The Chris

On September 2, 2016 at 5:10 AM, Simon Shasha said:

 

Anyway, here are some pictures for those that are interested

What's the shoulder pad you're using?

That spec is total clickbait- 43rumors gets crazy traffic from all the GH5 rumors. 

On August 27, 2016 at 4:03 PM, Jonesy Jones said:

 So, they are not cheap now, but not 'kick me in the balls' expensive either. 

Now it's more 'punch me in the balls' expensive. Media costs are keeping this one out of reach. GoPro, are you listening? Bring us a Cineform drone. 

10 hours ago, IronFilm said:

Panasonic has *nothing* priced under the Varicam LT as an ILC to protect at all.

Unlike Canon, or Sony (but Sony often ignores "protecting" their higher end gear, the FS7 is one classic case). 

The FS5 and GH5 are from different companies! Is complete bonkers of Chris to think Panasonic wouldn't put something in the GH5 because Panasonic fears taking away sales fron the FS5??!?!

I'm aware that there's nothing below the Varicam, point being all the crap people are talking about as possible spec isn't happening on a $1500 camera. Thats a $3-4000 body, easy. And it would sell at that price. 

55 minutes ago, Cassius McGowan said:

Oh I thought you wheren't disappointed on the 5d4 .  You're going to hate when they come out with those specs at 1500-1600 dollars. Because you spent your money on Canon all over again.

So Panasonic is going to crush the everything they sell under $25,000 at the three year old GH4's price?

SMH. 

44 minutes ago, IronFilm said:

Nope, Panasonic doesn't have Canon's knack or track record of such epic level let downs.

Anyone expecting the spec bouncing around this thread at the GH4's price is delusional.

So let me get this straight, Panny is going to release a camera that kills the FS5, C100 and pretty much everything under $5000, and they're going to sell it for $1500? Instead of selling it for $5000?

Jeezus this board doesn't live in the real world, might as well bring Ebrahim back to tell tall tales about Canon colors. 

The overhype machine is churning at full speed. Prepare to be letdown. 10-bit 4:2:2 and IBIS in a $1500 body ain't happening. That's a $3000 camera, if not a $5000 camera.  

Prepare for 5d4 levels of disappointment.

4 hours ago, Policar said:

Which is why I treasure this forum. Forget content. Forget art. Let's bicker over meaningless specs and inconsequential price changes (if you're charging less than four figures a day wet hire to shoot, what are you even doing–and four figures a day pays gear off fast).

I'm pretty sure most of the shooters on this forum aren't buying camera bodies that run $25k+ used, so we're looking for the best IQ bang for the buck. So what you consider "meaningless and inconsequential" is meaningful to others. But yes, please play the douchebag "content" card in a gear discussion just to make your post a little more condescending.

I don't begrudge anyone for getting paid, if someone is willing to write the check take it. Everyone here would take $60m to slough it through shit like Fast and Furious, anyone saying they wouldn't is flat out lying, because you would then have the freedom to do pretty much any project you want. Hats off to The Rock for becoming the most bankable star on the planet right now.

Tentpole movies aren't bad because they're made by Americans, they're bad because the major movie studios are all owned by giant conglomerates like Disney, Sony and Viacom. All they care about is keeping shareholders happy, and safe movies with a built in audience does just that. As long as people eat up numb nut Star Wars crap and various cinematic universes, it's not going to change. Just look at the he slate of tentpoles over the next three years - an endless barrage of Marvel/DC/Transformers/Star Wars movies  

And remember, most of a blockbusters' gross comes from markets outside the U.S., cars blowing up and dudes in tights are easy to translate. 

9 hours ago, M Carter said:

I think you're misreading what I mean by "Archiving". Sure, original card is in there, and the edit files. And the 1080 and 4K prores versions of everything, the after effects files and renders, the stills, the audio, the protools folder with audio sweetens or repairs or edits or music, all the client notes, storyboards, and edits, the bid, the revises to the bid, the script and revisions, reference images, edits from first pass to final, and Flash or Carrara animations and their associated image sequence folders... I mean, the whole freakin' job, with the entire folder structure preserved. 

100-200GB folders are the norm, but I just archived a 1.2 terrabyte job (6 or 7 shoot days, primarily interviews and b-roll, and tons of graphics). I had several brand new 1TB drives, tried like hell to prune that folder down. I generally archive when my 4TB RAID gets over half full, if possible. As I mentioned earlier, this can be 5-10 hours of copying and file managing. Doesn't shut the computer down, just makes it slower, so I try to do it overnight or on a weekend... except I seem to work a lot of weekends...

I just convert everything to ProRes from the start though, render everything from AE as prores (unless I need an alpha channel) and generally do image sequences from other programs and convert those to prores if needed. It takes very little time (I usually do it while I'm checking cameras and gear back in) but saves me a lot of hassle down the road. Disk space is cheap.

 

Geez, that's a lot of stuff to store. Most of my projects will fit on a 64 or 128gb flash drive - which is my preferred archival medium. I'm not into endlessly replacing spinning platters, but much like Axel, I really don't have many pieces I have to keep forever. I have a bunch of stock footage type b-roll, but little else. I do have a safe deposit box with a growing number of thumb drives though.

I've read some photographers say they never delete any raw file. I really don't see the point as I'm always generating enough new content that I'll never re-edit old files. One I finish an edit I'm happy with, it goes to the cloud, into a finished folder on my external array and the current archival drive. Some get printed, the rest are forgotten in folders on my drives that I rarely go back to. Seems silly at times. It a viscous cycle. 

4 hours ago, theSUBVERSIVE said:

Why would it? If you think about it, 10-bit means less compression than 8-bit, sure the bit rate is higher but I don't think there would be any overheating issue, even more if you consider that the GH4 is the coolest 4K camera out there. Processing is more important than bit rate, H.265 might be more processing intensive if they choose it, but 8-bit or 10-bit shouldn't change much.

Sony's issue is not just processing, it's the form factor. The NEX cameras overheated in 1080p! I had two of them and they both had overheating issue, the form factor is simply too small, Sony knows it, they just choose to ignore that and preserve the claim of the smallest and most compact FF cameras. Bottom line, there is nothing really that would indicate that it would be just 1080p because of overheating.

Bollocks, the a7rII doesn't overheat at all. Not in 4k and certainly not in 1080p. 

Rolling shutter at about :07 makes the rocks looks like there's an earthquake. I'd be surprised if its any better than the a6300's RS number. 

1 hour ago, wolf33d said:

That looks amazing, but now we are dreaming at a 1500$ cameras having better spec than their cinema line.

If the GH5 is as loaded as speculated, I bet its closer to $2000.

That is good news. Thanks.

3 hours ago, IronFilm said:

I'd be surprised if it does not have IBIS, after the GX80 has it. And Olympus is bringing a 4K IBIS camera. 

GH5 needs something that is cutting edge above all other competitors to keep it in the lead for the long cycle until the GH6 comes out. FHD 240fps probably wouldn't be it....  (even RX10/RX100 series has that). But 4K 60fps could do it!

What I meant was IBIS + internal ND filters no. Agree all signs point to IBIS after the GX80/5

19 minutes ago, SMGJohn said:

Such a shame that no one else wants to make a camera like the NX1 even if it would sell like hotcakes.

Well the NX1 didn't sell like hotcakes, if it were a Canon it would certainly sell better. But still...

7 minutes ago, IronFilm said:

More info is coming soon:

http://www.43rumors.com/ft5-no-full-gh5-announcement-photokina/

My thoughts is, please please please have this (in order of priority):
4K DCI 60fps 10bit 422 internal with no crop + IBIS + XLR-K2M style audio implementation (not add audio like the YAGH!!) + built in ND filter (if the RX10 can do it, why not a GH5?? Even better if variable ND filter like the FS5!!) + 240fps FHD + multi aspect ratio sensor (like the GH2).

Do that and I'll sell my wife, soul, and first born to get one.

10-bit internal and a ND/IBIS combo seem highly unlikely. 4k60 and 240fps will have major heat issues, IMO those are unlikely as well. We'll see soon.

Canon has clearly closed the gap, this sample below includes the D810 and A7rII down sampled to match the file size of the 1dxII - which improves noise. It holds up well against the D750 and the D810. 

The 5d4 should be even better.

27 minutes ago, Django said:

I wouldn't write out Sony too fast.. the Japan earthquake that affected their sensor factory completely messed up their 2016 release schedule but A7 III series & A9 should be serious contenders.. 

Agreed. Everything Sony has dropped since the hack a couple years ago completely caught everyone (rumor sites) off guard. They shut the lid on all leaks, many recent announcements got zero advance notice via rumor sites - we just woke up to new camera news. I'd be more surprised if we didn't get something big from Sony.

I'd take the a6300 + Zihyun Crane over the XT2 since they cost the same and 4k from Fuji is looking completely uninspiring. The XT2 required the grip for extended recording as well. Plus you don't have any of the Xtrans watercolor issues with stills on the a6300 - which are still present on the 24mp sensor. Wish Fuji would dump that and just go bayer. 

Will be interesting to see what Olympus and Panasonic do with the GH5 and EM1mkII. 43rumors keeps saying Oly worked to reduce RS in the new EM1. Then again they also say the LX200 may be released at Photokina, but there's no confirmation, no known name and no specs - in other words they don't actually know anything. At this point reality is anybody's guess as it appears most of the content on that side is just fabricated clickbait.

PADF seems unlikely on the GH5, especially if it uses the Sony sensor.

1 hour ago, Andrew Reid said:

Source?

Among other places:http://www.cameralabs.com/reviews/Fujifilm_XT2/

Nikon's own 28-70 is sharper than the Tokina/Angineux, just sold my ATX pro because of the softness/glow wide open. Focus throw is ridiculously short too, not sure it'll be any better than what the OP has. 

Contax/Zeiss zooms are really nice, but most are one touch, which works for some, they don't work for me. 

Leica R is another option. 

I'm now searching for a Nikon 28-70/2.8. 

1 hour ago, Grégory LEROY said:

I've watched hours of tuto and Im' already working with rec709. Colors sucks, I have way better color with nikon flat profile.

I have 8 months of experience shooting with my Nikon D5500. I don't shoot because I'm a video lover, I shoot because videographer refuse to shoot my military activities. I will never shoot log ever, I have no time for this kind of bullshit. 

Thanks but I don't want to spend money on this shitty camera I will never rent again.

If you don't know how to expose or grade slog properly, use Cine 2 and 4, or don't use any of the PP's and shoot something like Autumn Leaves at -3, 0, -3.  

This is the most user friendly slog setting I've used. http://similaar.com/foto/flaat-a7s/index.html

There's a great thread of settings on dvxuser. 

DPAF and the pimpy touch focus pulls along with 5-axis. A faster lens with less reach would be welcome - something like a 24-105 f/1.8-2.8, or even something a wider like the Nikon DL's 18-50.

XC15 instead of XC10mkII makes me think its a second XC camera to sell alongside the XC10, not a replacement.

4 hours ago, Axel said:

Right. But unless you plan to PiP multiple 4k ProRes4444XQ clips (or 4k raw, but FCP X can't handle that anyway), you won't notice the difference. You would, however, realize that the 1 TB drive in this example was way too small and you had to go external from then on. 

I can only speak from my experience, I notice a significant difference in speed from my previous 6-core trashcan mac pro, and I'm not editing PIP multiple HQ444 clips or raw anything. Everything is faster, with an hour of footage on the timeline comprised of a few hundred clips, transitions, color correction and so on I can scrub through everything with no hangups, transcoding to prores is faster, exporting is faster, etc. With the trashcan I only had a 256gb SSD, so I was editing off an external drive, the whole process was slower and noisier thanks to spinning drives.

My drive may be way too small for your needs, but its great for what I do, but finished pieces for me are rarely longer than 20 minutes, most are in the 3-5 minute range. I have over 800gb in free space, plenty of room for hours of 4k footage or a few hundred thousand photos. I edit on the SSD, move finished projects to external storage and clear everything off the SSD for the next project, so I can take advantage of the speed - which (along with the screen) is the whole point of me dumping the Mac pro for an iMac.

As always, YMMV.

6 hours ago, j.f.r. said:

 

Here I am thinking my external SSD around 450MB is extremely fast..... Thank you sir for lettming me know I am living in ancient times.......

That PCIe 3.0 really raised the bar. I was astounded at those numbers too since I was getting around 700MB from the trashcan, which itself was fast.

2 hours ago, bamigoreng said:

Heh, nothing about colors... http://www.canonrumors.com/forum/index.php?topic=30469.600

Ebrahim Saadawi

Re: *UPDATED* Canon EOS 5D Mark IV Specifications & Image

« Reply #612 on: August 12, 2016, 06:47:43 PM »

Video thoughts: 

-4K 30p. 

GREAT. 

(People, 60p fries up the 1DXII with it's enormous heatsink so not a matter of CFast. Also, no other camera on the market does more than 30p so it's a strange compaint)

-1080p@60p and 720p@120p 

Not so bad but not great. Good that we'll get 4x slowmotion when we need it for decent 720 HD quality. 

MJPEG 4:2:2 500Mbps

GREAT!!!. Broadcast quality codec and enormous files with tons of film latitude, unparalleled codec by any rival. 

-30.4 megapixels

This means Fullframe 4K for sure. The 1Dx has a sensor resolution close enough to make a 1:1 crop and still have a large size video but with 30.4mp sensor if they do a 1:1 readout too, we'd have a 2.8x 4K crop mode. Which is very unlikely. So I hope they make a nice clean downsample from the FF sensor to 4K. 

-Touchscreen 

But where the hell is my DPAF?


Sad stuff: 

1 - No C-Log, just like 1dx. Which means 1DC will still have the most filmic and high DR video in the DSLR line up but it's 5000$ (and the 1DC doesn't have state of the art 30.4mp small body). 

2 - No D750 Nikon Tilt like screen 

3 - No DPAF apparently? that'd be a huge marketing fail. It's an essential marketing point for canon in the market as they own it exclusively and professionals are using it now even on high end C300II. 

4 - No peaking and zebras, two simple ML features they refuse to give. 

Sounds like he's already shot with one. Geez, he's polluting other forums with his BS.

5 hours ago, M Carter said:

Thing is, are people putting their apps, footage, and scratch files all on the internal HD? 

I dump all my footage to the SSD and edit, then move finished projects to external drives. I don't save unedited footage, just high quality versions of the finished piece or clips trimmed down for B-roll if I need to repurpose. I have about 800gb of free space on my 1tb drive, that's usually more than enough for what I do.

17 minutes ago, forofilms said:

Doesn't change the fact that it's poor customer service. 

You're right, people should expect Canon to not pander to their lobbying. Live with Canon's shoddy response or shift loyalties to another company. 

Canon's ecosystem is keeping customers around but the more they continue to underwhelm and the more that competing companies innovate and address peoples needs, it's inevitable they're going to see some attrition over time. 

But let's admit it, to not add a line of code to provide peaking and zebras is just a bitch-slap to the face. 

What about Sony not putting a touchscreen on the A7rII or a6300? Or only offering 8-bit 4:2:0 internal? Or not using UHS-II? Or not allowing users to assign a custom button for FF/APS-c mode or formatting a card? Or not resetting all video file numbers to 0000 with a card swap, so if you use three cards you have three files numbered 0001, 0002 and so on? I have a number of other gripes about my A7rII, but that's for another thread.

Many Sony complaints fall into your line of code bitch slap logic, they fix bugs (sometimes), but I'd hardly call them responsive to customers demands. The grass isn't always greener.