kye

Let's hope they still do!

I think they're separate too. Canon proves that you can have FF MILC without great video and still be successful. In a way many other companies are limiting video quality on their FF cameras and keeping video quality for their cine-lines. If you think of Panasonic as having two cine lines - the cine EVA and the GH series, then it kind of makes sense. In my mind the GH5 and P4K are completely different cameras because the GH5 has IBIS and is rock solid and the P4K doesn't have IBIS and isn't rock solid. The GH5S doesn't have IBIS but is rock solid. Of course, the P4K also has RAW/Prores, but that's not a deal-breaker for me as the 10-bit GH5 files are good enough (hell, they're great, what am I saying!). Anyway, the GH6 will be rock solid and if it had IBIS and RAW then that would be spectacular, and we haven't mentioned 8K yet.... They could even make it a hybrid where it would do up to 4K RAW and 8K in H265, that would sure be something! I think AF is a funny topic that people don't really talk about sensibly / consistently / somethingly. I've been an AF person for a long time because I wanted the camera to do it for me, and have only recently changed to MF. Dear mother do you get kick-back on these forums when you say you need AF for your shooting style... all the "they don't use it in Hollywood" " you're not a real film-maker unless you use MF" "growing up I only ate gravel" type comments all get trotted out. I think our views of AF still haven't stabilised - the same people would criticise AF reliance and then turn around and criticise the GH5 for not having good AF. If you want a good argument for not needing AF then here it is... the GH5. Hopeless as shit for AF, sells bucketloads, reputation as industry standard workhorse. By the time we get around to accepting AF (and having some consistency in our opinions) I think AI and processing power may well have solved it. Panasonic might turn out to have made the smart move by getting their AI sorted out and when it finally starts delivering the others may be years behind. Sure, Canon might focus on the face, but film-making isn't always about faces. I also think that would be great. Not only would it mean inexpensive media, huge speeds, and less internal heating, but it would be cheap and small to implement in the camera body. Anyone who has seen the size of the SD and CFast slot in the XC10 knows that those things take up quite a bit of space in a small camera body.

If you're delivering in 4K: shoot 4K and use proxies to edit with. If you're delivering in 1080 and need to crop a lot in post: shoot 4K. If you're delivering in 1080 and don't need to crop much in post: film a few test shots to compare the 4K 10-bit mode and the 1080 10-bit mode and see how the image looks to you and if it's acceptable. The 10-bit modes are one of the key advantages of the GH5 and I'd suggest that for commercial work 10-bit vs 8-bit probably makes more difference than 4K vs 1080p.

@Ehetyz @mercer My Takumar 55 1.8 arrived yesterday and I compared it to my Helios and found some interesting results. Wide open the Helios was tack sharp (ha ha) in the very centre but got crazy soft on the edges (even with the 2x crop of MFT) and the Tak was considerably softer but had the same level of sharpness / bloom / flare across the whole frame. By F4 they were getting similar, but the character of the softness was quite different. I'll do some more tests and post a little write-up in the lenses thread when I'm done. I've still got some lenses on the way.

I've recently ordered a bunch of lenses, mostly from Japan, and the main seller I bought from sends these: I don't know what chazuke is yet, but each packet has a different picture on it (this one is the fish) so it will be fun to find out. The instructions are photocopied, but they're obviously drawn by hand, which isn't something you'd get from many other countries! How about just buy the 18-35 second hand and then when/if you go full-frame just sell it again. This is a classic lens and it should hold its value relatively well, or at least won't cost much if you think of the loss as a kind of rental fee I've done this too. I wasn't sure about my 700D and for a while was wondering about Magic Lantern and so I just bought one to try, and now that I'm not really going to use it I'll probably sell it again.

True, but considering this filter adds a massive blur, I wouldn't think it would make much difference. Maybe for other filters it might matter.

Sounds like a faulty touchscreen sensing ghost touches. ...or you're haunted!! (when is Halloween again? ???)

I agree, everything has pros and cons. Just think about how every new camera release we all turn ourselves inside out because there's no perfect camera I think it also depends on what situations you shoot. Some people have control and the time to tweak things as they shoot, and there are real advantages to getting it right in-camera. Others are recording with varying levels of control or even influence on their situation, and just getting the shot might be the best they can hope for. For these people, moving light-sources or tweaking settings just isn't feasible, so adjusting things in post when the pressure is off gives them extra creative expression. My personal situation is that in shooting my family and travel videos I don't have time to fiddle around with various things. This is partly because we go where it's interesting and not where the light is good, partly because for me the holiday comes before the photography, and partly because I'm just not skilled enough to operate the camera and think about every variable all at once, which is why I rely on automatic settings for some things. I started this thread because I really like the look of the BPM filters and was using the Glow OFX plugin with Resolve (that does an ok job at this effect) and wanted to see how well I could replicate the real filters. I shared it partly because others might learn something useful, because it's nice to give back to the community, and because writing it up forces me to think clearly and critically about it so I learn more effectively by doing it. Education is one of those things where everyone wins Edit: I also really love that look during golden hour when the sun is out of frame but catches the BPM and gives a warm light-leak style rendering to part of the frame. That's also something you could model through tracking and placing the lens flare effect off screen, but light-leaks and flares is something I haven't added to my videos yet, so maybe that's something I'll explore in the future. I want to really push my videos but not to the point where the medium gets in the way of the content, if that makes sense

Yeah, it's great if you can keep compatibility between bodies but cover the range of nice features (slow-motion, recording limits, as you say) between them so you've got the right tools for the job. It's also nice if you can work out what combinations seem to work nicely together too. For example if you decided that for gimbal shots you always wanted a 50mm FOV and slow-motion then there's a chance that you could just leave that lens on the XT2. Perhaps you'd have your unmanned G7 with a wide lens, and perhaps the other one might be a longer length for tighter shots. Obviously these are just examples, but the less you have to be swapping lenses, putting cameras on and off gimbals, swapping filters and all that fiddling the better.

Reasons that adding the effect in post is better: It's free It works on all your cameras and lenses without adapters It works on all your past footage It works on all stock footage You can control the strength of it shot to shot You can control it within frame (you can have the nice skin smoothing effects on skin and not have it go nuts from a direct light-source also in frame) You can change the colour rendering like the Warm Pro Mist filters, or any other tint you care to make (even ones Tiffen doesn't offer) You can change the characteristics to emulate their other filters (Black Pro Mist is only one of the filters they offer - https://tiffen.com/diffusion/ ) You can even have hybrid effects like light sources glow green with a red outer ring around them, all adjustable to taste Real filters can have reflections under certain circumstances Reasons that adding the effect in post isn't better: It doesn't work properly if any channel is clipped It doesn't work with any light-source that isn't in the frame It isn't an exact match to the look Things that aren't good reasons for doing anything: That's how they do it in Hollywood

Looks good! How are you finding the camera?

wow.......

What bodies do you think you'll get?

Apparently there is going to be a new border that might need some coverage....

I think it's time for a GH6 rumours thread. There were a flurry of rumours in early 2015, including talk of 8K video and people were anticipating potential release dates. The New Camera made this handy-dandy diagram: They also made a couple of predictions about a couple of different possibilities on how it might happen: There's also lots more stuff in there too - http://thenewcamera.com/tag/panasonic-gh6/ We know that The GH5 got 5K video in a firmware update in late 2017, and with all the talk about 8K for the 2020 Olympics, the GH6 might be 8K. The GH5 5K mode also got H265 encoding, which due to its increased efficiency, is probably a requirement for decent 8K video. In May 2018 Personal View leaked this: https://www.personal-view.com/talks/discussion/19798/panasonic-gh6-first-rumors Then during the S1 announcements, a Panasonic rep made comments that indicated that video would continue to be lead by their GH line of cameras (I can't find the link) which helped to firm up the idea of a GH6 rather than abandoning MFT for FF, yet at least. What do you predict? What do you want? Do you care?

I think it might be time for a GH6 thread

At the time I was contemplating going for a Mid-Side configuration so I could record the isolation of a shotgun mic and the ambience of a stereo pair at the same time, so I would have needed two mics to both be powered, so it made sense from that perspective. The VMP is kind of a compromise in that sense, although having a safety track has saved by butt more than once. Actually, I've been meaning to ask you - is there an in-line attenuator that you'd recommend that only attenuates one channel? I've found that the safety track attenuation from the VMP+ isn't sufficient sometimes and I'd like it to be quieter. IIRC the VMP+ safety channel is 20dB down, so maybe something like 40dB down? I'd rather have a quiet and slightly noisier safety track than one that has clipped, so I'm willing to trade-off quality for safety on my safety track if that makes sense. If there isn't one you'd recommend then I'll have to just make one, but the DIY connectors etc tend to be bulky so a professionally made one would be nicer Either if there's a standard safety track attenuator that attenuates the already attenuated signal from the VMP+, or one that has a huge attenuation on it and I turn the VMP+ to both channels just being normal levels.

It sounds like you want to just stay with Fuji

I went to see the Nitro Funny Cars once. When they let rip it was so much louder than anything else it was like it wasn't even sound anymore but had become something different. It feels like the fabric of spacetime having the shit shaken out of it and the waves just go through you like you are a sheet of tissue paper on the surface of a lake and someone threw in a stone right next to you!

I find the logic in this thread to be very strange. People seem to think that a company should be able to make a new product without first having to design that product. How would that ever have made any sense?

Ebay is full of them.

There's a concept that I particularly like called Satisficing. The general idea is that you work out what the minimum criteria are, and then you work out how to meet that criteria in the most efficient way. Applied to equipment, it might be that you need certain resolutions, apertures, lens range, battery life, reliability, etc. You then work out what options there are and buy the cheapest / simplest / easiest one and then ignore any options that were better than the one you chose. We kind of talk a lot on here about how we love high quality images and therefore if we could all afford it we'd have an Alexa. Apart from the times when we often have criteria that rule it out (like, most of us can't afford one!) if we worked out we just needed 1080p RAW we might instead end up with a BM camera instead. Personally, I had a Canon 700D and I was dissatisfied with the sharpness (this was before I knew anything about anything) and so I decided to go 4K. I got the XC10 but ended up being dissatisfied with the images that came out of it because the lens had a very small aperture and I wanted to get more depth - the images from it just looked flat. Then I got my GH5 and some nice lenses and I love the look of it. I watch high budget films shot on Alexas / REDs / film / etc and I see the BM RAW from the P4K but the grass isn't greener for me. When I look at the footage I just want to love the images I get, and with this setup I do. There's some part of me that looked at my previous setups and said "no" and now it says "yes" and I don't feel the need to upgrade. It took a GH5 and a few nice lenses to get over that line for me (as well as me having to work out what it was that was important to me) and now I'm satisficed. I think that's a good way to think about it, and it can work for the creative elements too. There will always be a better lens, a higher DR camera, a cleaner more directional mic, a cleaner preamp, a higher bit-depth, a higher bit-rate, etc, but once you're satisficed then those things stop mattering. If you're feeling the urge to buy then work out what it is that your current equipment doesn't do for you (that you actually miss in real life, not in tests or spec sheets) and then work out what is the cheapest easiest simplest way to fix that, and stop as soon as you get there. My theory is that some of us like older lenses because they're less sharp, and when we were growing up the cinema was also less sharp, so the old lenses are triggering that nostalgia. I shoot my GH5 with the least sharpening (and soon to start using 5K open gate mode), lower bitrates, and also with softer lenses and I love the images because they kind of feel timeless to me. They feel 'right'. If I look at a 4K YT video shot with an RX100 it looks too sharp. If I look at footage from my 700D it looks too sharp and compressed, if I turn down the in-camera sharpening then it looks blurry. Therefore, there must be a middle ground somewhere in there. That middle ground is kind of my reference, and the look my setup gives me hits that middle ground and so I don't get distracted by how sharp / blurry / compressed the footage looks, and due to the DR and 10-bit it has a kind of film-look to it that also triggers nostalgia for me. To me it looks timeless. Who knows what the nostalgia will look like in 30 years time when the people in their teens now are watching over-sharpened 4K YT videos and Transformers 6 will be in their 40s and wanting to create a nostalgic look. Maybe they'll take their 12-bit RAW 8K VR goggle 360 footage and over-sharpen, then blur, and then over-sharpen again to get that digital pushed-to-breaking-point look that they fell in love to, had their first dates watching, etc.

For anyone else reading this who is looking for an external preamp and wants more features than the headphone amps as previously mentioned (I wanted a -20dB safety track), my advice would be that if you only want a single shotgun mic to just get a Rode VMP instead of mucking around with those external mic-preamps. I bought the Beachtek Dxa-Micro-Pro to use with my XC10 and Rode Video Micro and to keep the setup small and flexible. I didn't want to be buying disposable 9V batteries for it all the time (both for cost as well as environmental reasons) so I did the research and got the biggest capacity rechargeable 9V batteries, didn't know how many batteries it would use but I figured it was more than two a day so searched the earth for a 9V charger with more than two slots. I was getting battery life of sometimes only 15 minutes, sometimes more, but I didn't know if it was the Beachtek, the batteries, or the charger. I did tests and kept notes by recording time lapses with my phone that included a clock. The battery shop blamed the charger so I bought one from them and discovered it wasn't the charger. Then I found some anecdotal accounts of what the battery life was and realised that I was getting about what I should have been. What I didn't know through all this was that the battery life on this thing is abysmal, and this was even without it sending phantom power to the XLR. The Rode VMP+ gets something like 19 hours from its single rechargeable battery, and I was getting something like an hour or two. So, for my shoots I would have to have been carting around maybe half-a-dozen batteries, a large charger, and the Beachtek. In the end I just bought a VMP+ and had a smaller, lighter, simpler setup that I don't have to fuss with, and it charges over USB!

It makes a lot of sense to me. I think it also links into what inspires us as creative people. I know that when I was writing electronic music I would hear a sound and it would make me really excited to make it into a song and to add other cool sounds to it. When I look at the output of my GH5 It motivates me in a similar way because the aesthetic is what I want to create and it lifts my mood just looking at it. There are likely many story-tellers who also appreciate the aesthetic of various elements of the camera system. I would suggest that this emphasis on aesthetics is what drives some people to look at vintage lenses instead of using modern lenses that are technical superior in most cases. Some want that 'look' whereas others just want something that will capture the image accurately and get out of the way. I also think that neither has any advantage. I watched the first episode of Russian Doll on Netflix and I was hooked because it had a unique story element that really engaged me as a viewer. It could have been shot on a potato and it would still have been engaging and made me want to watch more. It's also beautifully shot, which sure helps, but it's not why I watched the entire first season in one go, only finishing at 3am. The advice of playing to your strengths is really good I think. You can be good at every element of film-making but you're not going to hit real success unless you really differentiate yourself by getting great at one thing. If you're a storyteller then tell great stories with whatever camera is easiest. If you're a painter then paint exquisite pictures.

My completely uneducated perspective is that if they needed to make it a bit deeper then they could adjust the optics to focus the lens slightly further away to compensate, but that might not be easy to accomplish? If they were trying to make an ND adapter that didn't have an optic in there then I think that's not possible.