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Using both solution for extensive period - I'd say that conclusion of this video is very arbitrary, aside from pretentious pathetic tone for my taste. For example, people all around are lamenting because of Panasonic's sharpening even at lowest sharpen-level - but in this video "sharp" details are almost exclusive criteria of judging - but Atomos power is neutralisation of NR and oversharpening. Secondly, if we compare final or OOC front-"look" just in a such way - then there'll be not difference even between well compressed 8-bit image. Real difference is in level of grading freedom - I found that Atomos file is much more solid in that sense - higher HQ profiles are so good that make necessity for raw footage very rare... but this is not the same with internal codec's result. .. It is also very flexible but not so much as Atomos result. But that is not at all tested in this video... concentration just in the OOC "look" and even at greenscreen capability don't cover all sides of usability and differences. Actually, I'm pretty indifferent - I'm very content with both solution. But, for the sake of the truth and based on my experience - test is not completely correct, i. e. without faults and too fast generalizations for the sake of - it seems to me - little bit of bombastic effect. (Not to say anything that writing on SSD is so better and cheeper in comparison to a card - but of course, this fact is not strict topic, although it is very important in decision to so "desperately" and "angry" brake Atomos.)

Thanks, I'm always for 2.39 or so... except when I'm not I mean, it depends of message and atmosphere, for this a la Lynch atmosphere I choose 4:3, maybe even full square... Here I made test shots also with new Panasonic L Monochrome D profile, I think to maybe save color just for specific trails, dreams, rare moments out of claustrophobia etc. L Monochrome D is very subtle. About camera... At the moment, I do not think about them anymore... GH5 is so well rounded instrument, as also A7III or Canon 5D III with their specific advances, I believe and Fuji, maybe Olympus EM1 II also (eventually I'll try it). But I have to admit that I'm exclusively interested for task of conveying some ideas in realm of moving images, i. e. out of my primary domain of literature - not in comparison per se between these cameras mostly very capable to achieve enough professional level of usability. So, problem for me is not anymore camera or lenses, or, even less, ideas - but to find non-professional actors, people willing to "act" articulations of their own personal shadows, which especially interested me. But I have to point out from core-"naive" experience of my sort of "guerilla production" that 10bit or raw (as also good ibis) do mean a lot in situations when I have to save imperfect shots to become at least usable. So, about @jonpais observation about hard-to-look back from FF to m43 - it seems to me that for my specific usage at least 10bit image and capable ibis (because of so often not fully controlled situations) are minimum when I have the opportunity to choose... so, obviously, from these practical reasons, for the moment I'm best settled with GH5.

Few test shots for a short movie, made during half an hour with Panasonic GH5, mostly with Voigtlander 10.5mm. Being only with slow laptop - fast editing in Hitfilm Pro, even faster grading in Davinci Resolve. (At a glance, it seems that youtube really sometimes makes wonder massacring contrast and DR

Well, then, to paraphrase (with Japanese) Hegel: "The worse for the Rotation of the Earth..."

Simply - first time it looks to me close to the quality level of your footage achieved with GH5 and Veydras (and some Olys) lenses. But IMO yet not the same. Actually, I'd really like to play with another camera, and patiently checked A7iii threads in decision to buy it, and I already have in reserve Zeiss Contax super trio - but all samples of A7iii till now look flat or so-popular-call "plasticky" in comparison with, say, your own noncomplex but great/honest for evaluation with GH5/Veydra combination... Of course, even more in comparison with some Blackmagic (which I had plenty) or Canon's (recently I made some shots with C200).

I will consider! First - for my usage at the moment and future before approaching extremely close Oscar level of ambition, I'm tired of clumsy gimbals and other instruments that make me even more like scarecrow than I really am (although it seems impossible). With UW lens and IBIS of Olympus and GH5 i achieved even side-running shots usable. If next generation of IBIS would be even better, and front-running looks the same, it will be unbelievable - only lack of imagination and bad destiny will be your enemy for moving shots. I. e. - just the same problems as in life in general... Second - Voigtlanders. That is the area I lost pretty much time - conclusion: I'm not sure that people know how small are Voigts in proportion with equally capable high-end FF lenses. And how powerful at all aspects are these lenses for video usage (heavenly mellow rendition and crystal crispness at the most important f1.6-2.4 range, ingenious balance of virtues/compromises to provide usable f0.95/T1.1 with unique formula - i. e. where sharpness is located - for every focal length, and above all - rendition again, but this time no heavenly, but submarine). Third - Blackmagic to play with raw as mighty therapy/consolation because of my total lacking of gift for painting. Four - it so funny to see how all hardcore FF dark trumpeters of inevitable m43 death occupied with comments, expectation and calculations the longest thread in history - BMPPC 4k. Six - I'm still waiting complete review of Oly Em1 mk2 by Andrew Reid. Five - I like to show that I've learned something important in this forum, so I'll be gratefully in line with @webrunner5 and say: Best drugs always come in small doze!

For me this one looks the best and most usable/relevant example for image evaluation so far... not just between yours.

Thanks for call for opinion - but, uh, it surely will not help for the case of my lovable Harlem shooter (actually, for the case of forum atmosphere) that is, as I see it, totally unguilty and fell as a victim of unhappy misunderstanding I'm glad that - in spite of my bad English, i. e. in spite of effort needed to understand my attitude/position - you, as it seems, recognize my sincere benevolence. My opinion: wholeheartedly honestly, I'm afraid that I'm totally indifferent about that and similar pseudo-fussiness in Hollywood industry. In general, I think that most of the Hollywood industry is so deeply sunken in hypocrisy and corruption, that most of the people there - especially those engaged in entertaining 'hits'' that are not matter of my knowledge and interest (I mean, not, say Inarritu-Beautifull or Quaron-Children of men, if they are Hollywood) - are so completely habituate to fakery, and so really-autistic-brainwashingly prepare to believe that nowaday problem of USA may be clown Trump or witch-dolly clown Klinton or salad-philosopher-Zizek or so-call left or right wings... that I simply cant take for serious their "problems"... Again, wholeheartedly honestly, I even don't see raison d'etre of existence of that part of movie "industry". Sorry - it may sound as idiotism, but I'm, say, closer (although far away of identical) to rude impulse of revolt presented in "Idioterne" by early von Trier, which, as I understand, you greatly respect. Or, better, I see problem of USA or some minor lastwave imperial society and consequences as nicely pictured with early diagnosis in Antonioni's Zabriskie Point, or Roeg's Walkabout or Ang Lee's The Ice Storm: Empty, hedonistic, deeply boring, out of ideas, unemphatic life that try to find miserable excitations, cheap thrills and "provocations". Being little bit curious or trying to be at least so-so objective, I tried to find some works of that mr Gunn. I simply can't call it "art". I don't think he is an "artist". (And sorry for some presentation that I really don't care about here, but just for some light of explaining - my point of view is of an novel writer with Collected works and pair of dedicated dr-degree works, who is mostly compared with (complicated and maybe boring :) works of Joyce, Hermann Broch, Robert Musil etc. So, I'm not strictly competent about "hit" industry, and, more seriously, I even don't care to be competent in entertainment hits while, say, milions of Syrian children had to survive life horor because American society has to be pumped with oil and entertainment hits for the task of keep refusing to recognize where nowaday resides truly problem of mankind: above all, infection of selfishness. But I'd say I'm enough competent to disagree with one of your sentence as apodictic statement "In the earliest dawn of civilisation the role of the artist was as a provocateur." That is deeper question: role of the artist. Between many, I chose some of the East suggestion about role or born of the art(ist) - 'When the balance of the world is disturbed, the song comes out of the throat.' Or not just from the East - it is also Hoppy Indian's idea/word that is intertwined in Reggio's Koyaanisqatsi. Personally, I think that it is not at all hard to recognize what is your point and your, at the base, completely normal reaction - yes, your impulse is right: society, especially at the hedonistic phase of its evolution (of course, we all read Oswald Spengler Decline of the West, or Ortega y Gasset's The Revolt of the Masses) has to be spurred, butted, provocated... with a purpose to find a soul instead of comfort and calculation and... entertainment because of "oblivion to the Being" (Malick/Heidegger). But, I don't see anything of beauty and mastery of, say, provocateur Oscar Wilde, or poverty of old provocateur Diogenus, in that Mr. Gutt and his shallow works. Actually, I see in mr Gutt's case just marginal fake dust of fake fight between two identical currents - it is the same old great invention of some master minds of XX century: put two (in fact identical, and) equally wrong and equally malignant political sides in front of public, and let masses vote or kill for one or for another... with identical final result. Or, as say recently late Alexey German in Hard to be a God - Problem is that after Blacks always come some Grаys... To sum up - I think, mr Reid, that your impulse is noble and worried. I think that there are much better cases than that of Mr Gutt that your noble impulse could be invested. His "jokes" was not neither provocations, neither liberations to anyone - for me, they are just exhibitionism. I think that you don't need to be involved in the side of megaexhibitionistic liberators for which ultimate level of freedom is exhibitions (tomorow it will be something "conservative" - they always change roles) Your EOSHD is much much better place and achievement than any of similar hit makers that last one popcorn season. Actually, I think that Mr Gutt's case doesn't deserve such sort of your attention. But I think that mr Kidzrevill impulse also is noble and worried. And that's the reason why I'm guilty for this long boring love-affair-letter with both of you And both of you are member of similar society, and share its similar "advantages" that nowaday are, in fact, more and more burden of confusion and tumble for sensible people - burden inside of which is very hard to make road out...

Thanks for honest admiring the reason. But what if lovable Harlem shooter was also sorry that came between you and your love affair with mr Gunn (which is - love affair - as real as mine with Harlem shooter) - but he also saw some other possible side of story so he simply thought he could say something that explore that other possible, and not ilogical aspect? Of course, it is without importance if Harlem shooter or I or anybody else will find ourselves in position of being blacklisted by decision against certain characters in your view. (Actually, I'm sure that at least some of us here were/are in situation to suffer from witch-hunting.) What I regret is that two quite founded strings of argumentation, that simply accentuated two different aspects of problem, has to be finished in a such way - because of one very loose Hollywood (so honest and uncompromising place to be part of) man/character that, as seems to me, always knew and know very well what did and do and why - with interest in purpose. In the other words - I feel that my lovable Harlem shooter is enormously closer to your thoughts, life position or orientation and actual choices than mr Gun - that doesn't deserve that honor to keep the smallest hint of holding love affair with you EDIT "Everyone can see that the lovable Harlem shooter thought I was defending the amoral content of James' jokes" - oh no, I really didn't see it... if I think it is so, I'd react differently... He explicitelly said it...

Well, mr Reid, I have to say that I also feel strongly (and totally friendly) that you are going too vehemently in this thread, and that you are deeply wrong about mr Kidzrevil - he wrote very politely and had coherent argumentation that doesn't at all deserved to be called idiotic or hostile... I'd say - it was not for any good: banishing such enthusiastic and devoted member that - as long as I participate at your forum - really never didn't offended anybody and always tried to contribute in the good spirit and idea of forum, actually making it so distinctively-charming immediate. And now so severe restriction and hard words... But for whom actually you stand in this case? You pretty correctly quoted that director with bad (quasi or actual )pedofilia jokes - who already miserable sprinkled himself with ash, proofing about kind of his character, but you find yourself in the position to regret about his miserable apology instead of himself... And even more... is he really such a proven "artist"? Are you really sure that he has to be good example what "art" is? Is he any near the rank of Bergman, Malick, Tarkovsky, even Fincher, P. T. Anderson? He works as an replaceable screw with some level of talent in entertainment industry and obeyed to its dictated rules, of course full of hypocrisy as every system is. Does he really obligate humanity so we have to sweep about his aborted entertainment contract of probably100000's $ which he probably will compensate on the other side of (always) both false front political wings? Simply, I think that this case and that man doesn't deserve you to risk vocabulary/attitude that indeed is not at all your immanent and truly inner - let alone addressing it to that mostly lovable Harlem shooter and his dreams due to which he exclusively was your guest (and good representative) here

And to sometimes or often call "idiots" or simply banish people that doesn't think about topic as we are, because we feel so strongly about it where actually is the border of free speech and silliness...

@kye I'd say - nice effort and analysis, and even nicer clear, honest and openminded enthusiasm in involving in topic, sharing views, opinions, suggestions, helping each other.... Thanks for contribution.

"kidzrevil, [an idiot] you did not contribute much interesting in over 2000 posts anyway, and it's high time for new blood to have their time in the spotlight instead. I am bored of it."

John Brawley also provide raw futage from filming this clip at - https://johnbrawley.digitalpigeon.com/shr/TYcn0FdnEeaOtAbtG5M1VQ/TLo-KG-9wyM-lkfk5geF_Q Just keep in mind that he used some pretty precious MF lenses...

If Oliver buy C200, I'd be so glad... mostly because of Mercer I don't know if some Canon's agent checks this forum, but if I'd been in Canon marketing army (and especially in 8-bit-log-4K sub unit), I would certainly hire Mercer... But contrary, in the same fantastic scenario, if I'm Mercer, I would be afraid of Panasonic's secret police fake-10bit revenge

I'm afraid it is neither joke or edgy, neither "stupid".

I don't know what was in 2014 (term similar to that tweeter messages by fired man) - so maybe Damphousse collected mistakes and made growing irritation - but judging solely on this (provocative) thread he has equally based perspective and argumentation as anybody. Obviously, you are sick of this man's behavior, attitude or posted intonation... But maybe he could say it was/is his way of joking/provoking authority... So, I can see some formal similarity between your and Disney's decision - your tolerance threshold is located at "form of (un)respect for mods including myself" for prolonged period... Disney tolerance threshold is located at, say, "form of joking (un)respect for children offended by pedophilia" for prolonged period, or so.

I like this pair of testers - so, if someone missed, here they are in action with two last Olympus Pro prime

I'd say No3 in 95% - Socialising, including soft psychotherapy... it include everything else as excuse.

I always hesitate to comment something that is so widely explored... so, as my best (and nothing special clever) I'd say that maybe the best answer is to try as much as possible solutions. It really depends of type of shots, usage, scenario, possible control over circumstances, monitoring solution, decision about AF or MF etc... Except for walking shots, I think that GH5 IBIS is safely enough for near all creative tasks if you have ultra wide lens in front (I had no it in above case – but I found that in some other occasions I had success even with running with 10mm m43 lens). Although gimbals are so popular, and with the reason, they are, of course, clumsy... I think that we have to have at least two cameras for comfortable usage of gimbal, one of which might be permanently tied with gimbal - constant putting on/off camera with balancing is not something that I enjoy. Actually, I'm in process of selling my Zhiyun Crane 2... Even if I have no prospect of usage of gears just for, say, two months, I'm selling without regret such expensive and fast-loosing-value technical adds... Who knows what will be the next... Olympus with even better Ibis? Or DJ Ronin S mini? What I find the most important is - impression that you have imagination to resolve tasks and problems in the creative way, which is power that is impossible to buy!

Thanks! I like your core concept very much - actually, I found it quite inspiring... continuous train-traveling transition and than stop to pay attention to something new and important. Filckering damage effects and vigneting are so nice incorporate in global fluidity; leaks, I'd say, in less extent but also are often adding some mysterious mood as, say, connecting flash holes in memory (?) Micro jitters are enough controlled and even contribute to effects... All in all, for my eyes and taste, I can say just: thanks and bravo, nice concept and inspiring, very consistent exercise.

Of course, Deakins has at disposal hundreds of solution for filtration and lightning. I'd say that question about, say, Milvus over older Distagons design is not so much in ''sharpness", but in "baked' initial contrast. Many DP's choose older Zeiss's Superprimes (that share base construction with Zeiss Contax's, especially from AE years) because of more sleeping latitude (some of them claim even up to 2 stops achievable DR) in noncontrasty max aperture image... Deakins may have ultimate wish to get proper image right during filming - but DP's with lesser opportunities may rather choose to save every single DR nuance for post work... But I'm sure you already know it, as also all other visitors of this forum So, just to remind.

Not idea - there are so much samples and reviews - just my own modest experience-test about actual light transmission. At the moment I have Voigts and analogue set of Zeiss Contax - Voigt 17.5 0.95 has full stop (or little bit more) advantage over Distagon 35mm f1.4 at max aperture.... but, probably more interesting I had Panaleica 42.5mm f1.2, but Voigt have little less than 2 stop advantage over it at max aperture! (I. e. Nocticron has T value around T1.8-9, Voigt T1.1)... So, if Oly 17mm f1.2 (or 42mm) has the same light transmission as Panaleica 42.5 because of extremely complex construction filled with corrective glasses - maybe it is wise to question and test again statement about lowlight performance. For my eyes and taste regarding video usage - f0.95 is not just completely usable, but very often (actually, tonight I had a session in the cellar :) and so-call "life saver". Of course, that's just me.