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  • Bassman2003
    replied
    After watching some prepared A7IV work on YouTube, I can honestly say that I am not interested in the GH6 anymore. Panasonic waited too long and as I expected, Sony came in and blew the doors open at the $2,500 price point. The GH6 will never be seen as an equal for photography compared to the A7IV, so right there the GH6 is already behind. Now that the video specs are above acceptable levels for codecs, AF and features, I just do not see the GH6 as being a great path anymore. The combo of an A7IV + A7sIII or one of the cine models is a complete full small company stills and video coverage tool set without any compromise. Yes, this exists in Canon and Panny but there are compromises in the line (for me) imho with these sized cameras. The main thing stopping me from buying Sony in the past was their color. I believe the round of cameras starting with the A7sIII turned a corner for them and I think they are 'close enough' that one can dial in the look they want. Mainly the skin tones are more pleasing now and the tints have diminished to be easily removed. Basically, the footage I see from a variety of sources does scream SONY! when I see it. It just looks nice, which is what is desired imho.

    So sad to move on but its the end of the GH line for me...

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  • DLD
    replied
    Apparently, Panasonic registered GH-6 in Russia. Which means next to nothing.

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  • Thomas Smet
    replied
    Originally posted by ahalpert View Post

    It sure seems like everyone finds situations where they appreciate the high base iso of fx6 or a7siii

    I was going to use the gh5 yesterday for extra reach at a broadcast-style event (art auction) which was fully lit by a broadcast team running 9 or so cameras. but I decided against it in favor of an fs7 in that role (which had always been an option, just without as much reach) because of the noise levels on the gh5. I was shooting on my other cameras at f/2.8 around iso 1250 or 2500. (Lighting levels were lower than other broadcast events I've shot. I'm not sure if that was for the comfort of the audience or if their units just weren't that powerful. Everything was dimmed down, so the reason may have been the former because they were trying to create the feel of a soiree.) My 70-200 with 2x extender becomes an f/5.6. A gh5s probably would have been fine. But the experience got me researching super telephoto zooms in e-mount

    You also have to consider if you don't want to shoot wide open or with 1/48 shutter. I made a creative decision recently to largely stop shooting slow mo during wedding receptions and it has vastly alleviated my need for so much sensitivity, although I usually keep the shutter at 1/60 or 1/80 for the look.

    And certainly I think that anyone shooting documentary will appreciate the capability to work with as little illumination as possible
    It does help when one has a focal reducer to help the Gh5. A 70-200mm f2.8 becomes a 50-150mm f2.0 which is pretty much prime lens territory on the GH5. Thats still a roughly 300mm reach compared to FF and 3 stops faster than what most 300mm lenses are on FF. With that combination I think even a GH5 can handle situations fairly well at a typically 1/50th shutter speed. Even my Gh4 does fairly well with my Tamron 70-200 and a Metabones.

    On the Canon Rf side the 300mm and longer lenses are even starting to be darker than f5.6. f7 and f8 being more common now. I realize my R6 can do a heck of a lot more with ISO than my GH4 ever could but f2 vs f7 is a heck of a lot of light.

    Why I like the R6 however is my new RF 24-240 lens is amazing on this camera. Even though its a super dark lens the camera compensates for that. Lets be real m43 will never get a constant f2.0 12-120 lens. Its physically impossible. So the R6 allows me to use a super zoom in a way that actually doesn't suck.

    Not everyone needs that however and the GH5 mk2 is still la rock solid camera for many users. My desire to shoot in a lazy way with my family stuff does not diminish how I feel about M43.

    Leave a comment:


  • ahalpert
    replied
    Originally posted by Thomas Smet View Post
    . Even then not everybody is bothered by the sensitivity of the GH5. Not everyone attempts to shoot in the dark which is really how it should be for professional work. I have never done a single paid production in 25 years without some kind of lighting to help out. Minus some weddings of course but even the darkest venue has some level of lighting in it. Focal reduced f2.8 zooms more than compensate for most poor lighting situations.
    It sure seems like everyone finds situations where they appreciate the high base iso of fx6 or a7siii

    I was going to use the gh5 yesterday for extra reach at a broadcast-style event (art auction) which was fully lit by a broadcast team running 9 or so cameras. but I decided against it in favor of an fs7 in that role (which had always been an option, just without as much reach) because of the noise levels on the gh5. I was shooting on my other cameras at f/2.8 around iso 1250 or 2500. (Lighting levels were lower than other broadcast events I've shot. I'm not sure if that was for the comfort of the audience or if their units just weren't that powerful. Everything was dimmed down, so the reason may have been the former because they were trying to create the feel of a soiree.) My 70-200 with 2x extender becomes an f/5.6. A gh5s probably would have been fine. But the experience got me researching super telephoto zooms in e-mount

    You also have to consider if you don't want to shoot wide open or with 1/48 shutter. I made a creative decision recently to largely stop shooting slow mo during wedding receptions and it has vastly alleviated my need for so much sensitivity, although I usually keep the shutter at 1/60 or 1/80 for the look.

    And certainly I think that anyone shooting documentary will appreciate the capability to work with as little illumination as possible

    Leave a comment:


  • Ron Evans
    replied
    I did look into trading my GH5 for the GH5M2. Unfortunately the trade in was $600 so it would have cost about $1450 plus tax here in Canada. That is just $300 less than buying a Pocket 4K. So for another $300 I could have 3 cameras ! I just decided to wait and see what comes in the next little while but I like the GH5M2 as an upgrade to my GH5. But a Pocket 4K Pro maybe a better solution for me and keep my GH5 as well ? A Pocket 8K would be even better but at much greater cost I am sure since I would need lenses I do not have for Super 35 . All my lenses are MFT.

    Leave a comment:


  • NorBro
    replied
    On a related note, Panasonic recently released their "Shapes" video to promote their new L-mount lenses, which are actually growing nicely, especially with the new 24mm in the lineup.

    It's a creative video - but, in typical Panasonic fashion, they shoot the video in 30p, upload it in HD (who knows, maybe even shot it in HD), and it's hunting for focus in a few shots. (Now granted it's a fast cut and normal people would never notice, but still...and I'm not even going to comment about some of the exposure.)

    Leave a comment:


  • Thomas Smet
    replied
    I agree. Not a stop gap at all. It may seem that way to the culture of want new shiny things now but the GH5 was already a solid camera that was still selling. Panasonic made it better in a way that could not be done with just firmware. Now they have a GH5 that will continue to sell and they can continue to update beyond what the older processor and firmware could handle.

    Not every user is going to need a GH6. Just like not every Canon user needs a R3, R5 or R6 when the R does everything they need. For many the GH5 is a solid 4k 60p camera that never fails or overheats. It just does what it is asked to do. The 10bit 4:2:2 is already at a peak of image quality that is only really surpassed by raw video. This puts the new GH5 as a solid option for those that want a professional hybrid camera that can kind do it all minus the low light part. Even then not everybody is bothered by the sensitivity of the GH5. Not everyone attempts to shoot in the dark which is really how it should be for professional work. I have never done a single paid production in 25 years without some kind of lighting to help out. Minus some weddings of course but even the darkest venue has some level of lighting in it. Focal reduced f2.8 zooms more than compensate for most poor lighting situations.

    Once the GH6 comes out the GH5 mk2 will still be a big seller current model as it should be.

    Leave a comment:


  • Ron Evans
    replied
    Originally posted by Peter C. View Post
    The GH5mII was a stop gap to bring over some easy improvements from their newer cameras without a redesign, but these improvements could not be done without updating the processor. One being auto focus. From the company's internal engineering perspective it made sense but to most customers it wasn't well received.

    Does anyone know if they have set a date for the GH6? In a May review they said it would be released this year but it's already November.
    I do not think it was a stop gap. It was an updated model just like cars are updated almost every year. Some really nice features for me. USB power for long shoots, internal AND simultaneous external 10bit recording nice red border for recording just like my GH5S now. Just too much difference to trade my GH5. For others the streaming is a very unique feature to them in the way they have done it. With the new firmware it can also now just fit into their other model ranges for multicam streaming. Just because it does not have wonderful continuous autofocus at 24P does not mean it will not appeal to a lot of people. As far as I can tell from some of the tests autofocus at 60P is good. Not all the world is fixated on 24P. I for one never shoot other than 60P. If you are going to show in the cinema then 24P is fine but for PC, TV etc 30 is a better slow frame rate anyway and you can get that from 60P AND get your continuous autofocus better I expect from all cameras.

    Leave a comment:


  • DLD
    replied
    Originally posted by NorBro View Post
    When does anyone actually say anything bad about Sony cameras? lol

    If they did, no more trips to Hawaii, you know that, DLD.
    If Tony Northrup had said, "Sony didn't pay me for this review but I did get a free trip to the Chicken Ranch" and Chelsea replied, "And you didn't even take me with you!", then it would have been akin to a 2-star Yelp review of the Bates Motel by Marion Crane. (The bed was comfy enough but the service was terrible)

    Leave a comment:


  • Peter C.
    replied
    Originally posted by Zim View Post

    They missed the mark
    The GH5mII was a stop gap to bring over some easy improvements from their newer cameras without a redesign, but these improvements could not be done without updating the processor. One being auto focus. From the company's internal engineering perspective it made sense but to most customers it wasn't well received.

    Does anyone know if they have set a date for the GH6? In a May review they said it would be released this year but it's already November.
    Last edited by Peter C.; 11-09-2021, 07:58 PM.

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  • NorBro
    replied
    When does anyone actually say anything bad about Sony cameras? lol

    If they did, no more trips to Hawaii, you know that, DLD.

    Leave a comment:


  • DLD
    replied
    A7IV is getting great reviews (in usual places) - full frame, great 4K, great auto focus, excellent ISO performance, digital image stabilization (crop), (relatively) high res stills, focus breathing compensation for video (Sony glass only), excellent lens selection.

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  • Zim
    replied
    Originally posted by Ron Evans View Post

    That's what the GH5M2 is intended to be.
    They missed the mark

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  • Ron Evans
    replied
    Originally posted by Zim View Post
    They could easily improve on the GH5 and if they would keep it under $2,000 they would sell a ton of them. It's not they have to come up with a bunch of new tech.
    That's what the GH5M2 is intended to be.

    Leave a comment:


  • NorBro
    replied
    They would sell a few for $2000, but it's still way too high for what it currently seems to be with R6s and a7IVs around the same price.

    If the camera's IQ doesn't have a true visual improvement that's easily seen on YouTube on multiple channels - whether through processing or increased dynamic range or whatever - and also very confirmed improvements to AF, it needs to be around $500 to move any units.

    Hate to talk like this but I'm just tired of lackluster Panasonic.

    2 cinema cameras in 12 years...come on already (and I'm not counting the recycled boxes or anything over $10,000).

    Leave a comment:

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