Davide DB

I tried but as a resident of France, the only day it was on in original English language, I was in Ireland.
And no way am I ever watching anything in dubbed French!
 

Are you referring to Jedi Master's thread? 
He doesn't need any of the professional features required by productions. 
Just needs a sensor to capture pretty landscapes in a slow paced chill manner on the weekends. 
That's like expecting someone to read an article before commenting on it on Facebook! Totally unrealistic expectations. 
 

This is the internet...  such things are irrelevant when arguing about technical matters!

Nine pages of comments... Who saw the movie?

I think a case can also be made for the argument, ‘Just Because’.
I’ve done it throughout my career. And life.
Sometimes…most of the time, I do things the way they need to be done, but sometimes I don’t.
I’ve shot an entire 4 days of Motorsport for a top team with Fuji X Pro2’s with a bag of primes, nothing longer than ‘85’mm.
The pro photographers at the event didn’t bat an eye wit their massive long lenses as they had no idea what I was doing which was in fact doing something the polar opposite of what they were all trying to do.
Because I could.
This whole Creator/FX3 thing is a ‘Just Because’.
And what a boring world it would be otherwise…

The cinematography of the frogs part is stunning

I’m just glad we have people now who know how to consistently test and report on how these CMOS sensors actually perform. It’s the core of every camera, yet all the other stuff they build around it gets all the attention. We’ve been bumming around with 12-bit ADC video modes and adequate LOG profiles for half a decade now, VERY little actual innovation in image pipeline with regards to color or dynamic range. 
 
I’m hopeful that with consistent reporting on each CMOS, the manufacturers will be pressured to actually innovate. A leap-frog all the way to 16-bit video ADC seems appropriate now that 12-bit has overstayed its welcome, or now that 8K sensors are showing up, perhaps a dual-ADC bayer pattern or ND Filter Array would be appropriate. 
 
This global shutter sensor is an important step, and I’m glad to see it. It indicates that they’re paying attention to demand for sensor improvements, and although it DOES still have trade-offs, they’ve set a new benchmark for hybrid cameras in the category of shutter performance. Critically, I think they learn a lot from *actually* bringing a camera to production, and hopefully the next time out, they’re sticking to global shutter, and innovating further to minimize the trade-offs. Additionally, Sony builds sensors for Panasonic, and it seems like they have some form of ~2-3yr tech swap agreement. If one comes up with something, the other seems to eventually add it into their sensors a few years later. I think Panasonic remains the leader in hybrid bodies for video users, and if they take a swing at full frame global shutter, it will be implemented really well.

You don't need the upper part, its A7siii. 

I'm pretty sure there are only 4 types of cameras:
Movie cameras: these are what they use to make movies

Big cameras, which are used by "professional photographers" or rich tourists

Cameras, which are used by normal tourists use to take photos

and phones, which are used by adults to take photos of the family:

or by millennials when they're awake and have left the house:

 
There is another type of camera though.  
When you take any camera and point it at yourself in public, you instantly turn into a narcissist and the size of the camera no longer fits into the above categories, but is an indicator of how much better you are than everyone else:

To me the camera on the ronin is a Sony and I would guess is A7s III

In the meantime, in a galaxy, far, far away...
https://ymcinema.com/2023/08/24/panasonic-develops-a-variable-built-in-electronic-nd-filter/
I don't know if the choice to go on a larger "uni-body" could help to have this feature on all lines...
I think this feature could go live on a next S1H II

If you're gonna shittify the footage this much to achive the "film" look (which is not a criticism, I actually like doing that sort of thing myself) then you don't really have to worry about what camera it's shot on.  As long as the source footage isn't a mess you'll be fine.
 

2/3 right here:

Famous Sony footnotes kicks again:
Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues.
Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

Exciting! Been waiting for a global shutter hybrid for years. Would love to have no rolling shutter and an unlimited flash sync speed. Now I just have to wait about five more years until it's available at a price point I can afford, and from Panasonic 😄

Hi there, interested in possibly purchasing an older GH camera to mess around with video and color grading for that "film" look.

Found this video shot on the GH3 with 20mm 1.7 9 years ago by Thomas Rault.

I used Resolve and Cineprint16 film emulator and I like the look. I do think it's a bit dark and the indoor scenes have too much color.http://dreamplayhouse.com/gh3/gh3grade.mov

Hey, would rather recommend to upload it to youtube or vimeo. People might be hesitant to download from a private website.:)
Also, screenshots sometimes awake interest. cheers
GH3 should grade wonderfully with its 50mbit codec. I enjoyed grading G6 and G7 footage. 709 8bit classics.:)

Look around what are people local to you shooting with? 
Most likely they're using Sony FX6 (or perhaps FX9) bodies. So just follow the herd and do the same. 
But there are pockets of local groups of people around which have gone in another direction, such as they're mainly using Canon C500mk2 for documentary / corporates / etc which have a reasonable budget. Often all it takes is just a few key leaders or production companies in that local region to go together down a certain path, and the whole local region follows them, and there isn't a single Sony camera in sight. 
However, if you are working purely for yourself / in house, then it doesn't  matter what brand or camera model you choose! 
But if you are working for others, then following what others use matters a lot. 
Had a friend who purchased the Sony FS7 right when it was released, did pretty well working with that, and he got to a point that he felt like he was "outgrowing the FS7" and had the money to buy something better. 
By this point in time the ARRI ALEXA Mini had been out for a couple of years, had proven itself, and no longer did you have crazy insane long wait list times if you wanted to buy one himself. 
But a ALEXA Mini was way outside is budget range. 
So what is the natural upgrade from a FS7? The F5/F55 are "upgrades", but are more similar than different. Definitely not what he was seeking. 
What then? He settled upon the Panasonic Varicam LT, which had recently been released (came out the year after the ARRI ALEXA Mini). He sold his Sony FS7 to raise extra funds, with his extra saved up money, he purchased a brand new Panasonic Varicam LT. (but he only got the Varicam after very extensively testing it, renting and borrowing it from others. Not just to run tests on it, but to use it on real world productions too. I worked on a couple of those productions which he shot with a Varicam LT, prior to him buying his own. He really did very very thoroughly all of his homework before settling on a new camera to buy)
Seems like a rational decision. Was the next step up in price (over double the price of a FS7) and quality from a FS7. Has much better low light performance, & much better color science than the FS7. Plus did timecode and raw better than the FS7. In a way, the Varicam LT was even "better" than the ALEXA Mini, with better slow motion, better low light, better audio, and true 4K. (only downsides being it is bigger/heavier than a Mini, and it is "not an ARRI")
Well, what seemed like a great idea on paper, in reality was one of his worst financial decisions. 
Because for the higher end jobs above the FS7 level, then usually they only want an ARRI camera. He's not landing the higher end jobs with the Varicam LT. (plus ARRI cameras are cheaper than you think, relative to the total cost of a project. It doesn't make sense for them to pinch pennies and settle for the cheaper Varicam LT)
Thus he wasn't earning any extra money due to spending almost double the FS7 amount on a new Varicam LT camera. 
But it was even worse than this, the Panasonic Varicam LT was losing him money. 
Because the bread and butter FS7 jobs were no longer hiring him as much, as they don't want to go with some weirdly different new camera, they want the tried and trusted Sony FS7 which all their other shooters use and slots perfectly into their workflow and productions. 
Owning the Panasonic Varicam LT was a lose-lose situation for him. 
Quite sad really, even though on paper the Varicam LT was undeniably a much  "better" camera than a Sony FS7 (even "better" than an ARRI ALEXA Mini in a fair few ways as well).  

I personally disagree that it was marketing, because we are in a fishbowl where we "affordable cine camera enthusiasts" are seeing saturation coverage on it. But outside of that world, hardly anyone knows that - and that would actually be Gareth's and Oren's point, that hopefully no-one would know any better. Other films don't attract press for the camera they shot on because they're shot on an Alexa or maybe a Venice, and that's not news.
There is also the fact that the film did really badly, so at best it can be seen as a failed experiment.
I think Gareth is just a guy that came up using affordable cameras and After Effects and he wanted to get back to that to some degree after getting somewhat reamed by the Disney machine on Rogue One.
It also seems like a pretty compelling story that he went on holiday to all those locations and took the FX3 with him, and he probably just really liked using the camera. Then he had a bunch of camera techs who were able to solve all the problems for him of making it usable in production for a feature of that scale.

I have both the 10-25mm and the 25-50mm, these lenses are the pinnacle of M43.
Sure, they are very sharp, not extraordinary sharp as my 35mm GM, my 50mm S Pro or even my 24-70mm S Pro, but they are among the best you can find in M43. No, what make them special, apart from their focal range is their rendering.
Their local contrast (and colors in my opinion) is crazy good, especially the 25-50mm, one of my favorite lens ever.
I also have some of the fast little primes like the 20mm f1.7 II, the 15mm f1.7 and the 25mm f1.4 II.
They are not as sharp as the PanaLeica f1.7 zooms, but, the 20mm f1.7 is tiny, produce nice colors with good global contrast, and the image has a very good sense of volume, it is why so many people love it. The focus is slow and noisy (really noisy), but accurate, and from what I've seen the G9II makes the AF almost usable (certainly usable for me).
The 15mm and the 25mm are more expensive, slightly bigger, slightly less sharp wide open (especially the 25mm f1.4 which can be nice for video), but their AF is faster. 
They have not the same sense of volume as the 20mm in my opinion but they have solid local contrast, thought not as good as the Oly 25mm f1.2 Pro by exemple.

Those are good recommendations.
For pro lenses, I currently have 12-40 pro, 17mm pro, 40-150mm Pro f/2.8.
For non-pro, I have the 9mm, 14mm, 14-42 EZ (with a killer automatic lens cap), 17mm, 25mm, 45mm, 75mm, 75-300mm. I also just picked up (in a kit) the 12-32, and 35-100 f4-5.6, but I'm not sure I'll keep them.
I want the 25mm pro 1.2 when I find it at a decent price... and I'm determined I will. It would be great with the already amazing 17mm Pro.
I have thoughts on all these lenses that I'll probably share soon. (time permitted)

If you take the example of the 20mm on Olympus, it's a train wreck in video with PDAF and C-AF (at least with Face detect). The motors will make grinding noises in all the audio (if you need it). However, it works great in S-AF as it should. The Olympus 17mm (1.8, not 2.8)or 20mm would be better options.

And so one feels like searching for the Naiads, beautiful and immortal freshwater nymphs that disturb the spirit of those who catch a glimpse of them emerging from the waters. Beliefs that embody the ambiguous feeling of fear and attraction to the waters.
So far no Naiads and Nereids but only many sticklebacks!
GH5MII and GH5S, various lens, natural light
Sound ON
 
 

Yeah, I have and use one of those: