Jimmy G

7 hours ago, kye said:

>snip<

...I just sit quietly wondering what went wrong and wishing I was better at literally everything!

LOL, nicely put, methinks we're not alone on this one!

7 hours ago, kye said:

That's probably pretty easy.

Shoot a few test shots... >snip<

I'm not sure what the solutions will be for my, um, "difficult subjects" (i.e. those flowers or birds or insects, etc. for whom I'll need to give some color adjustment/fine-tuning and attention to) all the more reason for my desires to broaden my understandings of natural color and how the camera interprets it moving forward...I need a good foundation to build upon.

7 hours ago, kye said:

The final season (and one episode especially) of the show was so dark that it was difficult to follow what was going on in the show... >snip<

Ahh, thanks for the reference! 😉

__________________________

5 hours ago, MrSMW said:

But as above ONLY if there is a compelling enough reason for me to do so that makes it worthwhile as changing an entire system is a pain in the ass on so many levels, but principally familiarity.

I don't mention the option of an X-H2 lightly for those very reasons, beyond the prohibitive costs changing and/or adding another system is truly not a decision to be taken lightly. That said, should they provide some key features (i.e. great/similar codecs, internal RAW) that are of key interest to me and help me move and educate myself in the directions I'm looking to go I can see myself being willing to brave the detour for the experience.

I'm impatient and excited to work with 12-bit RAW files, Panasonic needs to deliver on this internally with the GH6...it's becoming a deal-breaker for me. The "used ninja" option I'm weighing is far from any sense of ideal or in-field practicality, it would be just to generate a whole slew of RAW test shots for me for various environments and lighting conditions for my experimentation and education, then I'd sell that crap off ASAP. Camera, lens and shoe-mic only for my journeys, Panasonic. Let's rock this town! :)

2 hours ago, mercer said:

If you're looking for color accuracy, you'd probably be better off looking at a Sony camera and use one of their picture profiles. Their neutral profile always seemed pretty accurate and allowed a little wiggle room to adjust contrast and saturation to taste.

Or maybe grab a camcorder. I feel a lot of people would be better off with a camcorder for video than mucking around with Log profiles in photo cameras.

Well, I "did" Sony with their a7R, a7SII and a6300, which covered my FF and crop needs quite nicely with the added bonus of the a7SII opening my eyes to what the creative possibilities and capture possibilities were now available with high-ISO for low-light shooting environments. My love affair with their cameras was short lived, however, as I was not a fan of their bluish cast in daylight conditions and, most importantly, their poor (for me) ergonomics...I truly did not like how they handled (as in, they never felt intuitive) nor how their menu system was implemented (er, slapped together).

As for camcorders...they were, once-upon-a-time, the natural evolution for me after years of shooting Super8 (Canon A1 Hi-8mm, and various Sony camcorder models culminating with the 3-CCD VX2000) until the 5DII arrived on the scene. Until then a shooting day became the hard choice between stills or video but not both, I was never ever going to lug two completely different setups into the field. The 5DII changed all that, one could now do both stills and video and my days of camcorders was officially over.

From my journey through Canon to Sony to Panasonic I feel as though I have arrived home, they get most of what is important to me right. My FZ1000 (my toe-dip into Panasonic a few years back) and 2x S1's have become invisible appendages to me in the field, when I raise the camera to my eye I can nimbly adapt any setting change I require without fuss or having to give much, if any, thought. That's gold to me. That and I simply love the files it produces, whether stills or video...if I "got it right in camera" or "close" I find my time with post processing is minimal, limited mostly only to exposure tweaks without much concern for any color tweaking. And that's gold to me, too. I look forward to shooting with their gear...a feeling that Sony never fostered for me.

Methinks the GH6 will eventually turn out to be more than the "cat's meow" for me for my crop sensor needs...well, once I get over being P.O.ed at Panasonic over the whole "making me spend for CFExpress for my S1's for no damn good reason"! LOL

In the meantime I'll wait to see what the new Fuji cropper (X-H2?) brings to the table. ;)

1 hour ago, kye said:

whenever someone important (other than the Director) starts yelling at you incoherently about the colour being completely screwed, arrange to have them visit your studio and show them what it looks like on your reference display and make sure to explain in great detail how expensive and calibrated everything is

Well, being both the director and client I guess I've streamlined my color-grading pipeline immensely! Ha!

But, to my "violet" problem (and akin)...that I can reproduce an output that closely resembles (dare I say, matches?!) an actual sample of that same flower in hand I'll feel that I've come a long ways towards a sense of (what I refer to as, ahem) color accuracy.

:)

P.S. I've never watched a single episode of GoT, so the reference is lost on me.

56 minutes ago, hyalinejim said:

This is interesting. Do you remember the source for that? Did they go so far as to say that the colour reproduction of the GH6 in VLog is very similar to the S series cameras?

<<

The LUMIX GH6 offers the renowned colorimetry of the VariCam line of cinema cameras and uses their V-LOG picture profile and wider V-Gamut. For monitoring your work and to see an image that is no longer in LOG, the GH6 includes the V709 LUT (Look Up Table) with Rec.709 standard in the camera by default, this LUT can be output over HDMI or to the cameras monitors or both. It is possible to install your own LUT’s into the GH6 and access them from the V-Log View Assist menu. For users of the Varicam and EVA1 the GH6 can support LUT’s in their .vlt format, and for users of other camera systems we also support the .cube format.

>>

From Panasonic's GH6 Press Release here...

The LUMIX GH6, a Compact Next-generation Mirrorless Camera Featuring Unlimited C4K/60p in 4:2:2 10-bit, 5.7K/60p in 10-bit and 4K 120p HFR / FHD Maximum 300fps VFR Video Recording | Panasonic North America - United States

https://info.panasonic.com/news/lumix-gh6-compact-next-generation-mirrorless-camera-featuring-unlimited-c4k60p-422-10-bit-57k60p-10

And these were the Panasonic VariCam LUTS to which I was referring...

VARICAM LUT LIBRARY | Support | Cinema Camera Global | Panasonic

https://pro-av.panasonic.net/en/cinema_camera_varicam_eva/support/lut/index.html

2 hours ago, webrunner5 said:

I follow jonpais on my email, not a big fan of his attitude overall but he seems to be pretty good with the HDR stuff and it looks like it is a Very expensive way to go. Not counting hard to edit on and on.

 The only thing I have that does HDR is my iPhone, and I don't use it much because of the damn Dolby Vision thing. I hate this crap with so many different standards. Drives me crazy. But I have a BenQ 32" 4K monitor I can see it on, probably not that good to edit HDR with though, unless you buy a super high end monitor.

Funny you mentioning Jon, I've been following his own HDR explorations and experiments over at his Deajeon Chronicles web pages...

HDR – The Daejeon Chronicles

https://daejeonchronicles.com/category/hdr/

...seems, like many of us, he's trying to sort through the changing landscape from 100-nit SDR to 1000(and beyond)-nit HDR.

I agree, the various standards (Dolby, ACES, HDR1000, or even just going home-brewed as many seem to be doing, etc.) gives one good reason to pause and try and figure out the best path forward. These are not inexpensive choices even at the Indie, Wedding, Boutique, and (cough) Prosumer levels, etc. and methinks we're all looking for a sensible and affordable pathway forward for ourselves.

Say what folks may about iPhone with Dolby Vision, in its own way it is helping folks visualize where and how both the increased DR and luminance will look and help better the understanding of "what it is" and "what it offers" from both the creation and consumption sides of things. These truly are exciting times for those wading into the mix!

From my studies and observations of the current use of the technology it seems as though 1000-nit DCI-P3 is where things are currently settling for home distribution and consumption. And that, depending on how important it is for the creator to see their grading choices being fully (or as nearly fully) seen accurately with their consumers will fuel their choices (decisions) per Dolby Vision vs ACES vs home-brew, etc..

It seems to me that if color accuracy is mission-critical for one's client (or one's personal standards) then finding the appropriate end-to-end solution will require more thoughtful decision making for one's gear investments. While I do not have to work with corporate branding folks or particular wedding clients for whom color accuracy might/will be paramount, I do run into enough color inconsistency with gear for my outdoor shooting that I would very much like to improve upon. I can't tell you how bad many camera sensors I've encountered when challenged with this seemingly innocuous target...

violet flower at DuckDuckGo

https://duckduckgo.com/?q=violet+flower&t=h_&iax=images&ia=images

...hint: those images are mostly all wrong! Ha! Color is not a minor or inconsequential thing for this user.

That said, I am very pleased with how my S1 handles the majority of color situations for my needs, and I am greatly encourage to hear from Panasonic that the color coming out of the GH6 will be able to use the very same V-LOG LUTS as the S1, S1H..."Thank you!" Panasonic engineers for getting that new MFT sensor to perform so closely with your FF sensor!

My goals for this year are to learn how to shoot and grade for 1000-nit DCI-P3, so, for me, getting accustomed to and familiar and comfortable with the wider DR and increased luminance and color information will likely be the biggest areas for that education. 🙂

19 hours ago, webrunner5 said:

You had better buy a used Ninja V now before everyone else does!  😬

I'm truly not concerned about availability, seems these are fairly easy to locate used.

18 hours ago, PannySVHS said:

@Jimmy G My two cents:) Dont buy a Ninja V. Your S1 does good enough without it.

So either keep the S! and save your money or sell it and get a GH6. Like I said, my two cents. 🙂

Or keep the mighty S1, still buy a GH6 and compare the two.:)

True that, the S1's output both for stills and video is much more than "good enough" for my nature/wildlife/birding needs.

Where I'm at right now is a restlessness to improve upon what I'm doing right now, whether it be through weening myself off of the Rec.709 output workflow (and moving into DCI-P3 via HDR Rec.2020 for an HDR1000 target) or finally providing myself with a crop-sensor companion (that compliments the S1) for those shooting outings where it becomes the better tool than the FF sensor. (For my needs the 5DII/7D, then a7r/a7sII/a6300 combos covered my needs, so I've been, er, "circling the airport" the past couple of years trying to answer "S1/? combo" for myself.) Trust me, both of your recommendations have been bouncing around in my head for some time now! LOL

As for the GH6, it is most certainly providing users with a robust (and compelling) feature set in regards to its video output capabilities straight-out-of-the-box, the wealth of 10-bit All-I and ProResHQ options has my serious attention!

Internal RAW needs to be a priority here for team Panasonic, their competition is now making it a "thing" and it is (and will be) the deal-breaking, er, "killer app" for those of us who require dongle-free simplicity and stealth...especially as the GH6 ages through its life cycle.

FWIW, I've already let Panasonic dangle (and entice me into a purchase with the possibilities/potentials of) an internal high-speed bus and XQD/CFExpress slot with my S1's and then not deliver on those possibilities and potentials even with some token and/or heat-time-limited ProRes or RAW recording options. So that, um, "failure to deliver" has now become a factor in my decision-making and a part of me is now loathe to volunteer myself again as a full-MSRP early-adopter for them again with this new release.

"Fool me once, shame on you...fool me twice, shame on me" and all that.

Either choice (i.e. learning how to shoot for and process for HDR1000 with RAW with a ninja and my S1's, or having more pixels-per-duck and 300fps and ProRes HQ and learning how to target HDR1000 at more than thrice the price with a GH6) exciting times ahead with where I can take my learning! 🙂

Oh my, busy morning for GH6 news...U.S. shipping dates for body and kits announced for March 15...

Hrmm, grab a used Ninja V to start farting around with ProRes Raw for my S1's or just shoot my camera budget for the year and start farting around with ProRes HQ with this... 😕

DC-GH6 User Manuals for various languages and countries around the world here...

DC-GH6 Operating Instructions

https://av.jpn.support.panasonic.com/support/dsc/oi/GH6/index.html

User manuals (English full, English Quick Start Guide and French full) now up in UK...

DC-GH6

https://support-uk.panasonic.eu/app/products/detail/p/28412

19 hours ago, kye said:

The bitrates are available from most reviews of the camera, this one from newsshooter.com is pretty comprehensive, and for the higher frame rates I just multiply the bitrate by 24 and divide by the frame rate to get the effective bitrate that the viewer will see when the footage is played back at 24p.

Well, egg on my face, I missed the whole "conforming to 24P" thing on my first read, thanks for the clarification...sometimes this "old boy" needs a smack on the back of the head! LOL

19 hours ago, kye said:

In reality a slow-motion shot taken at 200Mbps / 240p won't have exactly the same image quality as a 20Mbps 24p file would have because the subject matter doesn't move nearly as much from frame to frame in the 240p one, but like anything it will be subject specific.  50Mbps is a good amount of bitrate for recording an interview mid-shot with a blurry background as not that much will be moving, but it's no-where near enough if you're recording trees and snow during a blizzard.

 Thanks for bringing this point up, as well, I'm thrilled to see Panasonic address this issue (in part) with some of the higher bit rates on the GH6 for all of the reasons you state. Learning to recognize which scenes will suffice with "good enough" and which scenes will require a, er, "heavier hammer" is an individual process, and it will be nice to finally see what ALL-I brings to the table for my needs as it's been something sorely lacking on my S1's. (Tap, tap, tap, Panasonic, if you're listening, this might be something you could finally provide for for my S1's expensive CFExpress cards? Maybe toss in a little of that "GH6 ProRes goodness" while you're at it?! Ha! The poor cards have been sitting idly by in their slots for the past few years wondering why I bought them. LOL >cough< Firmware update?!)

12 hours ago, kye said:

In terms of the GH6, I don't care about HDR delivery - it's about capturing the scene as it exists.  The output format doesn't matter if I can't do that at the point of capture.

Well, as more and more content is being consumed will continue to be consumed on HDR devices (like OLED, QLD, smartphones and computers) I'm surprised at this response. My read on deliverables is that SDR has not only been "shown the door", it is being gingerly escorted out. It's why I began to shoot 10-bit with my S1's and have been an online hound-dog for internal 12-bit. As I mentioned to a (well-known) Panasonic rep at PDN Expo back in 2018 why I wanted this in their cameras, "just because I can't see it now (in the SDR realm) doesn't mean I won't be able to see it when 10- and 12-bit monitoring and consumption become the norm in a few years, I don't have the luxury of hopping in a time machine to go back and "refilm that solar eclipse" or "eagle snatching that fish" in 10- or 12-bit. However, if I shoot that today for HDR I can always come back in the future to make it shine!"

As the saying goes, "skate to where the puck is going to be".

On 3/4/2022 at 1:28 AM, kye said:

The GH6 has 4K60 at up to 600Mbps (SD card) or 800Mbps (CFexpress type B) - an effective bitrate of 320Mbps, and in 1080p240 800Mbps which is an effective bitrate of 80Mbps.  

Hi kye...a little help here, where are you getting this information?

17 hours ago, webrunner5 said:

I bought my Resolve Studio 17 for $145.00 on ebay. Lots of people sell them when they buy the Blackmagic.controller. It's just a credit card looking thing now you get.

OT (apologies, Kye)

I suspect using Resolve Studio might be my easiest path forward for access to a CIE Chromaticity scope until the kind folks at Apple understand the importance of visualizing one's chromaticity spaces rather than rely on such functions as (oh, say) poorly documented broadcast-safe overlay filters (I will continue to look into whether an FCP plugin might be available for this). It's important (well, to me) to know where my out-of-gamut acquisition RGB colors are falling to better inform my decisions on what I can or should be doing about it with a grade...perhaps I'm over-thinking it at this point in time but I'm trying to build a working knowledge of what exactly is going on with color space chromaticity and dynamic range (real nerdy stuff, ha!).

To your ebay suggestion, thanks, I was unaware that folks were selling their unneeded/duplicate licenses like that...my Resolve license solution was to buy their Speed Editor and get the activation card free. All "down the road" stuff for me as I'm already dropping too many potatoes off my plate! LOL

We return you to our regularly scheduled broadcast...

49 minutes ago, webrunner5 said:

Once you get spoiled with 12bit Raw files there is no going back LOL. 😬 Once you get the hang of editing them it is pretty easy to do, especially in Studio Resolve.

I'm excited and looking forward to it! I've been cutting my teeth on FCP but I haven't ruled out having another NLE at my disposal along the way. Of particular interest to me are the video scopes in Resolve, as demonstrated by professional colorist Darren Mostyn here...

How to use resolve SCOPES - In-depth with a Pro Colourist - YouTube

...I'd wet myself to have that CIE Chromaticity scope in Final Cut! Ha! Truly helps one see where their colors are in relation to the gamuts they shot in and the one's they are targeting for, super useful. Too bad it's only in the paid version of Resolve! Hmm, maybe someone knows of a plugin?

Hi Kye, wow, what an in-depth look into this camera...methinks you're very interested to the point of becoming a future owner?! 😉

I'll reserve my points to "output quality" as each of the internal mechanical aspects and features of the camera will appeal (or not) differently to individual users.

To that end, you've covered quite nicely (and better than I have been able to do) the need for wider dynamic range when shooting outdoor environments...the f/stop range on a typical sunny day is just too much for 8-bit Rec709 to contend with for those of us who need/desire/require that the sum of our frame includes everything from the brightest clouds and specular highlights to the detail and vibrancy going on in the shaded regions. Our eyes capture all of that and I have never been ashamed to ask for and seek out equipment that gets me closer to being able to capture that same natural view. I laugh every time I hear/read someone say that this is niche...no more niche than what I came to expect from my old love, Kodachrome 25! LOL

Getting to understand how HDR and 10-,12- (14-, and 16-) bit imaging can help "get me there" has been a challenge up to now...hard for any of us to realize the benefits of these things when viewed on SDR monitors! Ha! Enter my new M1 Max Macbook Pro with its HDR panel, I've devoted this year to finally educating myself on what is possible (and desirable) with the 10-bit footage I've been accumulating with my S1 for the past few years...in fact, I've decided to hunt down a used Ninja V just so I can become familiar with using 12-bit ProRes RAW at learning what it might and might not be "most practical for" for my style of nature shooting. Clearly, not every situation calls for such bit-depth or, even, DR and learning those lessons through shooting will help educate and inform me as to when varying codec choices are called for...all the more reason for my wanting it all internal to the camera (GH6 and future releases), call up a Custom setting and off one goes, er, shoots, no fuss no muss (f*** external recorders, really, I mean that from the bottom of my heart, Panasonic).

Anyhoo, I thought this article and the accompanying two videos would be of particular interest to you (and to all our fellow folks trying figure out the whens and whys and needs for HDR and high bit-depth)...a two-part interview with Kevin Shaw, CSI and founder of the International Colorist Academy (ICA), where he demonstrates where and how the benefits of HDR acquisition come into play...

Is 2022 the Year You Buy Into HDR? - Frame.io Insider

https://blog.frame.io/2022/01/17/hdr-in-2022/

...a college-level education from someone who knows. 😉

On 3/2/2022 at 3:19 PM, sanveer said:

At 27:45, he mentions 16-bit RAW. Which me6snd that the signal strength (can be further widened and?) can help with exposure latitude making it as good (if better than) RAW codecs on larger cameras. Though he mentions that it's for photo (for now?). Maybe, if it does external 16-bit RAW, that would be superb. Also, I hope Panasonic releases a much thinner version of that awful looking Yagn, for real-time compressions into an external RAW recorder (SSD) at 1:3 to 1:18, thereby circumventing that RED patent and also having a recorded for quicker turnaround. 

 

Thanks for that panel discussion link, truly informative!

The section that I most wanted answered was regarding whether or not the USB-C port will be able to provide both power and data transfer (e.g. power the unit while recording RAW to an SSD) simultaneously? At the 55:50 mark Panasonic's Matt Fraser goes to check it out with the camera he has but the subject never gets revisited in the video.

If it does turn out to be functional/possible then I would hope that either Panasonic or some 3rd-party folks might also be working on some sort of SSD/battery combo device to fill that need and provide for that functionality? Maybe something in a battery grip design with a short USB-C cable that will both record-from and power-the-unit at the same time?!

To muse further...had they added an HDR rear display (ala Atomos, BlackMagic, etc.), it would then have negated the need for a cumbersome Ninja or VideoAssist for monitoring (?), would make for a tidy and stealthy package for us folks who like-to and need-to travel as light as possible!

____________________________

Regardless of my hopeful ramblings...the camera is shaping up to be a 10-bit internal recording beast, it will be nice to stretch my creative impulses with locational natural-lighting possibilities with the extra DR and bit-depth and see how it helps out in those brutal imaging and lighting environments outdoors (i.e shooting into the sun or against excessive specular highlights, etc.). Fingers still crossed on the whole internal RAW thing (ala Nikon, Canon, etc.) coming to be for this camera. 🙂

On 3/1/2022 at 10:46 PM, hyalinejim said:

From official specs it looks like 100 is base ISO for regular profiles:

[Normal]
Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800
Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800

[V-Log]
Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800
Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

[Hybrid Log Gamma]
Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800
Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800
 

Good to have that confirmation of what CineD had been reporting...

...and addresses Kye's previous questions...

On 3/1/2022 at 8:36 AM, kye said:

This is where I get confused - there are actually 4 base-ISO settings aren't there?

V-Log with DR boost and without, and non-V-Log profiles with DR boost and without.  I thought that the ISO 250 was the Base ISO for non-Vlog profiles, and the 2000 was for V-Log and DR boost?

...good to know for sure...thanks! 🙂

8 hours ago, kye said:

I'll be curious to see what the math is like for shooting at, say, f0.95 in bright sun, at ISO2000 for high DR mode, and what that equates to in an exposure time.

The kind folks at CineD report (from their testing) that the two base ISOs for the GH6 are 250 and 2000. The difference between those values is, conveniently (i.e. no fractions), 3-stops (250>500>1000>2000). So I would think the easiest field practice would be to dial in one's exposure settings at ISO 250, slap on a 3-stop ND, and up the ISO to 2000 to put the camera in wide dynamic range mode. No math worries there. 🙂

Of course, a camera using Panasonic's own organic sensor with its reported built-in voltage-controlled variable-ND that maybe-will automatically-compensate the internal-ND for ISO-changes to maintain-EV-settings would be super...but >cough< they decided not to put that sensor in this camera. 😉 Maybe they're planning something "truly big" for the Lumix 30th anniversary in 2031?! Ha!

Just a few random thoughts from a current (and I know some will find hard to believe, happy) Panasonic customer, me...

Hrmm...no organic sensor equals no global shutter equals no voltage controlled internal variable ND filtering equals no 15-plus stops DR. Sorry Panasonic, you've had nearly 10-years to get that sensor technology out of the garage workshop and into an actual product, in the politest of terms, kindly stop talking about it in your press releases. FWIW, if Apple took that long from announcing their M1 chip technology from development to purchasable products their user base and investors would have been howling at how slow and ineffectual they were as a tech company, the same holds true for AMD and their Ryzen tech. You get no free pass here, nor any sympathies from me.

FWIW, you burned me as an early adopter of your S1 cameras (I own 2) with my having to pay for both the CFExpress/XQD slot and the expensive cards to fill them for which you never provided any functionality which would ever require those bit rates. As a result I will not be an early adopter for you with this release.

On the plus side, your finally making it possible to record audio at 240fps is welcome and long-overdue addition (something that has long existed in my iPhone8+, as I mentioned to one of your reps several years ago at PDN Expo when the GH5S could not do so) and it will find use for my nature/wildlife/birding needs. Also the announced internal 10-bit ALL-I and ProRes recording will be most welcome, however, internal ProRes RAW is a must-need to any purchase decision, internal RAW being a "thing" now amongst your competitors.

Now, a 10K downsampled 8K S1 Mark II with a No-OLPF organic sensor and S1H flippy screen and a powered Mark II DMW-MS2 mic would solve all of the above and, in fact, would negate any need for lugging around an MFT body for a lone wildlife life shooter like myself. So, um, let's see what you can do...a 10th anniversary celebration of the organic sensor announcement might be a good time.

Disclaimer: I am a happy S1 user and I also funded a G9, lots of PL glass and 2- FZ1000's for my sweetie and I to enjoy, we love what you've done with that level of CMOS imaging capabilities-turned-user-friendly-cameras, truly. However, It's long past time that you moved on with your promised technology.

All of the above (meant to inspire and shame simultaneously), IMHO.

Jimmy G 🙂

5 hours ago, Mmmbeats said:

I hear you.

Funny enough he's not the only one doing it.  I've seen someone else promoting their own live dissection of the event online too.  Not official though, I think they've just taken it upon themselves.

It's a very meta world now don't you know?  You might just have to get used to it 😉.  

If you're talking about the launch event watch party, yeah I saw a link for that on YT...maybe our host should have considered such a thing here...oh yeah, NDA and all, maybe not a good idea...mighta been fun!

Where a bucket on my head?! LOL

3 hours ago, Mmmbeats said:

Why's it odd?  Not my cup of tea, but i imagine some people might find the official launch a bit dry and impenetrable, so he's thrust in front to make it a bit more lively and palatable.  Makes sense to me. 

"Say, uh, boss...the board was thinking that that maybe your delivery is a bit slow...y'know, kinda makes peoples eyes a bit heavy...nothing, um, personal, but, maybe how about we let Griffin make the presentation to the Americans...y'know, spice it up a bit?...whaddaya think?" And here I was thinking maybe the official version might not be in English?

"Odd" as in, new one by me.

1 hour ago, Django said:

FYI Andrew has a GH6 in-hand but like others is silenced by NDA until official camera launch tomorrow..

Now you tell us?! Heck, I've been carrying on about organic sensors for weeks now and the whole time Andrew has been letting me hang myself? LOL

I thought this odd...

LUMIX GH6 Launch Event + Griffin's Live Commentary - YouTube

...a Lumix "brand ambassador" doing a live, blow-by-blow simulcast during the official announcement? Thoughts?

Disclaimer: I have zero affiliation with either Panasonic or Mr. Hammond, link posted for informational usage only.

2 hours ago, John Matthews said:

Mike Lane is a wildlife photography who has some interesting thoughts regarding photography with long lenses and image quality.

 

It will be interesting to see his follow-up video next week with the viewer's voting results, thanks for posting that link!

19 hours ago, webrunner5 said:

Well I have a Lot of experience of riding around Naples late at night in a Fiat 500 taxi, and you will notice the one in the picture has no mirror and that is for good reason, they would not have fit in the street going 65 kilometers or more at night with their lights off. Even drunk it was some damn scary stuff I tell you.

OT - Oh my! Seeing that 500 made me laugh! LOL After filming the 7-second annular eclipse across the water from Clemson University back in '84 my brother and I barnstormed and hot-dogged our way through the Smoky Mountains in his "Fix It Again, Tony" 500 on our ride home! Talk about a youthful sense of personal indestructibility! Ahahahah!

1 hour ago, androidlad said:

GH6 will use single exposure dual gain HDR:

Well, I'm always reluctant to take early specs and speculations to heart, relying on a video blogger's "leak" and created (unsourced) simplistic graphical representation is (along with any other information being provided) guesswork, at best. Hopefully, Panasonic will be tooting their own horn with some technical background information or white paper with this camera's release. Fingers crossed on them doing so, until then I'll file the above image in my "if it can be believed" drawer.

In the meantime, I'll be chewing on some popcorn hoping that Panasonic finally releases the dual-gain technology they've actually been working on for a long, long time...

Image Sensors World: Panasonic 123dB WDR Organic Sensor

http://image-sensors-world.blogspot.com/2016/02/panasonic-123db-wdr-organic-sensor.html