webrunner5

A lot of the older Fuji lenses aren't great for video. That's always been a negative when considering them. As they update their line up and make their lenses more video friendly that will definitely change. But it's really distracting when you see the stepping when switching apertures and even focusing. 

You got it for that cheap?  That’s crazy!  Best camera ever at that price. Would be a dream, my ideal image. Beautiful detailed organic 1080p with great DR and color. Kind of hilarious how Sony had their color figured out clear back in the Sony F3 (and even F35) days!  And yet the A7sii, A7iii, etc. made it look like Sony color scientists had amnesia. 
 
If only the camera was not so big and heavy, then it would be perfect for me. I guess I just don’t care for large setups. 

I agree, the lens situation with the R7 could be considered a weakness. But since Canon does provide adapters vs having to go with a 3rd party I don't think its as bad as it could be.  You also have the option of using native RF glass, but that would get expensive fast and there would be the crop to have to deal with.  If I were to get the R7 I would probably shoot with my 24mm F2.8 to compensate for the crop or maybe my Canon EF 16-35 F4.0 would suddenly become useful for more than real estate.
If somehow the Canon C70's speedbooster works on the R7 that would be a bit of a game changer, albeit an expensive game changer but still, to have all of the R7's capabilities in a FF FOV and gain a stop of light would make it almost the perfect camera with the sole drawback being you are now stuck in the past with EF glass. 
Now for people without tons of EF glass laying around...the R7 could definitely be a harder sell.
 
That sounds like a pretty expensive proposition as well....switching to Fuji. Three different systems (menus, lenses, possibly even flashes), does not sound like something I would want to deal with.

So true !!  I guess the Canon FD lens helps too to get the final touch of the picture look.

Yes maybe, or they used F-Log2 to get extra dynamic range but it looks noisier..
https://www.youtube.com/watch?v=Zd1j-D01iFc&t=8s
 
By the way, Gerald Undone recommands to de-noise the footage later in post. He got good results with DaVinci Resolve.

I think it looks superb and makes me wanna dump my gear and go out and shoot with an XH2S immediately!
According to the BTS video/page it was all shot in 6K open-gate mode, mostly Flog2 and those noisy shots were at ISO8000. I like the Fuji noise though it resembles film grain not ugly chroma noise or banding.
 https://fujifilm-x.com/fr-fr/stories/x-h2s-short-film-where-are-you-going-x-aditya-varma/

update 0.1:
since it doesn't come with mic or mic stand, there were a big ugly hole on the right side handle, so I used some soft  silicone rubber that left from some old project, cut it with razor and voila! a rubber cover, not pretty but it works and I don't need to worry dust and rain water will get inside handle anymore.
Here are some screen shot fresh comes out of it, RGB444 on PIXE5, 180° shutter and ISO800, SLOG of course, 5600k WB, just transferd it to R709 and a tiny touch to exposure. The dynamic range and color science is truly amazing! Indeed it is a reason that F3 was called 'baby alexa'

This. It's more satisfying to get a lot out of a little than a little out of a lot. And this applies in a much more profound way when you're just shooting stuff solo, for fun.
It becomes, "Look what I was able to capture -- wow!" versus "This is all I was able to do?"
Of course, it all changes in the context of a time-sensitive/high pressure paid shoot, when you need all of the help you can get.

I swear by these cards.  Sorry to wander off topic again 🤣, but my C70 can shoot up to 4K30FPS Cinema Raw LT which has sustained data rates of 250Mb/s; far above the V30 rating. These cards are in my R5, C70, and the micro versions of it are in my drones and GoPros.....I've never had a single problem with any camera and any of these cards.
 
I think the problem is like @webrunner5 stated.....there are too many situations that a typical shooter will run into where it is not useable. Yes, the YT reviewers of the world focus on these shortcomings and shout it from the mountaintops, but that does not mean it is not a legitimate problem. Those same YouTubbers did the same thing when the R5 and R6 overheating fiasco first came to light; and overheating with the R5/R6 is another legitimate problem.
IMO if you are buying a Panasonic camera for important work, you are buying it because of their excellent video features and tools, but with the understanding that you will need to use MF. 
If Canon had an R7 at the time when I was purchasing the GH5 or S5, I would have never even owned a Panasonic. In 2022 as much as I got used to MF, AF is just too useful and too "freeing" allowing you to focus on so many other things that I would never want to go back to having to MF every shot. Yes some of my problems were my own doing....I didn't trust the L mount "alliance" and stuck with Canon glass, but their native lenses convinced me I was doing the right thing since even with native glass the AF was simply too unreliable.
I think in certain situations Panasonic cameras would be perfect.....product shoots, talking heads (as long as you have enough light for a deep enough DOF like in a studio setting), if you have a dedicated focus puller, outdoors static tripod shots, etc.. But the list of situations where it is unusable is much longer than that list; in 2022 with the plethora of offerings from Canon and Sony why get a camera that is so limiting in such a critical area? Even Nikon has a better AF system than Panasonic. Lets not even mention the L mount alliance and how few and expensive their native lenses are.
Even Canon's AF is far from perfect especially on the C70. I flip to MF all the time when I feel I can't trust the camera to pick the right subject, mainly because I don't trust the face tracking just yet and right when I start to trust it, it lets me down at a bad time.....but those times I really need AF, like when I'm on a gimbal or the subject is approaching or departing quickly; it works perfectly every time.
So back on topic 🙂, Dan Watson is another reviewer who I like to watch, and he happens to have an early hands on review of the R7. Once again, it is surprising how much of a quality hit the R7 takes when switching to pixel binning for 60FPS. I usually don't care about such things and leave them to the pixel peepers, but with the R7 it is very noticeable.
 
 

LOL It's just a scene but yeah, sounds inspired from but on that one, you need to ask it directly to Kenjo, my partner in crime, he is half Irish by father side, you know?
I'd dare to say melancholy is not absent from there either... Even though, much something more added there as well, I believe and see : ) Thanks for your care ! :- )
Here's a new (official) trailer which I guess unveils a bit more of it:
 

Oh come on, they have the worse AF of Any camera manufacturer out here. That is not something you want on your tombstone. I got rid of my GH5 because I do birding and you can sure as hell forget that with that F ing camera. And I thought the color science was not so hot either.
I will Never buy another newer Panasonic camera until they come up with phase detect AF. And I sure as heck am not alone. They risk going belly up, I think the L alliance was a dumb ass move also. Leica played them like a fiddle. Leica took but didn't give.

Best looking GH4 video I ever saw.

Sadly, most cameras that have a lot of DR are out of the reach of most people or even if they are cheap they are probably a Huge camera. But looking back at thousands of pictures I have taken, hundreds of videos the better looking of both photo and video were cameras with a lot more DR to them.
Sure, color science adds to it but without a good spread of light to dark they are not very interesting unless it is a total stand out shoot. Not quite sure what the answer is other than stealing TomTheDP's Arri, but I am rethinking all I have or had. Surprisingly the newer Smartphones are better at DR than some of the older stuff, especially M4/3 cameras not surprisingly.
The one trouble with better DR cameras are that they are a pain in the butt on average to get the best out of them. No auto anything on most of them, and the better the lens the better the output. So not a cheap option for sure. Decisions, Decisions.
The bigger the sensor helps no doubt. So, FF cameras are sort of the answer.

Impressive stuff. Even more impressive that they enabled this for all their second generation Pocket cameras. The P4K is what, 3 years old now? Adding that huge of a feature on that old of a camera is pretty awesome. 

It's a Premiere this time in the region (north of country) where I was born and raised... Y'all Invited!
https://www.avanca.com/
https://filmfreeway.com/avancaff

 
Shot on Blackmagic Pocket 6K camera series (G1).
 
Proudly Co-Produced in Japan by this EOSHD fellow of yours,
- EAG
 
 
 

They are incredible camera series... Here's one produced by me shot on P6K G1:
 

Ok, i did more testing today with a wider lens (10mm so 15ish mm equivalent) and i tried some more complex moves as well..
Few more notes:
-45º shutter angle is pretty much a necessity so all the clips have been recorded with that setting (i tried to introduce some motion blur back in in a couple of clips as well and it might even work, i just need to understand how much of it to use)
- The camera doesn't seem to record any Gyro data if the lens stabilisation is ON (i'm not entirely sure about this but certainly the option to select the Gyro stabilisation doesn't appear inside Resolve on the clips shot with OIS) so you have to remember switching off the lens stabilisation if you plan to use the gyro. I reckon it kind of make sense though because without knowing the data from the lens gyro the result would probably be a bit messy 😅
- I have noticed some strange sharpening artifacts in high details area when a clip has been stabilised using gyro but thankfully it seems to only affect the GUI and not the monitor output nor the final render (I'm on Windows 10)
- The results are overall very good, in shots with simple moves there isn't a great deal of difference between the gyro and the algorithm based stabilisation (the building tilt shot and the cushions shot for istance) but in other shots where there are more complex movements and lots of geometric elements that can (and did) wreak havoc on the traditional stabilisation methods the difference is day and night. I would not suggest this is a gimbal replacement by any means because is not but it's definitely a feature that will enable camera movents that are most probably not possible in any other way when you don't have or want to use a gimbal so it's quite exciting!
ps. on the clips where there is severe warping from the perspective stabilisation i tried to use the clips without OIS as well to see if it would fare any better but it made very little difference, it was unusable anyway.
 
 
 

After various test made with A7SIII, I was not satisfied so I traded in to buy XF605, very similar to my old camera HPX170, more comfortable. Changing lens to have 3x zoom or similar, and the risk of dust into the sensor of A7SIII, make me think is not well designed for my generic use.

Did you buy a new camera, Danilo? What about your aSIII?
Un caro saluto,
- EAG

So you don’t think Panasonic cameras as a brand, have an autofocus related image problem, on-line, on YouTube and within the photography/video community?
I’d say it’s their single biggest and perhaps only problem and yes, unless they address it, they will continue to lose sales.
But no, before you ask, I do not have any data to back this up, just common sense logic.
You just have to read the volume of folks either jumping ship (after “giving it a try”) or just choosing something else because of the majority negative chatter.
Make a poll. Post it here or anywhere else and ask the question if you think Panasonic has an image problem (right or wrong) due to it’s AF and the overwhelming response would be, “yes it does”.
Ask those who are not using Panasonic or were using, if they would, if Panny had great AF and I’d bet a large portion of the farm, much larger numbers would be all over it.
They are also a somewhat frustrating company in that they do not encourage community.
In fact they slam the door in it’s face.
They put quite a lot out on their channel but then do not allow comments.
They might put out a BTS of how something was made and the content of that BTS will be, “I shot it with Panasonic gear that really allows me to tell a story”, but that’s about the sum of it. And comments/questions/discussion/community disabled on that also.
Beyond that, no idea what point you are trying to make, but in my own personal opinion, there’s more than a bit of self foot shooting going on with old Pannyboy…

Yeah, you kind of assume it'll be less, but getting any info on the DR of the video mode of early cameras seems to be impossible when I've gone looking. 
Having a few stops less certainly isn't ideal, even to emulate lesser film stocks, but I do think there's sufficient scope for getting a nice amount of contrast.
Good points and you're right, although DR is getting better with each new sensor generation.  Smartphones are getting smarter through taking multiple exposures in super-quick bursts which works a lot of the time (but not all the time) and of course are benefiting from improvements in sensor tech too.
I do think there's a point where things are enough though.  One of the main challenges I have found is fitting in the stops of DR that you get from a modern camera into the limited DR of 709 - it's a question of what parts of the luma range to throw away and/or which to compress, and in making those decisions you're deciding about which things should have contrast and which won't.  
I guess part of my point with this thread is that the lower DR from 'worse' cameras forces you to choose that when filming, and also makes you have a "full" amount of contrast with most scenes, which I think is a fundamental aspect of nice images, except in very-low DR scenes of course.

I think IMCE stated it well in the above video I posted. They can use the same assembly line and just leave the ND's out. That is a dream come true for a company.

I guess you could use TomTheDP's Arri in it and look like you are 8 months pregnant with triplets!

Damn impressive results. Thanks for the footage. That is getting into Steadicam territory.

Made a quick and dirty test today with my BMPCC6K and the new 7.9 software.
First clip is shot on a Canon EF 50mm 1.8 (so no OIS and 75mm equivalent)
Second clip is shot on a Canon EF 24-105 f4 @ 24mm (36mm equivalent)
 
Overall the new stabilisation works very well especially in situations where the traditional point based stabilisation can create visible warping (i included samples of that as well for comparison)
Things to note:
- The workflow is fantastic and probably the real advantage of this over any other gyro stabilisation solution.. it's just a new option in the stabilisation panel in Resolve, no extra software and rendering needed!
- Like any other gyro stabilisation system nothing can be done to reduce motion blur so, unless you have a miniscule quantity of motion in your shot, you need to shoot with faster shutter speed. I found 45º to work the best (apart from the weird look due to the lack of motion blur, i'm experimenting in dialling that back in afterwards and see how it looks)
- Another potential issue with gyro stabilisation is rolling shutter but, according to blackmagic, it's automatically compensated in the algorithm and it doesn't seem to be a big issue (even if the 6K is not the fastest camera around rolling shutter wise). 
Much more experiments needed but i wanted to share with you my first findings, this is a very exciting development!