetically than the GH4. Sharp yet organic and the colour science look great (Even though it's a Sony!). The lens covers everything from wide to actor close ups to teles, with quite a shallow DOF.
Indeed! I really love my RX10. It goes anywhere, does anything, and the addition of XAVC-S fixed its only major flaw. If anyone wants to see any tests from the camera, let me know. I have yet to seriously put it through its paces. Weddings are slow this year. :/
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I think the idea is that the camera will use two different ISO values for each alternating line of pixels, like Canon and Arri, not different exposure times blended together like RED's HDRX.
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If an RX10 Mark II doesn't break the budget, I think it's a better balance of compromises than anything on your list. The LX100, A6000, and RX100 IV don't have mic or headphone jacks. The FZ1000 has a slower lens and much less wide angle coverage in 4K. The LX100 has even less range--it could be limiting depending what kind of work you do and what kind of shots you like. The RX100 IV even more so. The A6000 requires investing in a bunch of lenses, which I think is a distraction when you're just starting out. Better to have a great zoom and have any focal length you want. That way, you can figure out what you like before you go investing in lenses. It's weather-sealed, offers great stills for location scouting and such, and has all the focus and exposure aids you could want. It records in SLOG, so you can record as much dynamic range as the sensor can deliver. And since you mentioned slow motion, it offers higher frame rates than any of its competition. Couple that with the outstanding lens (hands down the best I've used) and its 4K capabilities, and it might be the only camera you need for a while.
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It won't be the usual full review I'm afraid.
Limited resources means I returned the camera, can't justify keeping it.
I found it boring as a GH4 owner. It doesn't need a fancy review. It just needs a few lines of explanation really...
The battery is smaller, and 4K video eats it up quite quickly which is a shame because the GH4's strong point was run time for 4K on a single battery. Good points - image almost same as GH4, as near as makes no difference and the price is excellent. No LOG mode is coming though and there's no 10bit HDMI output so the decision is pretty simple, if you need to save money and don't care about long battery life, LOG or HDMI get the G7.
Hey Andrew! Couple questions from your brief tests with the camera.
1. Does the G7 offer clean 8-bit 4:2:2 HDMI output?
2. How does the 1080p quality compare to the GH4 and GX7? I like using it now and then to get a lightly different field of view when running and gunning.
3. The G7 offers 4K photo mode, but does it have the same anamorphic support as the GH4?
4. How long exactly IS the battery life in 4K? This is a critical question for most of us, as the main appeal of shooting Panasonic is the ergonomics.
5. The Camera Store guys noted a difference in exposure between the GH4 and G7 on identical settings. Did you notice anything like that?
6. Are the AF and manual focus aids identical to the GH4? Hitting precise focus is critical in 4K.
Thanks!
Buying decision: Canon 70D vs. Sony RX10 MKII
In: Cameras
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If you know what you're doing and don't use SGamut, you'll get great results out of any SLog camera. If you're struggling, there are lots of LUT packages available from the people at SpeedLooks, VisionColor, etc.