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Mmmbeats

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  1. A7s ii -> GH5?

    Why so?
  2. C200 - some thoughts

    If the bottom codec is an 8-bit codec that admittedly looks great, but by it's very nature is going to struggle under heavy creative grading, and the top codec is a RAW workflow that is gorgeous, but slow and cumbersome, then yes, you need a middle codec for robust 10-bit goodness, when speed and creative flexibility are both of the essence. I happen to take mellanmjölk with my cereal too.
  3. Well, as much as I admire your photography, I'm going to have to respectfully disagree with a lot of what you've said there. Everybody prefers the quality of primes. I shoot almost exclusively on them. But that's not the only consideration. When you're filming actuality that's changing fast in front of you, you just can't afford to faff around changing lenses. That's where a good quality (and yes, that does mean pricey) zoom wins out. Every time. This comes down to the shot. DoF is a storytelling tool like all others. It works best when it is used with an awareness of contrast. Shallow depth of field, after shallow depth of field, just starts to lose it's impact and meaning. Mix it up a bit in keeping with the flow of the storytelling, is my preference as both a viewer and a shooter. One thing I feel strongly is that super shallow DoF is destroying the relationship between the subject and their surroundings in a lot of short films I see online. The main thing is that you should be able to make the choice based on your own creative interpretation, not just because you've run out of exposure options. It's pretty easily demonstrable that most lenses are indeed sharper slightly stopped down (regardless of cost). Having said that, I'm generally happy to shoot wide open on most lenses despite the slight difference. Erm... that's exactly the thinking that's driving me towards the GH5s - it opens up more creative choices. His comments apply to just about any LED panel or hard light out there (apart from the massive new 4 x 4 flexlights, or the really high output lights like the 300D or whatever). Getting them to look nice and soft *and* retain a decent level of brightness is often a struggle. I actually think this will be one of the biggest benefits of the system.
  4. Is there any reliable info on whether the GH5s uses dual circuitry like the Varicam range, or if it's dual ISO is a different effect produced by the new sensor tech?
  5. I don't know if it's proper etiquette to post stuff from other forums here, so please forgive / delete as appropriate if it's not the done thing. I thought this was a really good comment by a user on DVXuser (Thomas Smet) : I'm particularly excited about points 1 and 5. I've mentioned lenses before, but I'm constantly wishing I could add more diffusion to LED lights, but until now there's been too much of a loss of output.
  6. Here something that Sean Robinson (Panasonic) said on Facebook, if it helps:
  7. I guess for me, with the whole IBIS vs low light thing - stabilisation is not a *problem* at the moment, whereas sensitivity often is. IBIS would give me an improvement in an area that I'm currently comfortable with, whereas the improved ISO performance will remove the biggest problematic limitation I currently have with my setup (and in fact, only serious drawback to using the system IMO).
  8. Can you re-link to the file please?
  9. My requirement is no focus-by-wire. My current target is the Canon 24-70 L II f/2.8. Would be great for events, workshops, etc. I currently tend to flip between the Sigma 18-35 and a longer lens (often a Samyang 85mm). I'm eager to ditch the lens changes. Monopod is all the stabilisation I need - has been working just fine up till now (not to say that IBIS wouldn't have opened up other options mind you).
  10. Which is *exactly* what I've been wishing for.
  11. “The Middle Path”: A Lumix GH5s Short

    Seems to contradict what others have stated (and I'm in no position to contribute) but this is a Samuel Bilodeau (Mystery Box) reply on that blog page:
  12. I agree that people are going totally overboard, but one thing I'd highlight is that IBIS is not really a replacement for external stabilisation, but what it does really well is eliminate micro-judder, and thereby make hand-held footage a far more viable option. There's no doubt it's a useful facility, but nothing that can't be lived without.
  13. GH5s no-IBIS alternative

    Hmmm... looks like it has a particularly cumbersome workflow. Also uses audio in to your camera - does that negate both channels?
  14. GH5s no-IBIS alternative

    This is worth discussing. I remember seeing this technology touted a few years back. If it works it might be a good pairing with the GH5s. It's potentially a much better solution than using Warp Stabiliser on its own. Any views?
  15. Usability - yes it's subjective, but having used both systems I can say that they are streets apart in terms of the ease of use of the menu buttons, function set, and general workflow. This is a general Panasonic advantage over Sony I think (I'm no fanboi, I know full well that Sony have their own advantages - but making their gear easy to use hasn't generally been one of them in my experience). Reliability - I've experienced no reliability problems with either system, but all the overheating stuff I've read about would seriously concern me if I was a potential owner. Also, I'm referencing things like battery life, which I've always found better to manage on the GH5. Portability - Real world use, the a7S is almost always going to be a bigger, heavier package because of the full-frame glass. Adaptability - there's no incentive to adapt down from FF. GH5 users adapt all kinds of lenses, all the time. Again, real world usage, the GH5 is going to be more usefully adaptable by far. a7S wins for low light (obviously). Picture quality I don't think there's much in it. I'm always happy with the results I get, and always see fantastic footage around from both systems. Sensor size is completely meaningless to me, and I don't understand why other shooters are hung up on it (bearing in mind that the GH5 produces stunning images, and can be made to shoot extremely shallow DoF if required).
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