Jimbo

I have to disagree! Panasonic have had an absolute hit with the GH line, culminating in the GH5. If they can bring their incredible video prowess to a full frame body where we get Panasonic video AND 42mp stills with 13+ stops of dynamic range, Varicam-esque colour science, and two card slots for the pros, then they will strike gold. It's basically two fingers up to Canon and Nikon, hence the countdown and 6 month early announcement. Damage them pre-orders... I just hope they excite with the lens lineup.

Just pick up a Sony EX1 and be done with all this camera nonsense for another decade! 

With a little lot of temporal noise reduction, I'm getting some pretty impressive results out of this sensor.
Granted, there are some artifacts from the heavy NR, but it still looks quite usable to me.
Shot 30 minutes after sunset. For an idea of how little light there was, look at the headlights on the hill in the background at the start of the clip, the various phone screens you can see throughout, and the city lights in the background towards the end.
I haven't owned any of DJI's previous drones but I have a hard time believing any of the 1/2.3" sensors would have been able to get anything remotely looking like this.
 
 

The GH5 just needed better AF like DPAF or PDAF to be the perfect camera. Sony just needs a better screen, be it tilty-swively or 90º up to appeal to people like bloggers and maybe 50p 4k and 10bit for cinematographers.
Canon and Nikon are entering the fray bringing numbers and history but for some reason they're going to protect their DSLR line or their Cinema line. That gives Pana and Sony a very good opportunity to react and be in a better position when the landslide arrives. It's either that or being crushed to bits by the dinosaurs. Really rooting for the nimble mammals here.

I think that Panasonic has the biggest balls of any of the big companies. With the GH5 and GH5-5 they had ZERO fear to market against the bigger sensor companies. I always thought they were like a wolverine in the forest absolutely willing and eager to attack wolves, mountain lions ang grizzely bears all day long....absolutely agressive and fearless.
If we see them going full frame with that same ferocious mentality. My God, they will dump everything known to man into that thing. They will do things that Sony and Canon will be too terrified to do. 10bit CODECS, All I frame, 6k sensor readout and internal recording. Anamorphic modes....maybe even raw sensor data output? Yeah.....they got the biggest marketing balls.

FWIW the 5D4 sensor is 30.4MP vs 30.3MP on the EOS R. incremental difference i know but could mean technically not same (old) sensor.
We'll know for sure tomorrow:
CRINGE

I think you'd be suprised how many Canon and Nikon fanboys are glad with these new cameras that aren't that radically different so they can ease into it. They've always been 'no matter what'-sheeple (I can't believe people kept buying them throughout the years, they kept doing the basics right, but failed to innovate in any significant way just giving it their minimum effort). That's the only thing they've ever known. So I think Sony still needs to worry regarding the whole Game of Thrones. It's gonna get messy. Now it's all damage control with the announcements. But they might feel cornered and start swinging. Better get my popcorn out and keep shooting with Panasonic and Blackmagic cameras.

Nah its accurate. Believe me. Im a Sony fanboy and Fuji shooter. I review all of them.
If I review a Sony all is well.
If I review a Fuji I get attacked by Sony Fanboys.
If I review a Pentax or Nikon I'm attacked by Sony and Fuji Fanboys.
If I review a Canon... all hell breaks loose since even Sony Walkman fanboys attack.
I base this on receiving and reading 26 090 comments over the last couple of years. Just visit any forum and see for yourself. For example checkout the thread about the EOS-R on EOSHD.
 
 
 
After my 6Dmkii review I had to block some really vicious people that weren't attacking just me but also people commenting on the video.
And not about specs. We are talking threats and in general things that would lead to a punch in the face irl.
The weirdest thing was they weren't all anonymous. They actually used their business accounts...freelancers, production house employees using their official accounts... 

I think you are seriously misinformed about the position of video in media creation. Give it five years and video production will outweigh stills.
That is usually the stance of shooters who still long for the smell of developing fluid and dodge and burn techniques.
The future is now, and it's changing everything. No matter what you do, you can't stop it. You either adapt or become irrelevant.

Admittedly,...this is going to sound really stupid. However, I think the word "Micro" was a bad choice for the title of this system. People are OK with a 4:3 aspect ratio but nobody wants a "Micro" sensor. All it does is remind people every time it is said that it's a "small" sensor.
Imagine if it was named the "Super 4/3" system"? "Super" 4/3 would have diverted attention away from its size and "psychologically" is a much better marketing name.
Yeah....I know this sounds stupid but sadly, I still think this idea holds true.
Super 4/3....much better "ring" to that name.
 

My feeling is that there is an element to which the 'filmic look' gets confused with dynamic range. For instance, we tend to associate 'log' footage with both 'high dynamic range' and the 'filmic look'.
Log footage is 'low contrast' and 'low saturation' irrespective of how much dynamic range is actually in the scene. And we associate low contrast and low saturation with a filmic look.
If you take a look at Jon's footage, you can see it doesnt contain a lot of stops of dynamic range (see histogram) and even the orange shirt is pretty desaturated (see color wheel).

Well, that was interesting indeed!
A short recap. Even thought I quote, I probably mis-heard a few words.
1. Some Bruce Logan wisdom first "maths don't lie" raw>10 bit>8bit
"You can't re-light in post" and "now I light exactly like film"
"Every modern camera is like a different film stock"
In short,
- Lighting is always about direction, not volume.
Tim Smith, Canon senior advisor admitted that for broadcast you have to shoot raw (yes, specs can be a serious thing), and after been pushed a bit, admitted that people should ask for it and Canon read the blogs and reviews (my guess is, they are waiting the C300mkII to die out, and offer that later) and the more people ask for it, the more the possibilities of it happening (it seems that Japan HQ are holding back the whole decission).
EVA is sharper than Canon, and more saturated in the highlights (I am not sure if the second one is better or worst, but Logan mentioned it a few times).
Logan concluded that the big advantage for Canon is "flesh tones" and Panasonic their highlights (bright, he said) and night shots (dual ISO, they shot in base and 2500 for both cameras, so both base ISO for EVA!).
They are all looking forward for HDR, but not for the two extremes but the little details in between.
Eva was 2 years in the making. 95% on their polls didn't care for an EVF (or using third party ones). Similar results for Canon, that is why they have two versions (and gimbals, of course). Bruce Logans doesn't care at all about EVFs (I am with him!)!
Ergonomics and usability at the top of the list for both manufacturers, and Logan added the workflow, too.
There are more videos on line testing the cameras, ISO, rolling shutter e.t.c

Ebrahim Sadaawi.

Nice theme, I think. Simply, I need a more complex language to express - or, better, striving to express - more complex thoughts and feelings.
To be honest, I don't think that photography could be (for Westernian type of mind) in all extensity - repeat: in all extensity - form of art as great literature or classic music. Yes, it has precious dignity of skills and taste and knowledge. Yes there are great photo testaments of compassion and capability to extricate significant moment from banality - and as so, help to better experience the world. (And yes, I little disagree with Susan Sonthag and agree with Walter Benjamin.) Maybe it is similar to haiku poetry.
But it is impossible to express - or, better - to completely involve, as sort of full-senses initiation, other man in haiku as in, say, Beethoven's Eroica.
Further thinking, it seems to me that photography maybe is much more closer to sort of feeling/thinking/expression of Eastern mind? There always existed that wonderful feeling for moment, for profound non-ego encounter with mistery of nature and existence.
Western greek/judeochristian civillization and state of mind always relayed on inner and outer drama, complexity, struggle, personality - and its picks of art and distinctive philosophy are such that can embrace world of turmoil complexity, as in Servantes, Goya, Shakespeare, Dostoyevski, Beethoven-to-Mahler/Shostakovich symphonies...
Probably that's the reason why I'm longing for video/movie as language, greatly respecting type of mind and spirit that stay behind profound photography masters.

When i started shooting (stills) all i did was grab the camera walk around the city where i live and try to look for interesting things happening around me and i do remember the feeling i had when i actually captured something nice! And at the time i was using medium format so i only had 12 chances to get something awesome, and i really miss the ritual of going out shooting and then developing those rolls just to find what came out of it, they werent always the best picture one could take but it was my own personal ritual which i think i will go back to.

This is just a little something I shot on the subway, absolutely nothing special. But it made me think.
I used to shoot a lot of casual video on the streets. But ever since I became passionate about stills, more specifically street photography I never do it. Mostly because when recording video I feel like Im just missing out on great stills. An this was no exception. In fact its 1.5 years since I shot casual video out and about if we don't count "test shots" around the house.
The irony is that I started shooting street photography to become a better videographer. I used to love shooting video. The best part for me was composition and grading. So I started taking Raw stills in order to get to practice bigger quantities of grading. The plan was to eventually make a video about it and recommend all aspiring videographers to shoot a lot of stills. Just like the DP's in the Zacuto shoot out says (forgot which).
But along the way it completely switched on me. I started liking stills more. Specially the challenge. To capture a whole scene, the entire atmosphere, all the feelings in one single frame. Compressing an entire story into one single moment. 
Im not in anyway implying that Im good at it. But I love trying.

Now when I watch vlogging street shooters on youtube, you know the type, Gopro in the hot shoe and a montage to hip-hop beats, I just get annoyed. In the video montages they miss out on so many great images. 
Same thing for me today. In this short video montage of nothingness I see at least 4 potentially great images.
So, thats it. I still recommend all here that are aspiring DP's to shoot more stills. With something like a GRii you can always have it ready. Look for light, composition and story.
 Just be aware that you might switch to the dark side like I have. 
Don’t underestimate its power.
What about you guys? Who shoots stills, why, why not?
(btw, really soft lens in action here. It looked awesome with gorilla grain on my computer but I removed it since youtube always messes it up imo. And therefor its pretty darn soft. A couple of focus misses doesn't help either.)
 
 

Beautiful, thanks for the share Zak. The noise looks very organic to my eyes, and them colours!!! Wow.

Beautiful, thanks for the share Zak. The noise looks very organic to my eyes, and them colours!!! Wow.

An extensive review of the EVA1 by Newsshooter...
http://www.newsshooter.com/2017/11/01/panasonic-au-eva1-hands-on-review/
As color rendition is a top priority for me, I was happy to read Matt's assessment: "In my personal view (feel free to disagree with me in the comments!) the EVA1 has the most accurate colour rendition of any of the sub $10K cameras that are out there. The colours are very reminiscent of the Varicam LT and you would struggle to tell the two apart."
Camera's not without its flaws but I expect I'll be pretty happy with it. Here's a short doc Matt shot with it.
 
 

One of the coolest Sankor 16 demos I've seen.  This is how you get a lot of anamorphic on the cheap.  The model helps too.
 

I find it easier to get my kids to read than to watch 'old' movies. The visual entertainment made for them now gets them into a terrible habit of requiring a beat in every scene to keep them interested - even what seemed like fast paced movies when I was younger now seem interminably drawn out to them now. It's a terrible shame and I can't see it getting much better - I think as time goes on the enjoyment of 20th century cinema will become a micro-niche pursuit.

Atleast consider what you need to do the work into the equation. Your camera wasn't free when you bought it, and it would probably cost you to rent if you didn't have one. Storage and an editing pc isn't free either. Neither is travel, royalty free music, lunch, software, etc... You'd also want to charge some for future investments too. How are you going to afford, say, a new lens through work if you spend all your money working? You'll quickly find these things really add up... This they should atleast cover!
If you're doing it for free you're practically throwing away your hard earned money & devaluing video work in your area, which in my opinion is totally unacceptable.

OP is doing videos for a while, its maybe one of his first customers, but its not his first video. 200€ is way too low, if he asks 200€ now. Offcourse the client will hire him. But you will not be able to negotiate for a much higher price for the next video. They come to you because you are cheap, not because you have skills. You cannot live from a 200€ dayrate (when taxes etc pass through it), then you are better off working for a production company. Well 1000€ per day might be too high as well, over here 1000€ per day in Belgium gets you a veteran DOP with Arri amira + light kit + movi + sliders etc. 

Such a pity for D16. As they said, it was hard to make a profit without increasing their margins & price. I would love to see a D16 v2 even with the same sensor but in my opinion it would be nice to have:
- removable battery
- EVF, either build it or detachable. 
- Some compressed codec with backed in LUT support. 
- Half the size (XLR inputs can be a detachable module, no crank , V90 SD card support)
- Half the price  
Maybe they could sell their rights to a Chinese company ...
Such a wonderful sensor, look at this color: