Video Hummus

Kindly step outside sir, so we can discuss this...

Mr. Neumann has done work for Panasonic in the past promoting The GH5 and GH5S so His 100% statement is 99.99% correct. 😎 We must account for some degree of uncertainty because it is always present.

I loved the insight into the family business and it’s priorities. I know at the end of the day all corporations are there to make money but it’s refreshing to hear (and see in other interviews with Sigma) Sigma’s commitment to its employees’ wellbeing. I think in the “west” we totally disregarded workers health (physical, mental, spiritual) in the overall productivity of a company. The human factor should be on the spreadsheet too! That being said. I like the concept of the Sigma fp. I think I’m going to wait for a mk2 of it before I would think about buying one and into the L-mount ecosystem as a whole. I think we will see a growing benefit to the L-Mount alliance as time goes on. Panasonic delivering the more traditional cameras, Sigma delivering on the more “risky” style designs and ideas, and of course Leica lending its name and boutique offerings. Sigma is a very important part of the Alliance imho. I also think Sigma has a chance with a future Foveon sensor to take a stab at the cinema world with a cinema grade Foveon Cine camera that has that magic look! ISO performance isn’t a issue in the cinema world because they have the budge to control all aspects of the lighting. Would be really interesting!

I would actually save money in the long run if they decided to give us an amazing camera and charge $2000+ for it. And right now I’m not sure I even like the L-Mount cameras from Panasonic. If I was to move to another brand now it would probably be Sony. Panasonic won’t get my business if they decide to drop MFT and forgo a GH6 anyway with were the current S series camera are at. I already have amazing MFT lenses and supporting gear. I don’t mind paying a little extra for a camera with the features I want! Well that’s what naturally happens when there isn’t any information at all. 🙃

I think the IBIS on the S1 and S1H is better in part because the cameras are heavier and the weight helps a bit with that. The S5 is approaching half the weight of those cameras.

There was quite a few nice workflow additions in Final Cut Pro. Workflow refinements were long overdue. I’m glad they are working on a Final Cut Pro more. I think it’s going to be a compelling piece of software when the Apple Silicon Macs come (if your a Mac user of course). Overview:

This seems to be the new trend in 2020.

CineD did another interview with Yamane-San about the S5 and future LUMIX products. They specifically ask Yamane-San about future GH cameras and if they will be focusing more on L-mount and full frame instead. The translation I find this part of the interview strange. The otherwise great translation goes to shit. WTF does that even mean? “I will inform you but the information may be spread” - There will be some tidbits of information released? Great! “Of course, we are considering it [...]” - What are you considering? The development of the GH6? Or just that you are listening to your customers regarding GH6 wants/needs? “[...] and we look forward to seeing you there.” ‘There’ as in the eventual launch event? ‘There’ as metaphor for talking and listening to feedback?

I would wait A bit longer for news about GH6 if your invested in M43. You could always pick up a G9 if you want something now and don’t miss some the the features it’s lacking compared to GH5. I’m pretty sure a G9 with latest firmware would be a upgrade from a G85. They are $1000 new and probably $800 lightly used. If you are completely solo and don’t take pictures the A7SIII would make the most sense. I wouldn’t touch R5/R6 at the moment. Then there is always Fuji XT-4.

The single biggest reason LUMIX cameras fail in the market is because of their AF. You would think they would do everything in their power, including weird shit like ToF (which really is just a work around), to improve it. When the Sony A7IV comes out its going to eat every bodies lunch it seems on the low end. Maybe Nikon will finally get their shit together. But Sony can do this because Panasonic has no choice but to get what Sony is willing to sell them on the sensor side of things. I think the whole debate about why Panasonic just doesn’t use PDAF is settled. They are clearly being blocked in some shape or form. All the other major manufactures have a form of it but them...oh well. The Japanese camera cabal is real.

@Andrew Reid went very easy on the S5. They made lots of annoying handicaps and compromises. 30 min record limit in certain modes are a bummer. The micro HDMI is unacceptable (why is this a thing in 2020; Japanese camera cabal cripple?) Their DfD AF is still quite shit, especially compared to latest offerings from Sony and Canon (but somewhat useable in S35 4K60; see down below*) No FF 4K60 in 10-bit No All-I Second card slot is UHS-I (which makes it impossible to do dual recording in ALL-I; if they add that feature in the future) I agree with Gerald Undone on this one. This is a strange camera. If I was an S1 owner I would be perplexed. They better have a compelling firmware update for the S1 and S1H. * Since the AF performance is much improved in higher frame rates. Why the hell doesn’t Panasonic give us a NTSC 48fps FF mode? You could shoot in this mode with a 360 degree shutter. In post every other frame will be dropped cleanly (no 2.5 frames drops as in 60p -> 24). Might be worth it for NTSC shooters to shoot in PAL with the clean 25p and 50p and then use synchro-scan (does it the S5 have it) to eliminated any flickering to get that clean 50p -> 25p conversion with decent AF performance.

Large format please, 8x10 at least.

They just need to add some features that BM cameras typically have.. Internal RAW of some sort ProRes Recording Higher frame rates at higher resolutions They have decent AF (compared to BM offerings), better ergos (in my opinion), weather sealing, great battery life, better build quality, and IBIS (subjectively important). Include dual native ISO, quad-bayer sensor designs with BSI, and oversampling to control things like noise and boost lowlight performance they would have a nice camera. But right now it seems FF is where the market is hurtling towards (Sony A7C) but in all honesty Panasonic is not competing there at all in the photo or video department. Most of their traditional advantages are now in their competitors products. And sony seems to be signaling that they get the whole cellphone and DILC markets need to converge. How well they execute that plan is to be seen but at least they get it.

I like having the ability to use AF-S to quickly snap focus to something so for native I prefer the Olympus 1.2 primes. Also, the Voigtländer’ s do have a lot of purple and green fringing on highlights at 0.95. To each their own.

I find in practice it is less convenient then a screw on fixed ND. It really only make sense for lenses that you can’t screw a ND on the front of the lens.

Canon doing all this interesting stuff yet manage to fuck it up pretty much every freaking time. Listen, Canon, I’m not going to shell out 10,000, of 15,000 for a cinema camera because you left out 10-bit in this C70 or that the R5 has a recording cripple cool down...I’m just going to shrug my shoulders and look at someone else’s products...

S5’s size and features looks interesting but I would like to know more about the L-Mount lenses. The kind of stuff I do I can’t imagine myself wanting to lug a S series camera (or any FF at the moment) in my pack all day. FF camera is great in S35 mode but you honestly need S35 native mount lenses for it to make any sense against MFT, imho. If they start releasing l-mount S35 glass I think that would be a pretty big sign for another nail in the coffin for MFT.

The pants shitting continues.

For me the 12-100 f/4. Panasonic needs a constant aperture all-in one. I was hoping we would see their four thirds mount 28-35 f/2 and 35-100 f/2 be remade for MFT. Imagine if metabones made a speedbooster for four thirds to MFT. Not sure if it’s technically possible, given four thirds is 38.67mm and MFT is 19.25mm.

Screenshots of what I’m talking about:

GH5S has enough lowlight Performance for what I’ve needed it for. So If GH6 can match that but also give me 20MP+ stills, and 4K120p, 6K24p, and at least 10-bit 420 everything...I’d be ecstatic. I was very surprised when using it in a trip to Senja, Norway. Shot 8000 ISO, candlelight only, with the 12-35 f2.8 In HLG. Did de-noise in post on a few shots. If I would have had my 10-25mm f/1.7 Which is permanently attached to my camera, I could have dropped ISO from 8000 to 4000 or even 3200 which is a piece of cake for the 5S. Use a voighlander 0.95 and I’m not sure you would have problems with much of anything besides moonlight only or pitch black. Shot northern lights no problem with built-in time lapse feature. Although it was my first time and I learned a lot! Next time I will shoot a RAW sequence and assemble in post. ISO performance from the A7SIII is amazing but for me is quite niche, really.

I don’t much care for the two variants in the same model paradigm they did with the GH5 and the 5S. If they need or want to go S35 that’s fine but please don’t leave out key brand features like IBIS. And having a MFT GH6, a S35 GH6S with the S1 and now S5 doesn’t make much sense. The key technologies that must be there for sure are Dual ISO, IBIS, and Handheld HiRes composite images as they have become key LUMIX brand features and help expand the usability of MFT in areas where a smaller sensor can fall short (mostly lowlight and lack of Megapixels). Otherwise they just need to expand on a lot of features they have going like their 6K photo mode for instance.

Add in a 6K ex-teleconvert feature...killer combo.

It’s user controllable as well. A fast, high mega pixel sensor will give you just that. I don’t care about 1080p anymore. It’s a resolution I use when I have to for higher frame rates. It’s 4K capture and delivery for me always. So a sensor that can deliver 16:9 6K up to 60p (not using the entire sensor) would allow for oversampled 4K up to 60p. The higher frame rates historically used pixel-binning to achieve it. Again a higher MP count would be helpful. Hell 6K all the way for me. I think it’s the sweet spot for a video mirrorless camera because it’s flexible. Ability to go up to 8K when processed smartly with a upscaler for use on larger productions or for stock footage. Ability to go down for better 4K...and 1080p. But not to sound like I’m disagreeing. As my original post about it was exactly that...there as some many other things they could add to improve the shooting experience and workflow that are more valuable than resolution or even DPAF.

But there was an interview saying they will have a 8K camera for Olympus (now pushed to 2021) and that they were bringing the technology to cinema and then Lumix cameras. So maybe the delay of the olympics was a good thing for the LUMIX side of the development and they just decided to skip one generation and go onto the next...maybe...its a long shot. EDIT: This one. The sensor looked like a S35 so perhaps they will try with a MFT sensor first before they figure out how to scale it up to FF SH series camera.