Video Hummus

That’s fair. I’m not advocating one way or the other. If you do that and it works, great. For people who don’t have or want to muck around with adapters this is an option.

Thanks Dave! I wonder why the colors aren’t as nice on the OMLog? Hopefully you slap the 10-25 f1.7 and share the experience. I’ve been thinking about picking up an Olympus camera. Either the new EM5 or the the next EM1. I know Olympus has had a lot of feedback on their EM1X with regards to video from their initial beta field testers. The testers see value in it as a video camera as well now. I hope they take that and run with it.

Yeah it appears Panasonic is going to really segment their product line. Photographer S1R (with limited video features) Hybrid S1 (with limited video features stock; paid upgrade for more) Videographer S1H pure video with best video features. Which isn’t a bad product line up. It’s clear what camera is better for you based on what you want to do with it. With the hybrid S1 kinda playing the budget video role as well.

I have the 350aw and have traveled quite a bit internationally with it. It fits under the seat on every international flight I was on. On smaller domestic flights it just barely fit (really depends heavily on the aircraft). With that being said, the 350 is not my favorite bag. It’s capacity seems to always just be short of space for that last thing you want to bring. It’s also not very ergonomic on long days or hikes (not sure if that matters to you). There is also no space for non camera stuff like a light pull over or anything! Ive been looking into Atlas bags. They strike a nice balance between camera storage and general storage. They might be of interest to you if you are adventuring with your gear. https://atlaspacks.com/

Could this be the long fabled camera of @Andrew Reid dreams?

Well, yes of course. That is among the fastest primes for any system. The 20-50 on GH5 not on the GH5S when shooting 16:9 or 17:9. the 10-20 1.7 will replace the 1.4 and 1.7 primes without much downside and more flexibility. 1.2 primes...eh. Maybe not. The 1.2s from Olympus are quite pleasing but also pricey. I’d still prefer the 10-25 for the flexibility. Good thing about MFT we have lots of options ?

Maybe. They know as soon as they release a have decent camera all will be forgiven and most forgotten. The bar is pretty low. 4K, no crop FF DPAF all modes, 24p. They can do it. They just don’t want to. So they will sell old tech with new name because it will sell, maybe not well, but it will.

Well the general consensus is that it is a wide zoom that can take the place of primes, like they said it would. The sharpness, distortion, and flares are extremely well controlled. It has an interesting focal range and a great aperture with pretty decent DoF for m4/3 especially at its longer focal range of 18-25. I have a GH5S so it would be a 18-45 f1.7 (dof of f3) equivalent FF lens, which really isn’t that bad. This is when shooting 16:9 or 17:9 on the sensor. Is it worth the premium over the sigma 18-35? That’s my dilemma now. The AF is good to very good when shooting 60p. Seems to be fair to good with 30p. And just OK with 24p. Geralds video didn’t even exhibit AF ? so not sure what was going on there. EDIT: I’ve decided to keep my preorder and do my own tests. I’ll post them here when I get around to it.

I think there is something wrong with his lenAF test (wonky settings, bad lens, etc...) Look at other reviews with this lens with the G9. The autofocus is great. So it leaves me scratching my head. I was going to buy but now not sure. I haven’t seen any other reviews of it with the GH5/S. Hybrid shooter at the 5:10 mark for AF. Gordan Lang’s hands on 19:00 for AF. Update: Here is one with the GH5S. It’s not s great test.

You’ll probably have them by the end of 2020. Plus a compact L-mount cinema camera from Sigma and, hopefully, something special from Panny in the S1H.

It’s called the C200. If it’s too expensive or too big then Canon doesn’t offer what you need. EOS R has 1.7x crop in 4K. If that doesn’t work for you then Canon doesn’t offer what you need. Its pretty simple. We can debate about 24p all day until the last breath out of our mouths are “No 24p” (this would make a hilarious comedy short film about canon btw ?) I really don’t care why 24p is not there or why there is a 1.7x crop on the EOS R in 4K. They are there so I move on.

So you’ll be able to type with your eyelids since all your fingers and toes will be broken?

Well, I’m going to withhold judgement until we see some final specs. You could probably fit an oversized m4/3 sensor in the MFT mount that would be closer to S35. You just would have to design new lenses that are no longer telecentric. Existing M4/3 lenses would have vignetting and would have to crop in. But at this point MFT is such a maligned (undeservedly so) format it doesn’t matter.

I hope Panasonic uses the P6K as a target to hit and surpass instead of pretend it doesn’t exist. It has a chance to be the P6K with a decent mirrorless mount.

Or just do it themselves like they did with the URSA mini G2. But then again, they want you to buy the G2.

Just don’t buy their crap cameras if video specs are important to you. Moving on.

I mean if we want to get technical probably the vast majority of video is not shot on 24p. I doubt my grandma cares or even knows what frames per second are. My wife doesn’t care. She just wants moving pictures. Every cellphone video I ever shot has been at 30/60/120p. That being said I shoot all my mirrorless at 24 and edit for a 24p timeline because it just looks better period.

RED can still sell cameras with REDCODE. ARRI can still sell cameras with ProRes, ProRes RAW or cDNG. Any manufacturer can release a camera with compressed RAW. Sigma can release the fp with cDNG and ProRes RAW internal. Blackmagic could expand BRAW. Apple is seeking to invalidate the patent. They aren't taking control of it. Then the market will settle the rest.

Yes, I think this has to do with compressed RAW on camera phones as well as ProRes RAW in the industry as a whole.If Apple wins, they win big. with compressed RAW into their cameras with no royalty fees and promote ProRes RAW in the cinema industry, which btw they have a really fast and accelerated $50,000 mac they would like to sell you! ? IF they lose, they probably pay a settlement fee and perhaps bully RED into negotiating a licensing fee to make the lawyers go away. They've done a cost analysis on this. It's interesting times!

Nikon has internal RAW. They just aren't allowed to do anything with it.

Maybe there is a camera store nearby. Best to get your hands on it and see for yourself.

I can see valid arguments on both sides of this story. It’s not like RED doesn’t have street cred in the industry.

Well, wait another 8 months and Nikon will have lowered the price to that. ? The S1 is nearing that magical $2000 mark.

Stanly is quoting the Gizmodo article ? That phrase links to your blog. See screenshot above I posted.

Looking like they Ninja edited it. I have it cached. The link clicks through to your article.