Jrsisson

I’m stuck with Premiere as I’m always doing short term contracts and need to be able to slot in with existing teams/workflows with zero headaches.
 
Everywhere I go, Adobe is the standard. Hence I’m stuck..

They are very much a numbers company.
I look back on my Sony shoots and think exactly the same thing.
Never spent so much time fiddling with a grade as I did with Sony cameras.
Time and effort that could have gone towards other things.
What model did you go for at that time?
Funny thing is they HAD it right, with the purchase of Minolta.
The full frame Sony/Minolta A900 has absolutely FANTASTIC colour science.
It also has a very clear and responsive menu system! ?
That's pretty much how I came up with EOSHD Pro Color!!
Sony has had all our feedback for free and they thank us for it by asking us to stump up another $3500 in order to make use of it.
Magic Lantern remember didn't even have access to Canon's source code, it is trial and error reverse engineering and they still managed to implement RAW while the big manufacturers moan about not being able to do it in 2019 on their own cameras which are a fucking open box to them, and their multi-million dollar engineering teams. Instead they go running off to Atomos and fiddle with HDMI cables, promise it externally at great inconvenience and cost to users, and then spend 6 months Q/A testing while users wait wondering if it has been cancelled. I bet there are a LOT wrong with these big companies and we only are getting glimpses.

Having bought and sold quite a few different Sony’s in my life, I’m no longer tempted by their specs. Menus and ergonomics need radical improvement before I’d be tempted again.

I agree.

I have to smile a little with this challenge. My freelance kit consists of two gx80’s (same sensor as the gx800). One with the 12-32 kit lens and the other with a borrowed Olympus 45mm f1.8.
 
With them I’ve recently shot five films for Morrison’s (supermarket chain in the UK) and photographed a wedding (but with rented lenses).
 
So it would be less of a ‘challenge’ and more my usual experience lol
 
Having said that I think it’s a great idea Andrew
 
Jonathan

One of five films created for Morrison’s in the UK (supermarket chain).
 
Filmed on two GX80’s.
 
Discreet, stabilised and good enough for this job.
 
 

So terrible we have to scroll past it twice.

Olympus lens looks terrible, it has to hunt for focus without any DFD depth data 
DFD lens looks way better on my GH5S, I tried a 12/1.4 and 12-60/2.8-4 and AF was smooth.
This test looks pretty good
 
 
 

Why is everything a scandal with you?

I've had this thought for awhile now, and I've kind of held off, because...well, it's your site and you can do and say as you please.  With this and all of the BM stuff, you come across as independent, but not necessarily objective.  It kind of begs the question, what is the value of independence without objectivity?  You and others may disagree with that assessment, but that is pretty much how I read you these days.  I'm probably not alone.  As with any media being consumed, at least part of the onus is on the consumer to filter and analyze the information.

Reveling in the praise of a guy who is a known copyright violator is not a great look either.

I’ve shot quite a few paid jobs with a Panasonic LX100. But then I prefer a camera as small as possible to be discreet. I also prefer people not to realise I’m working. My clients pay for my behaviour, not so much megapixels.
What type of photography are you shooting paid work for?

I disagree. I just used a Nikon d4 on a pro job and heard not one complaint from my client.

That's great Andrew.
By the way have you heard of the Canon EOS R? I've been trying it all weekend and it's just fantastic!

I’d like to see a version of the volt for a mirrorless sized body.

I think a lot of you (all of you?) come to this thread to learn more about the camera, so I'll save my lengthy apologies for a blog post.
It's not been my finest hour, but frustration will do that to a man.

I don’t actually work for Blackmagic. It’s not my job to make you happy or smooth anything over when you have an issue with them not inviting you to an event.  
It’s not my job to pander to anyone.
I don’t answer to BMD. 
Just like you I’m an independent opinion and my opinion doesn’t reflect Blackmagic’s views.
I think you’re misunderstand why I’m here. 
Nice job on the personal attack Andrew.
JB
 

Thanks Fuji, great camera, but FF is the real game. Let's see what Panasonic brings.

So, h265, internal 10-bit, 4K 60p confirmed.
I wonder what minor detail reviewers will choose to complain about in order to overshadow it.

What are you guys filming that makes S35 so redundant? I think it's a great format, you can have smaller, lighter lenses, but still get very shallow DOF. 

Full frame is pretty special but it’s just another format.
S35mm is still king for Hollywood narratives and a lot of Hollywood DPs supposedly own Fuji as their personal cameras.
In the end, who cares? John Brawley has already proven that a S16 sensor camera can be used in 1080p ProRes on a network television show.
All of this other resolution and spec nonsense is propagated by manufacturers at an attempt to gain an extra percent of market share for their stock holders.
Pick a camera you like the image from, or the specs that get you hot under the collar and work on your craft and create.

Yeah, looks like Tech.
V-Tech to be precise

To my eyes it looks like the camera is the same shape as before but has been placed in front of some other unit? Perhaps like the Panasonic YAGH or another camera?

To my eyes it looks like the camera is the same shape as before but has been placed in front of some other unit? Perhaps like the Panasonic YAGH or another camera?

To my eyes it looks like the camera is the same shape as before but has been placed in front of some other unit? Perhaps like the Panasonic YAGH or another camera?