Kisaha

GH5mkII?! Variablr sensor?! What else this camera will be capable of?!

@Phil A yep, you are probably right, especially if it ain't true 10bit, I haven't read a lot about it except the Atomos marketing stuff but it makes sense for the price, still is a 19" monitor with good brightness for monitoring purposes (director's, focus puller monitor), inside the studio as an additional monitor (I am no pro colorist or editor so for most things it seems sufficient as a 3rd monitor, my other's are plain sRGB panels anyway), real broadcast monitors cost a leg and an arm, or two legs and an arm Somali wouldn't expect similar performance (true Such monitors go to 30.000€ at least). It is a recorder too! It was in my "to buy" list for next year, but I may start with the Small HD Focus for the simple start, and take it from there.

https://www.atomos.com/sumo19 that seems like an excellent choice for a lot of different people and uses. If anyone has ever shop, or even work, with a broadcast monitor, then will find its value extremely low for what it offers. From the field, to the studio and beyond!

Good one, I agree with Dave. Just a little bit trimming will bring it to a very complete level. It reminded me some Chanel 4 stuff, especially the narration, good voice!

In the end, we are a couple of years away from being there, but my impression is that we will, and HDR is here to stay, and for a few good reasons. I salute the pioneers!

Hey, actually is pretty good! The shot selection is good, the voice over is nice. I thought the scene in the car, talking about border safety was a bit too much, and you stayed a lot on yourself in front of the "sit down interviews" building. Also, the safety thing that played a "major" role in the beginning, didn't really went anywhere, it seemed that it could be a nice (and deeper) sub plot. Also, you really like Keanu! Had the same camera and tripod bag for so many years!

I never defended fasism in Italy, or anywhere else, and I am very sad if anyone received a few hundred -almost- carefully written words as such. I wrote some of the most important names in European cinema that, unfortunately, they had to serve Mussolini's, Hitler's, Stalin's propaganda, which I studied extensively for 2 years for my thesis. This is a period in time (communist revolution in Russia, Nazi Germany, Mussolini's regime) that coincides with the evolution of cinema. As simple as that, do not understand where the misunderstanding is (probably people can not read more words than a SMS or a tweet allows). It is really silly that I have to apologize about decades of human history, because history is written, and it is not subjective. Propaganda is.

I agree. I do that as an exercise as well, having only 1 or 2 lenses with me, or going for a photo shoot (not professional) with only one legacy lens. But for a workhorse combo, that one will use for most things (and that he ain't going to spend his own money for), a good zoom lens can save a lot of time, and money.

I have used the a6300 and this lens on many jobs, although it is a great combo and worth the small total price (in my opinion the best Sony lens for the money), I believe you exaggerate a little bit. Of course it is not a parfocal lens. Not even the 18-110 is a true parfocal lens, and costs more than 3500$ (it limits electronically focus breathing and focus shifting though, which the 18-105 doesn't), and 105mm on the long end is not that much for people filming sports, except maybe table tennis (ping pong). Also, after the corrections, the lens is not 18mm anymore, which makes it almost a 30mm equiv. lens at the wide end, not that wide, really. The best thing about the lens is the stabilizer of course, and that ain't even close to what Panasonic can do on that front (because you brought the GH5 up). This is a good 700$ lens, it is not a great photo lens, nor a cine lens, but for people having Sony APS-C cameras, it is a must buy, even for an every day all arounder,instead of those terrible PZ kit lenses.

I do not understand the prime vs zoom debate. A couple of weeks ago I worked with a bag full of Zeiss primes, these days I am first assistant on a feature documentary with an Arri Alura 18-80 (the director wanted to do so zoom in and outs). The camera in both cases is C300mkII, I doubt anyone would ever thing that the primes are better than the zoom. As I said, a C200 and the cheap Canon CN-E 18-80 is a combo that can go a long long way (I am expecting Canon to offer a better 10bit codec sometime in the near future). Add a Tokina 11-XXmm and/or a 135mm something (or the 70-200 CN-E if you got the dough) and you got a full range for most jobs. This is a workhorse combo, not a purist's approach, but even a purist can be benefited by dual pixel AF and electronic stabilizers and features. (saying these, while I have at least a few dozen lenses, mostly primes, from different mounts around the house!)

I haven't seen the film yet (work+baby boy=no cinemaNOWAY!) but Villeneuve comes, probably, from the most European area of the Americas, so I won't rank him as a prototypical Hollywood style director (and they are too many for my liking), while I believe he is one of the most interesting directors of his generation, I think he has underachieved in every one of his films (I haven't seen Incendies). If you consider the facts that Ridley Scott was both younger, had less feature films than Villanueve, smaller budget and a lot of backstabbing when he did Blade Runner, all these make a point of where cinema and the top directors stand right now. My thesis in university was "Italian neo realism and the class of the political systems (capitalism - fasism - communism)", a rather big chapter was about propaganda. In Italy, Luchino Visconti, Michelangelo Antonioni, Giuseppe De Santis, Roberto Rossellini, Vittorio De Sica (as an actor) and Cesare Zavattini (De Sica's scriptwriter later), met - started their careers - evolve during the regime, doing propaganda films, and/or being friends of Mussolini's son Vittorio, who was responsible about cinema (and the image) in Fasist Italy. Some of the most influential directors of all time Eisenstein, Dziga Vertov, Pudovkin, Kalatozov (Of the "I am Cuba" fame) and others (all of communist films actually, because you were with the regime, or you weren't at all!) did achieve greatness because a huge part of the Communist machine worked for their propaganda films. Aforementioned Riefenstahl's movies brought so many technical innovations and blah blah blah. what I am saying is, we can not exclude propaganda "art" from our lives, or we are being similar to the ones we accuse of, and we limit our world view. On the contrary, it is better to study and follow different theories and world views, so to try to find the connections, and not the things that tear us and our societies apart. A great thing of being human, is how similar, and different we all are the same time. We will never, be all the same, at the same time, but we can all respect and find a way to communicate with each other, or else, chaos, anarchy, disorder, violence, death! Especially for -most of us- that we study, and practice film making, the influences are everything. There is no naive art, or film making, everything pushes an envelope, you can try to be outside and objective, especially in documentaries, but every time your socio-political stance will influence you acts (and art), even though you are not aware of it (or you do not have any socio-political stance; you do!). Some of the greatest cinema of all time, is pure propaganda, and lately, the Hollywood propaganda is "be stupid, and consume", I would rather take Soy Cuba, Man with a movie camera or Olympia, any time.

Go Canon. C200 with the 18-80 EF-N lens, get a Tokina 11-22 and probably a 70-200 EF-N and you are super cool. sachtler FSB 8, or something with the new Flow75 legs. Sound get the aforementioned Sony wireless, and Sennheiser MKH 50 and 60 microphones, guranteed to work for the next 2 centuries, industry standards as well. Money spend on sound are wise spend. sound devices mixpre6 for a recorder or the new 10t. phantom pro for sure. That is easy.

@Mark Romero 2 why do you have a second profile?! this is a trap/troll topic from a well known DPR troll which has been banned multiple times there. He is on my ignore list, so I wouldn't like him to reply straight to me. my reply goes to Mr Romero. 1. NX1 2. Sony a6300/6500 AND latest Fuji (apparently the same sensor) 3. 4. NX1, plus -bonus-NX1 is at the top 3 of the least rolling shutter in 1080p. Also NX1 has No crop in high speed options, and Andrew did recently a comparison, giving 7/10 to the NX1 and 5/10 to the Sony. 5. 6. 7. 8. NX all the way! Can't even stress those differences enough, and I add the better consumption management and with bigger capacity batteries. Ah, full touch screen control with the best menu system/UI/wi if-Bluetooth-NFC in industry (Panasonic is catching up in remote control though) 9. That is subjective. I have used professionally the NX1 with Ronin gimbals (and AF) with great success. I am planning to buy a Crane soon, split between the V2 or 2. 10. NX1, plus headphone out. 11. NX1 has 28mgpxls BSI sensor, and the 12-24 and 10mm fish eye are 2 of my favorite 3 lenses. Sony doesn't have a native fish eye. I haven't used the UWZ. Sony is a great photo camera, but all the rest of the issues (ergonomics mainly, try to use a bigger lens on that one) and this and that would make that a tie, at least.

This lens is rumored to cost 1500€ in my country, while the similar Canon is 800€. The 70-200 starts from 2500€ the Canon 2000€. Are these lenses so much better than Canon ones?

All set for what? this is 7000euros between 2 mirrorless cameras. With lenses, one needs 14.000 in total for a whole set of Sony equipment for photo and video. I think I will skip that and stay for another couple of years with my NX1 and 8 lenses that cost less than half of 4 Sony lenses, 28mgpxls photography is good for most jobs anyway, and I can save some weight and size in my bag with my crop lenses and bodies. Also, we don't know the S's specs yet.

by the way, in the end of this thread, there are 2 posts that succeeding made NX to Fuji X adapters (NX lens to Fuji) https://***URL removed***/forums/thread/4119927 the first guy just glued the NX and X parts of cheap extension tubes.

What Max is saying is that A7rII is a very bad camera for video. For anyone care mainly for video it is a waste of money, to buy a photo orientated camera (and it should be very good at that) 4-6 months before the video orientated camera is out. The "industry" (from TV sets, to media, to everything) moves to HDR, which is 10bit in most standards (Dolby Vision is 12 bit, by the way), it is not hypothetical between 8 and 10, it has to be at least 10bit. All companies trying to "steal" with someway, Samsung has some amazing gaming monitors advertised as HDR ready, which isn't even close to even great normal monitors, HDR is the word right now, but cheap technology (like a 650$ 32" gaming monitor) ain't there yet, so companies are trying to steal the term, without delivering. It is not GH5's fault, that the whole industry moves to HDR, and people truly like it (unlike 3D, which was a complete failure), eventually we all are going to move there, right now, my older generation cameras (and workflow) do the job just fine, and I am not moving everything to 10 bit just instantly, but I wouldn't like to invest on last generation's stuff from now on.

@IronFilm Yes, I said that his opinion is completely wrong, but I do not have the time/energy to do anything more than 2-3 replies per completely wrong posts! I gave a few examples, and made myself as clear as possible, I am sure people with increased critical judgement will do their homework, search, read, learn, and do the right thing! For the rest, there is so much you can do. Not anyone can be saved :p

when you are buying a lens, you look only at the focal range? Anyway, I made myself clear, you have a different opinion, all opinions are good.

Very interesting opinion from someone so young as @kidzrevil, and I completely agree. I can see that in younger people's edits as well, while I like to edit on a slower pace -as for the brain to comprehend and process information- I see people edit 5 shots in 1-2-3 seconds! I seriously can't follow, or understand what is going on most of those while I have noticed a better visual communication between them than oral. For me, the opening scene of Satantango is one of the brilliant way ever. Cows moving for 10 full minutes!

Cameras do not kill - People do! I hope more than one camera can exist, I hate mono-tony.

"The camera features essentially the same body as the a7R II" from DPR release article. Where did you read that is an A9 body?

@tupp maybe you can't tell the difference between microphones, me and @IronFilm participate in specialized sound forums, and if we copy-paste your statement here, would bring a lot of laughs, or rage, to the sound professionals around the world. Also, I am working 19 years as a sound pro, have worked in 4 countries , and what you said just ain't true! As simple as that. Ignorance on a field you clearly do not comprehend ain't a sin, just you do not have to push your wrong perspective on a subject matter that you haven't mastered, especially on a forum that people help other people. I do not comment on most color correction and log posts here, but sound is literally my life, and before my professional career. you are not "specifically" (what that does even mean?) an "audio person", so you can't understand that the critical point here ain't only, how "wide" the reception is, but other qualities and characteristics of sound capturing, that do not apply to most people's limited knowledge. Sound (and Acoustics) are physics, it is science, it is also a form of art, that needs a lot of experience (much more than image, because you can not really "see" the sound, while image mistakes are visible to anyone) and advanced techniques. I respect your opinion, but I would never say anything like that to someone interested in sound.

I do not see any improvement in ergonomics (except a joystick..I guess the S body will be exactly the same), in the official improvement table there is a lot of "great improvement"(really, Sony?!), "better quality" and the such, there are some very good hard numbers though (10fps instead of 5fps). Also, double the battery, doesn't mean double the working time, but previous generation's battery life was a joke, anything would have been an improvement. The 2 SD slots are a great addition too. My opinion is that this camera is a lot better than the previous generation, and a lot of photographers will be happy about it, but it seems like it is a A7rmkII and a half, not a III. I will be waiting for the S now, which will be much more video centric, but I am not too optimistic, the Sony body is just terrible, they addressed a couple of important stuff (battery, double SD slot) but not much else (by the way, real HDR standards are 10 bit, doubt that the camera can do 4K 10 bit internal without overheating). Of course we have to wait. If CanoNikon full frame mirrorless are as good as we hope them to be, expect a Sony A7rIV, or A8r sooner than later, this generation ain't the absolute killer we were expecting them to be. While GH5 is eating them their S's sales..Of course maybe CanoNikon are too late to the game. We'll see. Now, where is this FS5mkII?!

@kidzrevil Can you propose any specific way (software/process) to handle those H265 files? What do you thing are the benefits of such a transcode? As of the NX, I have 2 NX1, 1 NX500 and 1 NX3000 with all the lenses I need, natively. Every time there is a new camera, I am consider the pluses and the minuses, even now, there isn't a clear winner in front of me. Right now I am thinking, to just keep everything I have, and go on, until they broke. Ibis for me ain't a big deal (I am old school monopod/tripod kind of guy), and I am using gimbals for when I really need it (even AF with the right settings is great on Ronin and even lighter ones). I recently started using DIS also, good to have, works quite well if you do not expect the moon and the earth (it is good together with the cropping that it does with some primes) The other cameras I use most (Canon C100mkII, JVC LS300) ain't 10 bit either, and do NOT have any high speed capabilities, while the 120 frames of NX1 are perfect for me (and too much most of the times, I shoot PAL 100frames). Unlimited recording (73 minutes in reality), even relatively slow and cheap cards do the magic, the ergonomics of the NX1 is unparalleled, the touch screen UI just out of this world (most competitors do not even have proper touchscreen functions!), monitors do not dim, stays cool even with hacking bitrates, best mirrorless battery performance (GH4 was good also), and some unique lenses I LOVE to use (such as the tiny 10mm fish eye, a gem of a lens) Most of my footage ain't even 4K(UHD), so I do not feel like I have exhausted everything these cameras can do, and also, great photo cameras! I add the 2 things that eventually will lead me to change though, High ISO is terrible above 1600 (NR and all), I wish that the limit was 3200 and 6400 usable with Neat video or something (I know, just 1-2 stops, but it makes a lot of difference in my line of work, and I could use easier slower lenses, such as the excellent 12-24 and 50-200) and I can not zoom in to focus while the camera records. I am considering the Small HD Focus (for other cameras too), but it will add to a very light and small camera, but I want to see if it is solving the problem, and focus peaking on NX seems to me that is working great.