Video Hummus

Same. You could almost just attach it and leave it on the camera cage it’s so small.

If said this before but I think we are going to see more innovation from smaller camera companies like Z Cam here in the pro-mirrorless-cinema realm. They will offer you more bang for your buck than the bigger guys minus probably stellar support when things go wrong. As long as they can keep the quality of their products up, people will buy these simply because the big guys don’t offer them what they want for sub $3K. Only bigger production companies will want cinema lines (and support) from the bigger companies. And Id you already have all the other gear (Vmount batteries, monitor, Audio) these are incredibly cheap and will pay off quicker than having to charge rental for a $14,000 Canon cinema camera.

If Fuji continues to up their video game and listen to their customers the Fuji X-H2 could pull me away from future Panasonic MFT cameras... I love my versatile MFT mount though.

Latest firmware on G9 and Gh5s and newer Panasonic lenses has useable AF for most gimbal shots, vlogging, and run and gun stuff. You also have a built in controlled focus puller on GH line for the precision or planned out shots. Its biggest weakness is Christmas lights and shallow depth of field in my experience. Most other bigger or diffused light emitters don’t show the pulsing of the contrast AF as much. Panasonic is going to have to up their game with the S1 series if they are committing to DfD in future cameras. I always thought that with advanced dedicated AF chip (like in the S1) and some advanced motion tracking predictions that could make DfD compelling.

The future will be compressed RAW or in more exact terms Direct Bayer data compression. I wish and hope Panasonic will add ProRes RAW support via HDMI to an Atomos device to their GH5S and EVA1. It pushes closer to have ProRes 4444 but with ProRes HQ file sizes and way better compression than HQ (since it’s directly compressing Bayer data). The GH5S is a great little powerhouse of a camera. I bought it over the P4K because it’s weather sealed, more compact, and has useable AF in most situations.

I believe this is what Sony is doing with their new RAW format.

Oh yes, I would doubt it. I was hoping for new firmware release for GH5S for example or word on maybe ProRes Raw via HDMI for the S or some news about release of the 10-25 f1.7.

I hope this isn’t the only thing they have for their NAB press event.

I’m looking forward to the EM1X thoughts. It’s hard to justify that camera but it’s pretty intriguing with some of the hands on impressions I’ve watched that don’t just crack jokes about the sensor size and the size of the camera. The Panasonic S series is dead in the water because people can’t get past the autofocus. Even though they have one of the best stilla autofocus.

Grand Tour on Amazon. I watch it more for the exotic scenery, slap dash comedy, and the really well done camera work than the cars. Although they can be interesting sometimes ?

Want the ultimate DR shot? Use a slider and expose for the interior then repeat the shot with the same exact movement (this is where the slider comes in) and expose for the exterior. Combined the shots in post production, although it might appear to be "hyper" realistic to the point of looking fake because the highlight roll off in the interior won't match the exposure of the exterior and your brain will pull a massive hmmmmm.

I also think it’s a tools thing as well. Blackmagic is trying to build marketshare by releasing free tools to entice people to use their stuff. Once they start using it they might stay in the platform, thus maybe buying a BM camera in the future. It’s what Apple does with their ecosystem. Look at Davinci Resolve. It has morphed into a full feature NLE that rivals premiere in features and Final Cut in performance.

This is great for P4K owners. Will be interesting to see if Panasonic doesn’t something, anything, for their GH5S users. My guess is no.

f0 or it's trash mate.

Gerald Undone (on YouTube) has looked at this. Amazon Basic HDMI cables work just fine. They are $8. He’s tested them all with his ninja V and has seen no difference and actually finds them easier to work with than bulky twisted cables. EDIT: I see this has been posted before

GH5S firmware announcement with HDMI Raw output and some interesting new recording formats (3.7K 96fps!?) to help make the GH5S more unique from gh5 and compete with BMPC4K.

Interesting. The GH5S is about halfway in between MFT and ASP-C. I actually don’t quite understand the EVA1 in its current form. I wish Panasonic would innovate MFT and play it’s strengths in the video space. I mean the GH5 is now 2 years old and it’s still pretty unmatched in features offered in a $2000 (now $1500) mirrorless camera. If they ever released a GH camera with PDAf, I bet they would sell well.

@@yan_berthemy_photography Did you just buy this GH5?

What lens are you using and what's the f stop at and what was the ISO in that video/screenshots? Just looks like a grey, poorly lit scene with noise.

Bit rate has less affect on grading potential than the color depth and chroma subsampling. If you want to grade a look into your videos, or are shooting a lot gradients or contrasty scenes, you’ll want that 10-bit AND 4:2:2. However if you like the colors right out of the camera, like many canon people do, and don’t mind a little color banding here and there than 8 bit is fine if your not heavily grading. BUT like other people have mentioned different cameras have different compression hardware and Canon’s 480Mbps all-I isn’t necessarily the same codec quality as Panasonic’s 400 Mbps all-I. In Panasonic’s case, their 150Mbps LongGOP encoder is solid in almost any case except when motion cadence is of particularly importance (sports) or the scene has a lot of random motion (ocean waves). That’s when All-I comes in. For example I find Sony’s 8bit 100Mbps codec pretty crap compared to the 100Mbps IPB one in the GH5. I do wish however that Panasonic would release a firmware update for GH5S that would allow a rec. format that had 10bit and VFR that doesn’t cap out at 60fps. Or better yet 4K option higher than 60fps. I’d even take a 5 min record limited 96fps 4K HD wide (3840x1600). The sensor can do it! I’m not sure that is going to hurt their cinema sales. People buy cinema cameras for the ease of use and with more robust ports and battery options and monitoring solutions.

I think it’s more about hedging their bets and their brand in the market and selling their old camera tech in new bodies for as long as they can get away with it. No other camera company, other than Leica, can get away with it.

I believe there is a limitation of the latest hdmi spec that limits signals to 60fps.

Man, this is a nice camera from Panasonic with a lot of potential. I hope they get a chance to develop it more. Great IBIS, easy handling ergo, great stills and lots of video options. But it’s biggest problem is that it doesn’t have Canon/Nikon on the front of the camera. The glass is expensive, but so is Canon RF glass. If it has similar quality what’s the problem? Also, it’ll have cheaper Sigma options. I still think Sony’s new eye detect hybrid af (A9) is going to eat this things lunch though. I also think we haven’t seen the A7Siii precisely because of this camera. They wanted to see how Panasonic priced it and what software they put in it. They obviously knew what the hardware was capable of. I expect the see the A7siii priced similar or slightly higher than the S1R.

Does anyone have any hands on time with Icecam Tiny 3 Vision? https://www.icecam-gimbal.it/en/home-page-icecam-gimbal-2/ I’m looking for a small, packable gimbal with a payload in the 2.5-4kg range. I’ve seen reviews in Italian on YouTube and one of them has someone with a A7iii with a 24-700 f4 and it looks rock solid. That’s around a 2kg load.

I have some questions: 1. Is Canon basically conceding the shrinking consumer hybrid camera market in favor of their pro (cinema/sports photography) line? Everything they have released has been old, underwhelming, rehashed tech. Only thing new is the RF mount (with Pro glass at incredibly high pro prices). 2. If you want quality, uncompromised video options in a small DSLR sized package is your best bet with a company that does not have a cinema line of camera? (Hint: fujifilm) 3. Will the people who buy the RP realize they bought a 6Dmii all over again? 4. Is Canon actually really smart in not investing in a rapidly bottoming out camera market?