ade towell

Yes eleison I'm not really sure what point you are actually making and to be honest lost interest a long time ago. You say technology waits for no man etc... and as anonim has pointed out, the cutting edge comes to m43 a long time before it does full frame - we're still waiting for that to catch up with much of what the gh5 has been offering for years. And you also say let's wait for the unicorn that is the A7s3 and lets not go chasing the latest and greatest. Am confused...
Anyway always excited to see where a possible gh6 could push what's possible for mirrorless video, Panasonic are always trying to provide the best they can as opposed to Sony's recent regurgitation of 8 bit overheating jello vision

But as far as I notice, cutting edge technology nowadays in respective field (and market) is always coming  first to m43 format and just with delaying time (not so non significant) to FF? Aren't you quite obviously in a proper or best topic - so not by chance - for such quoted preference - because of well founded expectation that GH6 will be first camera from some future best technology offer? Or, in another words - it seems to me that exactly weighting leading technology as particular aspect of interest, in last decade m43 is The system that regularly leads in that sphere and has to be in special favor for such primarily preference. That's why we are in GH6 topic, expecting that it will be the again the first with some combination (not just one isolated spec) of new technology offer with higher level of usability?
(And btw, just because of mentioning of usage of vinyl recording as retro in the same time with cutting edge quality - in term of high(est)end quality (that was idea of quoting), vinyl recording is not surpassed with digital (at least at classic music field that I was sometimes called to judge)... Unfortunately I have no similar opportunity and experience with highest quality film based camera vs digital to suggest if it could be the same case, at least in some spec.
Imho there are some limit in creative art that solely technology can reach because of nature of human perception, and after that limit it becomes obtrusive and need self-establishing propagandist ideology to be really accepted.
At the end of the day there's no modern manufacturer that can approach near close to quality of Stradivarius or Guarneri violins. Even Steinway's pianos have been perfected about 15-20 years ago (to the last little drop, but actually much earlier) and there's no necessity nor expecting regarding further developing  without impossible destroying innate human audio perception. So, as far as I can see, we are in the middle of trend of serious democratizing creative opportunity, and it is at least one reason to feel privilege to leave today and to read such greatly elaborate research contributions as Kye's - that discussed how close we are in approaching natural perceptive limit for truly artistic usage - in topic about 3000e cameras.

Except that camera is unwieldy and heavy and just has a terrrrrible design. The C100 series (and C200 and C500 II) are just way better designed. 
 
if Canon wants to keep rolling, they need to be OK with cannibalizing the C300 II, a camera that was way under specced at its release 5 years ago. 
 
With all the competition and a new RF Mount with amazing lenses they want to sell, would be real dumb to protect the C300 at this point. 

A C100 mk2 would be great but would love it to have 10 bit rather than just the 8 bit that is in the C200. Have been spoilt maybe by the GH5 and XT3 and would feel 8 bit is a backward step in 2020. It would allow for better use of the different c-logs

A C100 mk2 would be great but would love it to have 10 bit rather than just the 8 bit that is in the C200. Have been spoilt maybe by the GH5 and XT3 and would feel 8 bit is a backward step in 2020. It would allow for better use of the different c-logs

Car chases are always exciting, but this scene just looks rediculous. Huge props to the camera team, but have been a highly stressful situation for the guy in the passenger seat.
 
 

Since the XT3 and XT4 are so good, they should just go all out with the X-H2 and make it first and foremost a video camera. Make it an XC-15 style camera (or a smaller C100), with modular XLR adapter,  internal NDs, all the video codecs, timecode, etc etc - plus the things people don't believe belong in a cinema camera - like IBIS. 
Go right up against the lower end ($2,500 - $4,000) cinema lineup that Sony, Canon, and Panasonic have abandoned (other than the S1H, which is still a hybrid mirrorless photo camera). 
Finally give the X-Mount a reason for their beautiful X-Mount cinema zooms and great mini primes. Make the ultimate doc/journalist/one-man-band camera. 

First I'd like to say that I appreciate that the Lenses sticky thread is now it's own Sub-Forum. It really allows members to post more specific topics and it allows readers to ignore topics that may not be useful for them.
With that said, @noone had a great idea creating a topic with one of his favorite lenses... so I figured I'd follow suit with one of my favorite lenses...
Nikkor 35mm 1.4 ai-s
As I started writing this brief, real world review, I realized that this lens represents a larger story of me as a filmmaker as it chronicles the highs and lows of my life since I started shooting my film...
So what started as a brief review morphed into a much longer story. If you don't have the time or inclination, stop now.
For those that are still interested... here we go...
I love fast, wide angle lenses. They offer shallow depth of field while allowing you to get close to your subject. And a fast 35mm straddles a wide angle FOV and a normal FOV making it almost the perfect full frame, focal length for my style of filmmaking.
This is my second copy of this lens and truth be told... I've almost sold this lens a half a dozen times over the past year.
My first copy I bought when I started shooting my film. I had a simple game plan... the Canon 24-70mm f/4 IS lens for daylight and the Nikkor for lowlight.
Here are a couple frames from the first shots I took with the lens for my film.


For some reason I decided to go a different route for my lowlight shots and bought a Canon 35mm f/2 IS lens. In most ways, the Canon is a better lens, but it lacks the charm of the Nikkor even if it did match my zoom a little better.
At the time, my film was moving along at a steady pace, so I decided to keep the Nikkor for a different, upcoming film...
Well...
Life had a different plan, like it often does, and some unforeseen medical issues in my family slowed production to a near grinding halt. With those medical issues came some unforeseen financial issues and I was forced to sell a bunch of lenses. For a brief time I thought I'd be forced to sell my camera as well, but I luckily made it work.
Before I sold the Nikkor, I decided to take it out for a final spin. Here are a couple frames from that last day with the lens...


By this time, I was also forced to sell my Canon zoom and my Canon 35mm f/2. Over the next 6 months I raided my closet to test any and every lens I had that could work for my film. Luckily, during that time, I found a Canon 28mm 1.8 listed on eBay "For Parts" for peanuts. Needless to say, I won the auction and found another one of my favorite lenses born from need.
For the next 6-8 months, the Canon 28mm 1.8 lens became the only lens I used to shoot my film and at the time, I couldn't be happier with the results. But I still missed my Canon zoom and my Nikkor 35mm 1.4.
Last year, I came into a little extra money and immediately sought another copy of the Nikkor and after a few weeks, I found one.
With the extra money in my account, I took the opportunity to test a bunch of lenses I couldn't otherwise afford but always wanted to try. I tested some beautiful lenses but being a hobbyist, I needed to contain my obsession and build a couple logical lens sets.
I used the end of my sporadic shooting days to test a lens. My method was simple, use my main actor as a model in the same locations I was shooting my film.
Here are a few frames from those tests...




After hours of deliberation and footage, I finally realized that I don't change lenses that often and I grew to like the idea of a single POV, from a single lens, as if the lens' FOV represents an invisible narrator's eye. I used my feet to zoom and put together a simple rig consisting of a closed monopod with a tilt head and a tape measure pouch clipped onto my belt. The bottom of the monopod fits snuggly inside the tape measure pouch giving me a stable image with a handheld-like flexibility.
During these tests, I realized that I had way too many lenses and could easily shoot a short film a month, for well over a year, and never reuse the same lens...
What was I thinking?! I am just a hobbyist with no delusions that I will make the next great indie film. 
This was getting out of hand.
So I set up a final round of testing and narrowed down my keepers to a grand total of 5 lenses with the only "set" consisting of my Canon FD 50mm 1.2 L and my Canon 28mm 1.8.
At the time, I even contemplated selling the Nikkor 35mm 1.4 one more time to keep with my minimalistic utilitarian approach.
 But after some careful thought, and some good advice from some other EOSHD members, I decided to keep it. Although I was still unsure if I needed the lens, after a recent go at some of the footage with my mediocre color skills and my crappy monitor, I came up with these frames from one of my test shots...


Although, I realize that none of these shots are particularly spectacular, but each one represents something I like about cinematography and tells a story about my life over the past 3 years.
Sometimes the gear we buy is more than just tools for the stories we tell... they become part of the story... part of the journey. Maybe I am being too sentimental but when I look at these perfectly imperfect images taken with a perfectly imperfect lens, I remember the moments that brought me from then to now and what I learned during that process...
This lens taught me that my equipment is better than I am. I learned that I don't have to shoot everything wide open and that I probably shouldn't if I ever want to pull focus on an actor walking. I learned that some lenses have a vintage look when wide open, but when stopped down can look crisp and modern. But most importantly, I learned that I need very little to make a movie and gear is the least important.
If you're interested in a more technical review, I recommend Ken Rockwell's review of the lens. He gets into the nitty gritty of the characteristics of the lens. I feel he's a little too hard on the lens but everything he writes is dead on accurate...
https://www.kenrockwell.com/nikon/35f14ais.htm
For me, I can sum it up in one paragraph...
The Nikkor 35mm 1.4 ai-s lens has a warmer tone and when shot wide open, the images are dreamy, a little soft with a ton of coma on the edges. Stop it down to f/2 and it cleans up a little. By f/2.8 it's like you're using a different lens and that lens is as sharp as a knife. It's like having two lenses in one with both being sharp enough with a bunch of character.
So there you have it... thanks for reading. 

Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system

C'mon, R5 is not for you! ; ) You couldn't give a shit about 8K... LOL : -)

Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system

Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system

Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system

That statement is not only ahistorical and incorrect, it’s downright disgusting.

Such a joke that the Parasite wasn’t nominated in this category.

make the screen flippable and cut the 30 minute limit too please

make the screen flippable and cut the 30 minute limit too please

fuji xt3 if you can stretch that far.
oh sorry didn't read the whole thread if you absolutely need IBIS then one of the Panasonics. Otherwise xt3 with I.S. lens is hard to beat

am curious why you need full frame - (and I think there is a bit of a crop anyway, 1.3ish?)

my serials are all pretty close. but I wouldn't worry to much about color. any difference, if there even is one, is going to be a minor shift that's easy to account for in post.
This is my first camera with IBIS and it takes getting used to. When using manual lenses you have to remember to set IBIS for the correct focal length and I've managed to bungle that a few times already. I also learned (the hard way a few months ago) that IBIS is not something you want to use with an 18mm lens. Ruined more than half of my footage. Now, what I'm liking about the IBIS is that it doesn't feel like stabilization (unless you screw up the settings). It almost feels like the type of handheld camerawork you get with a nice heavy 20lbs+ cinema camera rig.
Oh he was really happy with it. But he has a healthy approach to it. He sees it as a separate work of art and encouraged them to make it their own and to not feel beholden to make a straight adaptation. That being said, it's pretty damn faithful. Some shots are basically live-action recreations of his panels. I was surprised just how faithful they were.

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

I’m at home, got beer, kids asleep. Fancy some fun, wild speculation? 

Death of the Gimbal 
They will always have their place in high end TV and cinema, however for nearly everything else, I think we’ll see them replaced with insanely improved IBIS and a boat load of sorts gimbal-ish “fluid movement” remote type pistol grips. Every man and his dog will have them. 

Return of Canon 
With video rising to such a compulsory level, Canon will crack the cripple and deliver what we’ve all wanted for such a long, long time. Eventually. Or it’s 60fps Canon Log in exciting 720p. 
 
The Fall of RED
The Chinese will knock them out like a weapon in the nuts and force out a RED army of affordable cameras named after mystical creatures. 
 
RAW video everywhere 
Nearly every decent camera will have it internally within years. Masses of terribly noisy Vimeo videos to follow. 
 
Smartphone Domination
They will become “cinema grade” and will be the No.1 choice for Vloggers at least. Computational DOF, crazy AF, all sorts of crazy software. Completely trackable VFX filters. Boobs and penis’s on everything. 

Computational Focus and DOF
Already exists but will mature into an essential feature for most cameras for a very different post experience. “Fix it in post” said after every shot. 
 
Video AF
Will get so insane that only the high end will use manual. Us forum geeks will still be buying $20 f***d up Helios though ?

Video Essential 
It will become absolutely compulsory for every business and person and hamster and pig for everyday communication. Like the internet is now. Video will become the internet. And your very soul. 
 
and finally.....
Cameras and gear will be so commonly incredible but so second nature in operation , getting something technically correct will be as hard as passing wind after a curry. Even your 90 year old Grandma will be able to lock focus at f0.95 and orbit round her cat’s face in 10bit 8k. The tools will be so commonly reliable that they will hardly matter.
We’ll see an epidemic of terrible content with perfect focus and stability. Although this will unearth some under privileged gems, the little fishes will barely be seen in a sea of waste - unless it rises above it. 
 
As creators, we are not just fighting for quality. You will be fighting to the death for people’s time and attention. The “competition“ will be everyone and everything. 
Fun times.  
 
 

 

Some lovely stuff here from Filippo Chiesa
 

Some lovely stuff here from Filippo Chiesa
 

Good thorough review - interesting to see it copes considerably better than the Canon c500mk2 with dynamic range when pushing over and under exposure using internal Sony XAVC and Canon's XFAVC respectively. Wonder how the internal raw on the Canon compares?
Also the AF on the Sony seemed to kick in and track a lot earlier than on the Canon. Be good to see some more thorough testing between these 2 cameras