Video Hummus

Right? I can’t wait for GH6 or a EM1.3. I just got a Weebil S gimbal. It’s great but after using it for about 30 mins I was like I can’t wait until I don’t have to use something like this. Just so much faster to translate the movements you want with your arms and hands and a good ninja walk. Im also thinking about picking up a EM5.3 for photo and for occasional video. So many people knock it and then say after using it it makes photography fun again.

Well UHS-II spec allows for 312MB/s or 2496Mbps transfer rates. Hence why the Sigma fp caps out at CinemaDNG 8-Bit UHD internal at 25p, which is around 1670Mbps. They could probably do more but there is definitely some overhead and transfer and they need at least 10-15% wiggle room for SD card inconsistencies. ProRes HQ 4K 60p requires about 1786Mbps ProRes RAW 4K 60p requires about 1680Mbps You could do ProRes RAW on a UHS-II SD card. As for the CFExpress on the S1. Probably for quickly clearing the buffer of the S1R burst shooting High MP raw images. Both cameras share everything except sensor. So it’s just easier and cheaper to have a common body for manufacturing reasons.

Of course! Sounds ridiculous right? Just swap “car” with “camera” and “engine cylinders” with “resolution” and “speed” with “frames per second” and you have essential what the RED patent is. Bayer sensors existed before RED Bayer data existed before RED. The jpeg2000 Compression existed before RED. Hence adding “two more cylinders” is the same as RED adding “Bayer compression” to existing technology and then essentially getting a patent for “cars with certain sized engine going faster than X speed (a camera recording at 4K Bayer resolution at least 23 fps). All that shit existed before except the jpeg2000 compression to Bayer data. I have no problem with that part. Putting OBVIOUS things like FPS and resolution gives RED a blanket patent on compressed BAYER data 4K and up at 23 FPS and up. Which is absolutely ridiculous. If the patent instead said 4K and up at least 23FPS using X unique algorithm implementation then that’s fine. REDs patent is a blanket patent on ANY implementation. What if I have a better algorithm that improves on jpeg2000. Nope, RED by defaults owns that space from 4K to infinity and 23 FPS to infinity. It’s complete bullshit. Ans what about stills cameras? That have been shooting compressed RAW for years before RED was even a twinkle in Jim’s eye? Suddenly they can’t shoot more than 23 FPS because they will be infringing on REDs patent NOT because they are using the same compression technology as RED but simply because they hit a arbitrary number that RED claims an patent over. It’s moronic.

Yep. Or Ferrari had the genius idea to add two more cylinders to a 6 cylinder engine and was granted a patent for “internal combustion engine with no less than 8 cylinders and a speed of at least 80kph” No other car could now go as fast as 80kph unless they had an engine with less than 8 cylinders. Its madness

Don’t worry. Panasonic has secret alien DfD AF tech. It’s just hard to wrap your head around because you have to achieve focus by defocus...yesh...Einstein didn’t get it either. This shits much harder than space time.

Well I’m not entirely surprised by this. Expect to see worse options for consumers and higher prices.

Also, compression with H.265 tends to scale better than linearly with increasing resolution. So 200Mbps in HEVC is respectable.

Ah, I see. I haven’t had any technical issues in the States with viewing Vimeo content. They also have a piss poor copyright strike system like YouTube as well.

I’m surprised people still waiting for a A7SIII. It’s pretty clear they need a bigger body to match what a S1H can do for example. Then you could argue it’s no longer and A7 series camera. The SL series is sexy indeed. Leica was smart to leverage their partnership with Panasonic on the tech side.

Is there something technically wrong with Vimeo delivery?

Thanks for sharing your hands on experience @Geoff_L. Sounds like an amazing trip. The Panasonic G9 + PL 200 f2.8 + TC is an amazing combo for Tele use and even better now that the G9 has been given an amazing buff.

Very well done Bjorn. I loved the establishing shot with the hole in the fabric and the scar. Great message too. So glad Ted wasn't more seriously injured or killed. Sometimes the worst events in our lives are the cause of the most transformative change. Was it shot all handheld?

Panasonic is well aware of EOSHD forum. This is a great firmware release for G9 owners especially and we hope to see a GH6 that redefines the mirrorless market once again.

I think 6K in 16:9 is a must given so many cameras seem to be adding it. I’m not so bullish on 8K. Would rather see a nice crisp cinematic 6K with great DR and internal ND solution.

LCD is not as high resolution / color accurate. No C4K. No 400Mbps All-I No Cine 24.00 Hz No anamorphic No shutter angle / synchro scan No focus transition feature No XLR-1 support No timecode No HDMI LUT display / record trigger No video property display layout No unlimited recording

I’m actually generally surprised they put so many video spec’d things in it. The video from DPReview looked really good too me shot in L-Log.

Thank you Panasonic for listening to your customers feedback. It’s one of the reasons I buy your cameras.

Shocking! A camera company responsive to customer feedback. Massive kudos need to be given to Panasonic here for listening and delivering on what their customers are saying. No cripple hammer here.

Damn, maybe ProRaw in the next update ? The near/far AF limiter looks very handy shooting on a gimbal or wildlife-telephoto-single-subject shooting; same with the focus peaking in AF. Ive found the AI tracking AF performance to be inferior to just single point and using the joystick. Maybe that has changed. They brought the G9 closer to the GH5 which is kind of a puzzling move ?. They seem to be unifying the entire line to do 10-bit 4:2:2 video, which is very nice to see from a camera company but further blurs the line for people who don’t know which camera to get. Maybe they do indeed have something to say about a GH6 sooner than later. Maybe spring 2020. Anyway, this is why I love Panasonic cameras. They are one of the few companies that adds value via firmware update.

The G9 for $1150 is now a better run and gun camera than the GH5 with the better IBIS and HLG (or V-LogL). Kinda disappointed GH5S didn’t get more highlight features like more recording options, higher bitrates, or new capabilities, but improved autofocus is always nice. The Near/Far AF might come in extremely clutch when using these cameras on a gimbal.

Spoken like a true spambot.

You need a Blade Runner bage under your name now or it’s not legal.

Coming from a non-expert, non-industry professional. What I notice first in a large format video is the shallow DoF in wide shots and a slightly more pronounced separation of things in the frame. But there was probably so many more variables of directors choosing an Alexa 65 over a large format film camera. When I watch a movie I would rate what it was shot on at the very bottom. In Hollywood they always go for that last 10%. I would put the size of the sensor in your camera in that 10%. Would I have enjoyed The Revenant less if it was shot on S35? No fucking way. Its the last 10% of that film. Good luck trying to put your finger on what exactly it is about large format. I think it’s a moving target.

I feel your pain.

How about this for the GH5S: 1. ProRes RAW or BRAW via HDMI to external recorder ? 2. Internal C4K 60p 10-bit 150Mbps IPB 3. Internal 10-bit or 12-bit uncompressed cDNG 1080p for shits and giggles. ? 4. Ability to have custom LUT .VLT loaded for HLG profiles 5. Linear focus and custom focus throw support for 10-25 f/1.7 when manual clutch mode 6. That nice big red recording indicator box that you have on the S1H. Would be nice. Highly unlikely. HLG kinda does it now anyway. I second this.