Geoff CB

Slightly overexposed while shooting with fill from reflector. ACES grade, Secondary corrector to soften the skin tones and sharpened the reflection in the glasses. 

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses. 

I have an Olympus EM1 mkii that produces nice, stabilised 4K, but for video I've barely picked it up since I got my bargain-basement OG C100. The C100 still produces lovely organic-looking HD and coupled with a Ninja 2 (GBP200 off eBay) it's reasonably gradeable as well. My aim - as a hobbyist/would-be artist - has always been to create work that has that filmic quality we love and that aim is often in opposition to the ultra-sharp, high resolution video more modern systems generate. I have to do far more post work on my Oly video to get the look I want than I do to the Canon stuff.
 
So I think you're correct, in one sense, @kye, although I don't know how much your proposition would hold true to people who are earning their living producing video for clients who, naturally, will generally want the 'best' they can get.

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

This 👆🏻. If they deliver a very solid 4K 10bit 24/25p with good autofocus and s-cinetone I’m getting one for sure. And the rumors about extremely low rolling shutter makes it even more tempting.

Menu just leaked, fully redesigned and touch capable

the full HDMI port is a god bless 👌

Speaking of Voigtlander, I'm (finally) editing the trip we took to India in late 2018 and pulled out a few hero shots and did a basic grade to get a feel for the project and to get some inspiration.
That was the first trip I took with the GH5 and Voigtlander 17.5mm and one of the concerns that I had was low light performance as the GH5 isn't known for it, but it wasn't until I got back to the hotel and looked at this footage that I realised how good the combination really is.
Here's a sample grab of the tour guide when we went to Varanasi to watch the nightly religious celebrations and see the cremations on the shore.

No idea if it was wide-open or not, but this is a basic grade, some NR, and some film grain over the top, no sharpening applied, and it's even got a small negative amount of mid-tone detail.  GH5 was in 150Mbps 4K IPB and HLG.  I can't recommend these lenses enough.

I miss the S1 but I knew I would. I don't regret selling it - especially since I'm shooting like 1/8 my normal volume right now! The fact is that the S1 would never have the features I want long-term (AF and no-crop 4K60) so I would want to upgrade sooner or later. I have other cameras (fs7, gh5 +...) so it's not like i can't shoot. I'm hoping that the A7SIII does it for me and that i won't need to upgrade it for 5+ years. If not the A7SIII then maybe i will just keep waiting for the right camera to come along.

In tech I imagine it's also difficult to show a judge that has a limited understanding of the subject matter why these patents are bullshit. 

No, it doesn't.  Dynamic range and bit depth are completely independent properties.
 
Now, an ADC might be part of the signal pipeline that constricts DR, but that has nothing to do with bit depth.
 
 
Again, the bit depth of those ADCs don't have anything to do with the DR.  Those ADCs could just as well be 4-bit with the same DR.
 
By the way, 16-bit ADCs exist.

Folks, just a friendly reminder:  Dynamic range and bit depth are two different and  completely independent properties.  A change in dynamic range does not affect bit depth, and vice versa.
 
 
Bit depth and dynamic range do not correlate -- period.  They are completely different properties.
 
 
Exactly.
 
You can also make a 16-bit camera that has 2 "stops" of DR.  In addition, you can make a camera with a given dynamic range that allows one to choose 8-bit, 10-bit or 12-bit depths (many such cameras actually exist).
 
 
I can think of a few scenarios in which an 8-bit encoding would be more desirable than a 10-bit encoding of the same image -- if the 10-bit encoding has a lower resolution than the 8-bit encoding, the 8-bit image could exhibit more detail.
 
Furthermore, if the resolution of the 8-bit version has over four times the resolution of the 10-bit version, the 8-bit version will have more color depth than the 10-bit version.  Keep in mind that color depth and bit depth are not the same:  color depth = bit depth x resolution
 
Also, an uncompressed 8-bit version could very well have an advantage over a highly compressed 10-bit version.

It you're solely talking about video then DR is between 11-12 stops, since the moving picture readout drive mode is limited to 12bit ADC.
Panasonic S1 lab test exceeded 12 stops, but it's really just heavy NR cheating the charts, which don't reveal detail loss in real world shooting scenarios.
10bit log encoding can efficiently store up to 16 stops of dynamic range, that's why most film scans have been using 10bit cineon format.

Only use 2020 if your grading for HDR. If you're delivering for YouTube or normal broadcast stick to rec709.
For LUTs select the format that you captured in. For example if you recorded in HLG you can use a LUT for 2020 footage. 
IDTs are for colors space transforms. For example if you're going from as log format for Canon log format to rec709 or HDR.

Canon released sports cars with a 0.5 liter tank.

Beach food shoot. Both with Nikon 24-70

Beach food shoot. Both with Nikon 24-70

Beach food shoot. Both with Nikon 24-70

Beach food shoot. Both with Nikon 24-70

Beach food shoot. Both with Nikon 24-70

Beach food shoot. Both with Nikon 24-70

I know all that but cmon A72 came out in 2015, EOS RP in 2018... you gotta laugh at Nikon’s horrendous release timing.. time and time again. 
At least make an official Z6S announcement. It’s late 2020, Go big or go home..