anonim

@Kisaha Finally someone to whom I can completely believe Please, share here your experiences with Ronin S ASAP - I had just Crane 2 and sold it, so I'm also in process of evaluating maybe another gimbal...

I had never see so much general disagreement between reviewer as in the case of gimbals. From most positive to most negative comments, from one to another as best or flop. It seems that market is very tight and too much players in it so struggle and youtube presentation of duels are very harsh and... contradict.

Indeed, it is obvious that you must feel like mr Savior.

Wow, tell us more - how much barrel of beer or something more sophisticated used in front of cable TV is needed first to believe in, thеn to casually spread this American peacemaker's nonsense?

There's no crop with just sensor stabilization, even in 4K.

Grey market of course, but with internal guaranty period (Panamoz, for example, even give three years on cameras buying). Till now I bought several products from eglobalcentral, including Zhiun Crane 2 or Voigtlander 42.5, shipping and service were perfect. But at the moment, actually, eglobal is in its top price period... wait few weeks and discount will be much better (usually additional 3-5%). E-infin is Hong Kong base, so also without additional VAT to pay in UK as eglobal (which is UK registered as Panamoz) - i. e. paying price is always that you see listed. „Problem“ with BM price in UK is that never existed grey market for them - and what is dollar in US is pound in UK, so official price is 1300GBP... so, for extremely spare buyers - or those that simply can't count to easy make usage of warranty (there's no nearby services etc. ) difference between, say, Pocket 4K and GH5s even now is not so big (especially in Europe) as it seems judging from officially announced. Moreover, we have to wait to Pocket 4k for months, and who knows what will be than price for GH5s... From my experience with BM cameras (had several), to the moment they were far more fragile than Panasonic's. Actually, one of the reason I often bought and resold them and again bought was afraid to keep them too long, expecting technical problems. I don't know how better is Pocket 4k in that regard, but that's also factor to be count... Of course, not so much in countries where servicing is easy task...

If somebody is still interested after all these compliments to Pocket4k, I have good experience with e-infin... that's the best deal at the moment for GH5s that I've found in Europe (through holidays price somewhere were droped to 1425 GBP). Unfortunatelly, it seems impossible to expect Pocket4K in Europe earlier than several month period. To buy it now, price in UK is 3000GBP. https://www.e-infin.com/uk/item/3545/panasonic_lumix_dc-gh5s_mirrorless_micro_four_thirds_digital_camera Best price I found for Ronin S is at eglobal, and occasionally it is lower, about 450 GBP https://www.eglobalcentraluk.com/dji-ronin-s-3-axis-single-handled-gimbal-for-dslr-and-mirrorless-cameras.html

Unfortunately, I'm not (ultimately) in that camp... As far as I can recognize it, for me all this fussing with cameras has, at the end, two - strangely and maybe interestingly - two complete opposite but convergent goals: escape from loneliness and escape to loneliness - or, better to say, creative solitude. So, cameras with their specifics for me are ultimately tools that help me to find a peace in that creative shelter with least amount of distraction. Saying that, with due respect for any camera's combination of virtues and isolated advantages, besides appropriate aesthetic image BM cameras were greatest for me because of providing me the best opportunity to forget to annoying WB set up... As much as GH5 (with help of GHa lut) is greatest for me because of, besides enough appropriate image, provides me the best possibility to forget to annoying antishaking set up. And when I said "aesthetic appropriate image", I mean, of course, to opportunity to dive as much as possible into wonderful solitude world of grading... ... and to wait for someone noble to join me in that world and break my solitude of an filming/dreaming/sleeping beauty (or, well, the pretty ugly beast).

@leslie I'm referring to clip above and its creator who entitled his work "Why I sold my P4K"... I mean, I asked not (just) for new camera from the store, but more if someone by chance saw it on some hot auction in UK. One friend of mine is there at the moment, so...

I see... so community of disappointed P4K buyers and fond lovers of previous BM color science looks pretty small or timid!

I suppose to may guess answer, but still have to check: does anybody know if somewhere in UK Pocket4K is in stock for immediately buying?

I'd say, for your usage is better to go with GH3. Far better build, battery last forever and is the same for GH4-5, clip codec and container is readable in all video editor (GH2 clips you have to convert for using in Resolve). Although, image quality from last Panasonic-made (multiaspect) sensor used in GH2 is nicer, more pleasant, more "organic," less crop (x1.86 instead x2) less sharpened with great hack variation contributions. But, all in all as workhorse tool, GH3 is more modern as multi purpose and more robust camera. Codes is also pretty solid and well matched with vintage lenses.

Nicely done and seriously looking...

Interesting different (reverse) acquisition approach

Thanks for explanation - yes, exactly.

Both lines are equally exceptional - just matter of taste and actual task which to prefer: milky and smoother Leica R's, or touch sharper and cotrastier Contax's. (And what is more interesting, their color characteristic are so deeply inner, that no matter how long I tried, for me it is impossible to achieve exactly the same character in grading process.) When I say "exceptional", I mean mostly mechanic quality and manual focusing precision. After 20 or so year, there's no rule which is better in that regard. When they were both young, I'd say that in general Leica's are tad better. But, contrary, I'd see more Contax's in well shape than Leica's. Also Contax has 60mm 1:1 macro, Leica R not, but Leica R has beautiful and not so expensive 28-70, while Contax has those exceptional and bulky push-pull zooms. Ah, indeed not to much lucky with zooms for m43 users! But, Vogitlanders for m43 IMO have traits of both character at different f values. (Some sort of m43 Cooks I'd even say.) Voigts rendering is also bit or two cleaner than Leica R and Contax which I had (you always have to calculate and age). In fact, as FF Voigtlanders are competitive both to Leica M and modern Zeiss lenses, it seems that these m43 variants have extremely successful combination of both know-how origin of competitiveness - besides it that actually the same factory Cosina products them and modern Zeiss. Of course, It's easy to understand question and worry about reselling value - but, once I understood that I'm working now, and that nothing better with tasks that I may encounter in near future doesn't need anything "better' or, to be truth, "more impressive to client" ... I choose to invest and keep those wonderful Voigts as best tools for me now. You know, lenses are more as human with character - when you find real one friend, than it's not so nice to think how to resell them later Their 0.95 for movies are better than Leicas and Zeiss 1.4 or 2 with speedbooster. People who point to 0.95 softness just don't use them correctly: there are always curvature to which have to pay attention. Their construction is well thought to achieve completely effective image at one zone of focusing. Better is impossible. Actually they are better than Leica Noctilux. I also conceived that, actually, I didn't like more optics and more complication with adapters. What people maybe often tend to forget is that - f0.95 is really T1.1 in the light gathering, but in depth of field it is not THAT uncontrolled shallow for video. So, having lenses that gather T1 and has depth of field of FF 1.8 value is fantastic and simple not existing in FF lenses world. Sigma Art's with speedbooster and some Milvus may be close - but I had also 18-35 twice and resell them because of sterile-and-oversharpening-undersmoothness in character (although unbeatable as run/gun tools), and Milvus have double price of Voigts. Furthermore, Voigts with, say, GH5 (especially with Sage's lut), mostly diminished importance of GH5s for low light, still keeping stabilization. Shortly - maybe the main point is mine decision: living in afraid and permament recalculation of reselling and re-usage regarding money values, or learn inside-out best tools for my tasks. And I think there's no dilema: Voigts and Pocket and GHx series and probably Olympus or JVC etc. - at the moment produce image so competent that approach maximum level that human eyes can perceive, nothing to say about even more importancy of content, of inner beauty and aesthetic of respectable works. The same goes with Fuji or Sony - but for reason that is needless to repeat, my choice is m43 and Voigtlanders as lenses that IMO squeeze every drop of know-how and a la cameleon exchangeable artistic qualities

Maybe I could provide some information if you are interested for something specific and comparison opinion? Namely, I had and thoroughly tested Leica R and Zeiss Contax line of 4-5 lenses as also compared them with Voigts for usage on GHx cameras. Results - gradually I sold of Leica R's and at the moment keep just Distagon 35 1.4 for the case of buying some FF camera. But, actually, I put in the market even that Distagon and have potential buyer for 850e I keep Voigts 10.5, 17.5 and 42.5 (Simply, from my experience, m43 cameras are all in all - regarding equally all aspects - today best tools for indie and fast moving film making. I'm not at all bother about future - actually, I think there will be no "future" in sense of importancy of technical progression and better tools. Similar to, say, audio equipment. Now we are horribly lacking vision, imagination, deepness and - IMO - taste. To proceed with comparison - we lack Mahler and Shostakovich and their kind of experience, not capable instruments to play and to reproduce.)

This was three days urgent task to imagine story, shot, choose music and compose with other material arround and make birthday gift for one local actress. I had just few her photos and old tv shots from facebook and our or two to shot several additional shots. So, result with wonderful Resolve 15 and by-myself-modified verses of Louis Aragon ... I'd like to see more examples and techniques, so that's maybe separate thread is not redundant? I'm going to tell you a great secret You are time Time is a woman It needs To be fawned over and bowed down to Time like a dress to be undone Time like endless tresses Combed A mirror misted and demisted by breath You are time asleep at dawn when I rise You're time like a knife across my gullet O how I am unable to tell this torment of time unpassing This torment of time halted like blood in blue vessels Far worse than desire forever unmet Than the thirst of the eye when you walk into the room And my knowing not to break the spell Far worse than feeling you a stranger Fleeing Your mind elsewhere and your heart already in a different century My God how words are heavy That's what it's all about then My love beyond pleasure my love out of reach today unattained You swat at my clock temples And if you fail to breathe I suffocate And on my flesh your step waits and comes to rest I'm going to tell you a great secret Every word On my lips is stricken with poverty, begging A trifle for your hands something glowing black below your stare And this is why I say so often that I love you For lack of a crystal clear enough of a phrase you'd place around your neck Don't mind the baseness of my language It is Plain water making that awful noise in the fire I'm going to tell you a great secret I don't know how To speak of the time you seem to be I don't know how to speak of you I make believe Like those who remain so long on the platform in the station Waving their hands after the trains have left The wrist fading out under the new weight of tears I'm going to tell you a great secret I fear you Fear what goes with you to the window in the evening The gestures you make with unsaid words I fear time rapid and slow I fear you I'm going to tell you a great secret Close the doors It's easier to die than to love That's why I take such pains to go on living My love

Resolve 15, but not so about grading, but composing - not to open separate thread, this was three days urgent task to imagine story and make birthday gift for one local actress. I had just few photos from facebook and one our to shot several additional shots. So, result with wonderful Resolve 15 and by-myself-modified verses of Louis Aragon ...

Fast work with Voigtlanders 10.5 and 17.5mm

GH5 with Voigtlanders, done very fast but I hope it turns out sympa...

Although it is obvious that you are extremely accurate, clever and experienced to find all appropriate answers, maybe it can help or be encouraging a little bit: it is very safe to buy second hand Voigtlanders - for the quality their price is, actually, IMO unbeatable. Again: for the quality. I had and tested many Zeiss's an Leica R's - m43 Voigtlanders are mechanically even better build than Zeiss lenses (same comment I got also from some old skilfull lens-repair masters), closer to Leica precision. For example, interesting and passionate review if you missed it: http://streetsmartphotos.blogspot.com/2016/05/105mm-f095-voigtlander-nokton-8-month.html Metabones speedboosters are, of course, great, but after some time, if you don't tend also to use FF lenses on FF cameras, they could become annoying - regarding existence of Voigtlanders, SLR Magic Hyperprimes and, maybe (I didn't try them, as also Sigma 16mm) newer Olympus pro primes. About Nikon 28mm f2 - it is the must to check it before buying... they easy could be different kind of "lemons" samples. 28mm f2.8 Ais is brilliant lens, but speedboosted will be f2. With base f2.8 FF lenses options are many...

I think that there's not at all anything special in general about shooting with GH5, distinctive from any other hybrid camera... For specific settings in detail you may ask or search... The same about shooting with 10bit HLG profile, once after you "normalize" footage to rec709 space. In Resolve it is possible weather using Driftwood's free "tecnical" luts while keeping common value "Davinci YRGB" in path Project settings=Color Management=Color space&Transform=Color science, or change that value to ""Davinc YRGB Color Managed' following with "Rec 2020 HLG" (somebody use 2100HLG) as Input and Timeline Color space, and Rec.709 HLG as Output Color Space in corresponding fields... Further you make grade changes as to your choice. Or you could use some of the paid Luts... it seems that most appreciated are GHa by @Sage or those by Paul Leeming (One). So, just to wish for you old good... happy shooting.