tweak

That review was terrible. So long just to tell us he doesn't really know how to use a camera. Not to mention he missed lots of things this camera has that others don't (why you would buy it in the first place).

p.s. White Balance is the first thing he should google how to use.

30 minutes ago, Andrew Reid said:

But it still has the same slow rolling shutter?

It seems like the old sensor to me, but a new cooler running LSI.

The plot thickens.

6 hours ago, androidlad said:

They upgraded the sensor to IMX293 with 20nm lithography and new readout circuitry, only the analog photosites remain unchanged.

Good to hear, lets see how it goes!

7 hours ago, webrunner5 said:

'O ye, of little faith' LoL.

I just don't expect Sony has changed their dated LSI or heat sinks (especially not on a budget model).

1 hour ago, leslie said:

it looks like you guys are wearing long sleeved shirts, not sure when you guys did this test but it dosen't look terribly hot where you are. if it didn't over heat for you thats great for nz and northern europe i guess. but i reckon the aussie outback sun  at the moment might prove more of a challenge. in saying that its safe to assume  pretty much all cameras and people would be subject to a bit of heat stress regardless at the moment .its just bloody hot out here

I've even had GH4/5 overheat in AUS before... a6400 will be toast in no time, like the rest of the a6xxx series, I'm sure.

1 minute ago, newfoundmass said:

The GH5's AF has really, really improved since the last firmware. Even Sony / Canon users have taken note:

A big part of working with the G85's auto focus is learning how it acts, since it's not perfect. Once you kinda figure it out you get better results. You really though don't even need to do that for most vlogging work. Set it up, connect your phone, touch your face to focus and you're really good to go. I don't know if vloggers just don't understand how easy it is with the phone app, given how crappy the Sony phone apps are, but I'm able to do this during shoots with the Panasonic app while across the room working on something else. 

Yep, as I said it was with updated firmware.
It has improved for sure (before it was useless IMO), but it's not DPAF level. The type of stuff where it falls apart is when you're walking around holding the camera, moving into shadows and then bright light whilst turning the camera to show people things then turning it back to your face. DPAF can deal with this, G85/GH5 can not. This is a pretty regular 'Vlog" situation. 

Trust me, I would have bought a G85 if I could! I like Pana, I own GH5's already it would have made way more sense for me ? .

7 minutes ago, newfoundmass said:

I think for most blogging use the G85's auto focus is more than adequate, though I don't use it for that purpose. I've used it in far more difficult situations than almost any vlogger would and I've been satisfied. 

Well I gave my partner the GH5 with updated firmware and she wasn't stoked on the AF. Personally I never use AF and the times I have (shooting sports) it wasn't real reliable. It works but those moments where it doesn't are pretty jarring (in comparison to DPAF which almost never lets you down).

FYI I shoot majority of time with GH5/ 5Diii, occasionally with Red.

2 hours ago, Mokara said:

This market segment is aimed at consumers, not vloggers. You might use them for vlogging, but that is not what drives the sales.

Modern Sony AF is very good as well. The main differences IMO likely come from how responsive the lens is, not the camera itself. 

People might not vlog much in 4K, but so what? Not everything these cameras are used for is vlogging, and I would say that most video shot with them is NOT vlogging. In a consumer camera it would be for better home video than what you otherwise might get from a cell phone, and for that the Sony is going to beat the Canon.

You probably have the peaking tolerances set incorrectly.

Sony marketing seems pretty Vlog heavy right now... I don't doubt this camera will sell regardless, but also don't underestimate the m50s sales, it's already been one of Canons best selling entry cameras in a long time (especially in Japan and China).

If I wasn't Vlogging I wouldn't even consider an 6400 anyway, lots of better options out there as Andrew has already said. The overheating aspect turns me off the a6000 series instantly, living in AUS you film like 5mins or less and your camera is toast. GH4/5 basically never overheat. I need a camera that works reliably (also where the m50 gets some credit).

1 hour ago, Yurolov said:

I find it funny how people on here think the average consumer could care less about RS but for some reason they care so much about 4k, which codec they can't even edit on their laptops. For the average person the m50 is a much better option: the price is more appealing, has a proper screen, more aesthetically pleasing, better brand name recognition, and ergonomically a treat with that nice touch screen interface.  

Most people watch youtube (I'd hazard a guess at around 80%) on their phone, for which 480p is good enough. I used to own a a6300 and sold it. That thing was so sharp you could see every pore and blemish on your face. I put it on 1080p and - ah - so much better for my appearance haha. 

I don't see vloggers spending the extra money over a m50 - it would be a stupid decision. 

 

100%.

I think some people here are living in a 4K dream land. No Vlogs (or nearly any content I watch) on YT is available in 4K and I can guarantee 99% of people who are buying an entry level Vlogging camera aren't going to be editing and uploading in 4K.

24 minutes ago, nigelbb said:

I find it difficult to believe that the Vlogger market actually exists. Are there really a significant number of people who want to buy a camera just to post on YouTube compared to all the other people would buy a camera to take pictures of the kids or whatever?

I thought the same, but then I realised there's actually a ton of people who are aspiring vloggers and/or buy a camera with the hope that one day they will "vlog" with it. It also has a lot of overlap with your average family shooter, they want similar things IMO.

8 hours ago, IronFilm said:

It exists. Is called "the Panasonic G85".

G85 Autofocus sucks (it sucks on GH5 as well, I have one). 
EOSm50 DPAF is a game changer for vloggers, my partner couldn't give a toss about 4K (or IQ much in general), she just wants reliable AF and a file she can edit on a regular laptop computer (same as most other vloggers out there).

For the reccord I would never buy an EOSm50 as my sole camera, but I'm not a vlogger  .

4 hours ago, Mokara said:

It basically competes with the M50, which also has horrible RS in 4K (plus, AF in the M50 is crippled in 4K mode). It occupies the same market space.

Most regular people don't vlog in 4K (even Casey doesn't anymore). EOSm50 autofocus in 1080p is amazing.

4 hours ago, newfoundmass said:

These cameras baffle me because cameras like the G85, which is going to be 3 years old, is by far a better "bang for your buck" camera for vlogging and an excellent b-cam for the GH5. Granted I suppose if you're already in the Sony ecosystem you're less likely to pick up a Panasonic MFT camera, but still, it's amazing how uninspired Sony has been when it comes to their APSC line compared to Panasonic and their MFT lines that have really pushed boundaries. Heck the G85 will be 3 years old this year and still does a lot of things better than new cameras. As time passes, and more offerings are made, my fondness for the little G85 grows because of how much it can do. 

Vloggers want reliable autofocus unfortunately. I'd agree a G85 is a much nicer camera otherwise, but it's falls short in the one key feature in which most vloggers care about most.

p.s. Also if you've ever used an m50 you'd see how intuitive and helpful it is to use for people who aren't super into cameras. The scene specific timelapse modes is also a great touch.

Agreed. The hate is warranted, Sony must have their head in the sand at this point, I'm pretty sure they could ask my mum (who knows nothing about cameras) and she would have got half those things right. So much opportunity, so many issues.

I went through the process of getting a Vlog style setup for my partner recently. I ended up with the EOSm50. I already had the 22mm and 18-55mm from a past EOSm purchase and got the 11-22mm with it. Honestly I think it's the best option at the moment. For better quality I have a GH5, but for walk around selfie stuff the EOSm's light weight, flippy screen, mic in, audio out and flawless autofocus is hard to beat (also the price was good 700USD for the package).

If Canon or Sony (or anyone) does an EOSm50 with 4K (possibly 60fps) and IBIS it will sell very well.

5 minutes ago, thebrothersthre3 said:

How much of a pain in the ass is the magic lantern workflow?

Not bad really.

Use the program in that post (MLVapp) or MLVFS if you don't want to transcode (you still need to transcode with an EOSm though because of the focus pixels I think).

Honestly I still transcode everything with a GH5 anyway, so I don't see much difference. I like MLraw image better than anything I've used, but all these high res modes lack proper monitoring solutions (also they are all cinema ratios already pretty much which isn't ideal for me shooting anamorphic lenses). I'm really excited to see what they can do with the EOSR, 5Dmk4 and the EOSm50.

I still have a few EOSm1s around (was also my first MLRaw camera), I might have a poke around and check these developments.

29 minutes ago, Django said:

RIP (2013-2016)

It was close, but a bit far from the mark for me.

5 hours ago, BTM_Pix said:

Fuji used to make very handsome cine cameras.

If they did move back into dedicated motion cameras, carried on their retro styling cues of the stills range and put the X-T3 internals in this then I suspect many people would wet their pants.

I'd be one of them

I'd buy almost instantly.

Why has no one done something like this properly? Add a little (4-5inch) flippy screen, option for hand grip on or off and it would be amazing. Could even do a nice EVF (GH5 spec or better) in the back.

I'm sure if any company even did a decent attempt at this they would cash in.

5 hours ago, mercer said:

Yeah the 5D3 and ML Raw shoots continuous 1080p 14bit Raw. Since I shoot narratives, I’ve never recorded super long takes but I have shot upwards of 5 minutes without any hiccups.

Yep. Honestly my Canons often over heat shooting in direct sun here in AUS on a hot day shooting stock firmware. When I shoot Raw they don't get noticeably any hotter than otherwise and if we are to believe the ML team; less processing with Raw should actually generate less heat.

Canon don't include Raw because they don't want to and if we are to seriously believe they can't (and can't do it reliably) but a team of part time hackers can reverse engineer their whole system to do it... I don't know whether I should really support such ignorance. 

My 2cents. 

Cool. Where da video specs at ma man?

9 hours ago, Snowbro said:

How was it possible there have been no posts about this here?? 5DIV is up & running with magic lantern raw?!

It's not up and running yet, but it does look promising.

1 minute ago, mercer said:

I was referring to ProRes, even just LT, in the new $799 one.

I’m also pretty interested in this camera. I really like what I’ve been seeing. I don’t know if I want to 2 grand for the E2 model though. 

They said it should have the same codecs, so I assumed that meant if E2 has Prores so will this.

Yeah, I feel you on that front, but the features I'd be most excited about are in the E2 haha. I don't need anything straight away, so I'm going to do a little waiting.
 

1 minute ago, mercer said:

Any word on a future ProRes update? I’ll buy that camera tomorrow if it will have ProRes or something a little extra. 

Prores is in there already, it's just a matter of them getting the licence to activate it. I think it's coming in the next firmware that's releasing start of the New Year.

They have also said a Raw codec should be a few months away. If they get Raw and Prores I'm certainly going to pick one up when I have the budget, the stuff I'm seeing from this camera now (especially it's wide DR and anamorphic modes) really interests me.

Regular E2 is on the right, new one on the left. They said 799USD on the FB page I think.

HLG out of the GH5 is a pretty big difference. Also 5K 4:3 if you use anamorphic. If you're just shooting 1080p or 4K for web upload it's probably not a huge difference, but it's enough difference for me to choose the GH5. Your budget and needs for a project will determine the answer I guess.

If you like the GH4, the obvious choice is a GH5, you will love the upgrade.

I have the SLR magic II. Range isn't enough to shoot in sun with wide open lens and it has colour shift like most others. Reviews made me think it would be far better, but it's same same as most I've tried.

On 12/14/2018 at 9:24 AM, Caleb Genheimer said:

In my experience, one can throw math at a forum until the cows come home, but until you actually set up a particular focuser/scope/prime/speedbooster/sensor combination, there’s no real way to know. 

If the sensor size is that important to you, start there. Get the camera that you want.

then get the scope you want, and a focus solution.

finally, start auditioning prime lenses until you find something you like.

the factors/equivalencies/etc. are ultimately crude ways of approximating the complex physics of the optics. They’re great for making a strong educated guess, but won’t really give you a definitive answer as to the “ultimate” setup. 

If you want a real scope for s35, just save up and snag a LOMO. Or sell your car and get a Hawk. There really is no quick path to assembling something that will perform exactly like a real cine anamorphic.

same goes for s35 cameras. Get a Red, Pretty sure they save stills.

The math...

1. look up the sensor dimensions 

2. multiply by the focal reducer’s factor

3. Profit

Yep. Good advice. Too many factors to know without actually testing. I've had the most unlikely combos be the best performers and their usually far from the fastest primes. 

3 minutes ago, Dimitris Stasinos said:

They where also getting close exactly 2 years before today. This is definitely a huge effort and i can partially understand the various difficulties behind the project but it is moving too slow in a fast moving market. By the time (and if) this camera is 100% functional, 8K will be a must, new sensors with better DR & sensitivity will flood the market (this has already happened) and ProRes (if not RAW) will be a standard codec in the sub 2000$ (if not less) category. As far as i know (i am not an expert in any way) this design is based on a couple of 5 year old (or more) sensors and i don't think it will be THAT modular and adaptive to newer sensor designs. Correct me if i am wrong on this but i think this project needs massive funding and a group of 10-20 full time developers to keep going, or else it's doomed.

I thought the whole idea is to be adaptive to new sensors etc?