zlfan

did you use magic lantern raw or just 5d2's stock codec? canon dslrs' internal codec is nothing unless using ml raw. your example here is not a good one. see how c300 og c100 mk 2 comparing to fs7. not much by my eyes.

this is a human face close up shot. 4k and above do not have much advantage over 1080p here. If it is for green screen, not only 4k is important, raw or 4444 are important too. few cameras can do green screen well, at least 10 bit sr444 or prores444, better to have 12 bit raw. 8k or 12k 10 bit 422 or 8 bit 420 cams are good for landscape wide angle shots.

I just tried a Mayer 50mm f1.8 with a dumb adapter on c100.2. you have f-.-. you don't see any f number. maybe your lens has a focus confirming chip. if the lens is manual, it is totally manual on c100.2. c100.2 has pretty good dpaf, so a little bit waste using mf lenses.

theoretically, imho, acquire data in 8k or 12k and reframe in post and output to 4k, may not be as good as do everything in front of camera. assuming using the same sensor size, either s35 or ff, if it is a 8k sensor, then pixel size is smaller than that of a 4k sensor. there are many consequences due to the smaller pixel size. one of them is well known, the low light performance will be impaired. in order to keep the same level of low light performance, the color array layer needs to be thinner, then the color is impaired. adding more color saturation and hue helps a little, but not as natural, not as thick. so finally 8k cameras present a modern look, exotic high res, not so natural color palette. if doing zoom in, 8k now is 4k, the resolution is not advantageous, but the color is also worse. maybe in reality, the difference is not so significant. I think it is more suitable for 8k or 12 k sensor to be 645 or even 67, then everything is fine, except with the penalty of being heavier and larger.

I understand the importance of more res for post. when I stabilize my varicam 27's footage in resolve, I see significant loss in res, if it is a wide shot. if it is a closeup, it is ok. I have no objection of digital zoom, etc, but they don't totally justify the essentiality of high res 4k and above. the best digital dolly is magic lantern. in crop mode, you can digital pan or tilt.

depends on what kind of 2mp. I have several nikon d1h bodies. I have no issue using them, as long as no cropping in post. if don't present in full screen, like embedded photos in web news article, it is perfectly fine. vertical video is almost exclusively for phones, not even for iPad. on phones, YouTube default res is 480p, every time I change to 4k, I have to click three buttons into the submenu.

sony, I hear you. hidden menu, sometimes three layers, yes, you. f5.

you mean after cropping for vertical viewing? from my experience, high quality 1080p cams can have comparable results to 4k cams, even on a 27 inch 4k monitor with a viewing distance of one foot. these high quality 1080p cams actually have a 4k sensor, like c300 og, c100 og and mk2, af100, etc. fs7 does not override them easily, except that 4k sign can please some clients. oversampled 4k from 6k or 8k cams may be better on a 4k monitor, but not easily to see the difference on a 4k tv with a viewing distance of 5 meters. in addition, for portrait, 1080p is enough, unless the actress is a teenage girl with perfect skin. otherwise, the actress needs very thick makeup to cover her imperfections. in wedding, if you shoot the bride with a 12k bm Ursa, showing her wrinkles and speckles, her sisters' weddings will belong to other dps for sure.

for interview etc shooting faces, canon c line is very good sooc. and in this case, 1080p is good enough, unless it is about fashion or you intentionally want to show wrinkles.

right now I am adapting my ef mount tamron superzooms on fs7 e mount actively. ois seems working fine.

I guess some Sony bodies have ibis that tamron lenses cannot utilize well.

I feel it is a little too blue too. generally I like the look. it kind of making gh7 sort of cinematic.

thanks a lot for the info. will research on this. I have some manual focus lenses over 100 mm, especially from medium format. so it will be great to have good use for them. now I only use them for taking photos. it will be great for video shooting. some lenses are very interesting, like bronica 110-220 vivita series 1 70-210 etc. will research and try this gyro stabilization approach.

very nice footage. I think this is about at 8k level, oversampling to 4k on YouTube. on a 27 inch 4k monitor with a viewing distance of 1 foot, this is noticeably better than c300 og's 1080p upres to 4k in davinci. from my experience, this is the most demanding viewing method, more than commercial theaters, more than large screen 4k tvs with a viewing distance of 3-5 meters. on laptop, the difference is not noticeable. neither is on iPad, nor on iPhone.

my understanding is that "cinematic" is actually "exclusive" in reality. most of the times the exclusive features are aesthetically more beautiful, sometimes arguable, sometimes not appealing.

why HDR in door? does not make sense to me. gh7 has a nice look here though.

seems to me that Tamron > canon=nikon=panasonic=olympus > sigma=sony >tokina?

this video is so dark on my laptop. it is 4k HDR 10+.

a lot of hard buttons, like peaking and zebra. manual focusing in evf is fine as long as I set the evf to bw and the peaking line to thin red lines. battery life is ok too. one battery lasts about 2-3 hours.

I stripped one of my c300 og to only body, no side grip, no top handle, no xlr lcd unit. paired it with some super zoom like efs 16-300. I did some street shooting, very effective. I can shoot wide and far without changing lens. internal nd is nice. if I take it for travel, I will bring a 50mm f1.8 for low light. the only issue is that I cannot pan and tilt freely. c300 og has 720p 60p but not as detailed as 1080p 30p. if for static shots this rig is fine, the size and the weight are acceptable for travel. not the smallest but very useable.

from a business point of view, Nikon's hybrids may have the best raw in the future, as Nikon acquired red with its decades of knowledge of one of the industry's best raw codec tuning under the hood. also, Nikon does not have pro video camera department for protection. however, from a historical point of view, although Nikon introduced the true DSLR revolution with its d90, earlier than 5d2, it is not willing to add more buffer to Nikon v2 and v3, convinces me that Nikon is still controlled tightly by Japanese industrial conglomerates. anyways, I still have high hopes on nikon, as its z mount is also the shortest flange distance. sony, sigh, except its accidental error on fs700/r for excellent sdi out raw, its later low to mid tier cameras have crippled sci out raw to protect its high end Venice/2 cameras. on the other hand, Sony spent decades on codec implementation in hardware and firmware, its internal dsp is actually good enough. I will not bother with Sony's low end cameras' sdi out raw. canon is similar to Sony, except there is pressure from the free open source magic lantern. so canon has to compete with magic lantern on feature providing. however, seems to me, canon is trying to use sensor as the differentiator, r5/r5c sensors are behind c70/c300 mk3, etc. I guess the logic behind is that even magic lantern can hack the latest canon mirrorless, it cannot do much with the lower quality sensors. panasonic is the only one really aggressive, possibly due to its lacking of still photography camera department before. Panasonic seems also like canon, using sensor to differentiator its high end cinema cameras from its Lumix offerings. olympus, its board controlled by Sony investors, is not willing to step on Sony's toes, even willing to go belly up. its ibis was supposed to be the most disreputable technology 10 years ago. yet it did nothing to exploit this.

if a camera is famous for its log shooting, better to follow the crowd. its raw may not be that juicy.

seems to me that it is better to choose the cameras with the tradition or reputation of raw if wanting to shoot raw. at least to test the camera even if the spec says that it can sdi out/hdmi out to raw or can record raw internally. seems to me that "raw" is a glowing hat now, not necessarily true raw, which is actually very dumb, but fresh, juicy, real meat. it is funny that a real good raw, tmho, is the free offering, magic lantern raw.

In the comment section, this video's author agrees that Lumix is far better than Sony. Maybe the wrong setup on gh7 causing more jittering. @KenCoCreates 2 weeks ago Boost I.S. Is meant for tripod static shots when handholding. Be careful when walking around and panning on it because it will cause jitters and I think it hurts the sensor a bit. Other than that E-stabilization on high is so good. I use the LUMIX G9ii Microfourthirds all the way for me. Show less7 Reply · 1 reply @JasonMorrisphotocinema 2 weeks ago That makes sense. Realistically the lumix was far superior to the Sony in stabilisation anyway

https://www.youtube.com/watch?v=1GokSOqok1k at 10:10, seems zve1 is pretty close to gh7, maybe equal to s5ii/x.