Davide DB

180 Mbs HEVC, 5.3K 60p, 10bit color, wide gamut, but all transformed to 8bit REC709. This was mainly a test of some guy's LUT to see the colors.
Do you SEE mush? Does this LOOK bit-starved, even though it has gone through YouTube compression (another high efficiency codec) at a much lower bitrate? And, the video was cropped in camera to reduce fisheye distortion.
I think there are people who are not up to date on what modern codecs/processors can do, perhaps because they have not used any newer cameras they comment on. They rest on their decades-old film school habits. Now they just read or, in some cases, misread selective specs (bitrates). 
Yes, bitrate matters, but so does the codec. Which is not news to just about anyone, just about anyone.
I have shot the highest bitrate real RAW video, and I find it hard to distinguish the quality from much, much lower bitrate H265 video, recorded in the latest cameras, at least in terms of resolution (lack of mush).
Codecs, codecs, codecs. And processors that can execute them, all advanced enormously in the last few years. Everyone needs to keep up.
And, no, the Hero11 video quality is not as good as the latest ARRI. But it's not chopped liver either.
 
 
 

No less you two when you don't personally attack each other...
...and there's room for this superior fresh irony which is unbeatable, really, when happens BTW, great one, kye! Had a good laugh here! LOL
 
Join those like me then... who follow @markr041's videos from the most recent camera releases, who else among us lately?
 
- EAG :- )
 
PS: This forum is one of the surviving places on web today, so let's give it the due credit and take care of each other, we'd all lose it without each one of us...

I will say (about to play my bragpipes here) that seeing Oppenheimer in 70mm IMAX at the Chinese Theatre in downtown Hollywood — the largest traditional IMAX screen in the world — was truly mindblowing; the sound mix was beautiful, no problems hearing the dialogue at all. 

I'll have to catch in a regular cinema and see how much worse it is in comparison. Huge improvement over Tenet though, which was so loud it actually hurt my ears, and I couldn't understand the majority of dialogue. Although, let's be honest, even with crystal clear mixing and subtitles, that plot is still completely unintelligible anyway. 

I thought Barbie was pretty bad though. Beautiful production design, solid performances, but a lot of jokes that didn't land at all, and a didactic, preachy mess of a script in my opinion. Fun weekend at the movies all around though, regardless of which one you saw. Definitely felt like "movies were back." Hope it stays that way! 

Had a quick go at the Z8 the other day. Shot some 8K ProRes test footage with a vintage Nikkor AIS lens and the Z 35mm f1.8.
I have mixed feelings about it. For some reason the IBIS was disabled on the AIS lens, not sure if that's the case with all adapted lenses or not but it was rather disapointing (VR and EIS was greyed out). That said, it was pretty glorious seeing that vintage lens in 8K for the first time! 
N-Log is kind of a can of worms. Footage is pretty noisy at ISO800 and yeah the provided Nikon LUTS really do suck, horrible highlight roll-off that kills the DR. The info is there though so you'll get better results going manual.
The menus and button control is probably the worst from any system, sorry Nikon it really does my head in. Also the grip felt sticky which is not cool. The size/weight is just right, love the LCD hinge system and overall build quality.
Just a quick first impression so I guess take what I say with a grain of salt. I do like the camera despite my few gripes and might even try renting it to spend more time with it as again the menu/UI takes a lot of getting used to.

Interesting..  I thought this was a good explainer:
TLDR; Nolan only mixes for the best theatres, and doesn't care about shittier ones.
I guess that arrogance has run its course, since you saw it on IMAX and still couldn't hear it!

To mount Sony E mount lenses on Z cameras.
Some desirable lenses (such as the Tamron 20-40mm f2.8 and the Sigma contemporary line) are not available in Z mount but are available in E mount.
 

It's likely that most footage you've seen from the Helios is when it is at its peak swirl settings, which is what it is famous for, but that requires the right combination of subject/focal distance and background distance/contrast.  Lots of people buy a Helios and are disappointed because it's no-where near the swirliness they see in all the pictures.
Here's a more general review of one of the models, focusing beyond the swirl and including a bunch of normal compositions.
Also, it's worth pointing out that while the Helios does swirl, so do lots of other lenses from this time, and they do so almost as much.  Once again, the internet glorifies the one that is "the most" of something and the ones that are a close second get no attention whatsoever (link with timestamp):
Also, and this is quite controversial I know(!), but it is possible to close the aperture of these lenses(!!), and this tends to increase contrast and sharpness and reduce flaring etc - all the things that happens when you do this to other lenses(!!!).
Here's a range of compositions comparing the lens wide open and then stopped down (linked to timestamp):
Plus, all the swirls happen further out from the centre of the frame, so if you use it on a crop sensor then you're effectively cropping out the worst part of those optical distortions.
Plus, lots of well known and highly prized cine lenses also swirl quite a bit, yet the films shot on them aren't a swirly mess.  Here's a controlled test of a bunch of them, just skip through it looking at the string of lights in the background:
and finally, if you crop to a wide aspect ratio, the "swirl" will only be seen on the very sides of the image, which means that the swirls are limited to being quite close to vertical - very similar to an anamorphic bokeh!
Here is the Master Anamorphic 50/1.9 - potentially the most optically correct anamorphic lens ever made, and yet the bokeh is oddly-shaped with cat-eye rendering and also differently shaped towards the edges vs the middle:

Compared with a swirly spherical lens like the Super Baltar 50/2.3:

The character of the bokeh changes on the swirly lens from anamorphic-like on the edges to normal in the middle, which some might find distracting, but you might also find to be less distracting because it limits the distractions to the edges of frame rather than being directly behind the subject.
The Zeiss CP.2 50/2.1 has very similar rendering to the Baltar above, and yet is known as a relatively neutral lens and is a workhorse of Hollywood:

What I find far more distracting in bokeh is the edges of the shape, rather than the geometry of the shape.  Take this example of perfectly round bokeh balls and see how distracting the ones on the right are..

and don't even get me started on "bubble bokeh"

 

Problem with FF is not the housing in itself. It's the dome/port which goes with a wydeangle FF lens.
Yes Olympus camera are well renowed among pro uw photographers but for video, Pana features are in another league.
For underwater photography, prior of the latest mirrorless FF revolution the market king was Nikon with its D850. With the new Z series and new mirrorless mount Nikon failed to give a valid lens selection for underwater use and now most photographers are switching to Sony A7R line. It's a complicated topic. A stellar lens topside could be the worst underwater.

Problem with FF is not the housing in itself. It's the dome/port which goes with a wydeangle FF lens.
Yes Olympus camera are well renowed among pro uw photographers but for video, Pana features are in another league.
For underwater photography, prior of the latest mirrorless FF revolution the market king was Nikon with its D850. With the new Z series and new mirrorless mount Nikon failed to give a valid lens selection for underwater use and now most photographers are switching to Sony A7R line. It's a complicated topic. A stellar lens topside could be the worst underwater.

That makes a lot of sense to stick with a GH5s. Hopefully, the S5ii's AF will get into the M43 cameras. I think it will. It basically is with Olympus cameras. Actually, have you tried the OM-1? I know a lot of pros use Olympus cameras underwater.

I never thought about it that way but I think you're right......  Sony delivers enormously expensive firmware updates, they just come with a free camera!

I film 99% underwater and very deep so for me a small setup is paramount. M43 ticks alla my requirements and I'm happy with my  GH5, GH5S and GH5M2 except.... AF.
A good underwater housing costs about 4500 euro and it's tailored on a specific model. So an upgrade for underwater shooting is very expensive. IMO GH6 fratures doesn't worth 4000 euro plus the camera body.
I will consider to upgrade only for PDAF. You cannot imagine what Sony autofocus is capable of underwater. It's the market standard but I hate Sony colors.

Those will just be firmware updates of the A6700 and FX30 with a couple of features removed and rebranded as "new". Isn't that how Sony rolls? Mark my words: "the A7S3 will NEVER get animal detect".

I film 99% underwater and very deep so for me a small setup is paramount. M43 ticks alla my requirements and I'm happy with my  GH5, GH5S and GH5M2 except.... AF.
A good underwater housing costs about 4500 euro and it's tailored on a specific model. So an upgrade for underwater shooting is very expensive. IMO GH6 fratures doesn't worth 4000 euro plus the camera body.
I will consider to upgrade only for PDAF. You cannot imagine what Sony autofocus is capable of underwater. It's the market standard but I hate Sony colors.

At least…
I think they should have either launched the GH6 sooner than they did, or waited even longer and gave it PDAF.
For me, it was a moment like when Fuji released the XH1 only to pop out the XT3 6 months later.
GH6 and S5ii…
I know we can’t always have everything we want, when we want it and the GH6 ticks a lot of boxes for many but the lack of phase and the need to shoot what is it, 2000 iso to get the most DR requiring a lot of ND? 
I went off it at that point and tried an OM-1 which I loved…except not so much video.
M4/3 died for me then. Not because there is anything inherently wrong with it, just that APSC and FF offers me more of what I personally want.
I would like to see the format developed and who knows. I never say never, just what works.

At that time we will have A6800 and FX40... 

The wait for the GH6 was years.
I suspect any GH7 might not be perhaps as long but I wouldn’t imagine anything sooner than 2025?
Just speculating…

You, Ironfilm and me, three time travellers stuck in the timeless Lumix G7 thread by Andy Lee, reading his comparison with an Arri Alexa, then buying all G7 cameras we can get for our money, reading it again and buying even more G7 cameras and reading again... Time management and travelling, and cyclic GAS impulses, what a weird world of photo-video-sound nerds we are living in 🙂 @kye

No, I am a time traveler, and am talking about what is coming in the future: the Panasonic GH7. 

I'm sorry for the small (wo)man getting crushed by this, but when you are working on a freelance basis, that's part of the deal and a foreseeable risk. You are essentially an entrepreneur with the risks that comes with it. If you find you can't strike and have effectively no leverage on your employer, you know that you are in a vulnerable position.
I'm not saying I'm fine with companies exploiting people by "outsourcing" all work from contracted employees to freelancers but it is a trend that is happening over the years and it is up to governments to re-balance the risk and reward between employers and employees through legislations. Because if we leave free market forces reign supreme, we either end up with an industry that is exploiting people, or an industry that can't get the people it needs because everyone becomes aware of it's practices and decides to pursuit their ambitions elsewhere, where less risk is involved. Sometimes something of a crisis is needed to make people aware and improve things.

But if you are Christopher Nolan, you don’t have to be on social media to tout your wares because everyone in the industry knows your résumé.
And you can afford to fly to Ireland in your private jet to hand deliver the script to Tommy Shelby in person.
I was asked last week if I could drop in to Bordeaux next week to meet a couple who might be interested in using my services.
Yeah, 15 hour round trip driving so 2 days for a zero commitment chat. If they even turned up… 🤪
But otherwise no fan of social media myself, other than for 2 purposes.
A. Not having the status of Nolan, touting my wares to prospective punters.
B. Sharing pics with friends & family.
But I could happily live in a world where social media did not exist.

Thanks,
In the meantime I found this one too:
 
Speaking of overheating, while searching I found an Italian review which stated that with the screen door closed it lasts 40' 4K@30p and 20' 4k@60p

Same as zv-e1

Yes, they are painful enough as they are (bless ‘em) but to watch it back in ultra slow motion…to the point where the camera overheated and died just before little Jonnies only line, would be terrible.

If that works for Panasonic, then good on them. But the last company that did that got lambasted by just about everyone, with the common complaint being "They should just let us record until it overheats instead of artificially limiting it".

 I also think it's a bit laughable that you applaud Panasonic for releasing a camera with a limited 4K60p mode, in the same breath as critcising a camera that has a perfectly functioning 4K60p mode (according to reports so far). Seems like favouritism to me.
 
If someone tries to record a whole school play at 4K120p, that is user error.