GH5 How interested are you in a GH6 anymore?

NorBro said:
I give Panasonic a hard time about AF as much as anyone, but no one is moving in that shot.

I know he's using an example he has, but in situations like that you can use push AF and hold the camera still like he did. The sensor is so small that an inch or two one way or the other will not matter much from that distance. And even if it did, you could look at the screen/peaking and inch back and forth with the couple if anyone did move (they didn't though).

All-in-all, I guess it's still valid because it shows AF failing in even the most simplest situation. :crybaby:
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Yeah the wedding shot that would be my practice to turn off AF on stationary subjects as soon as it locked on. But it illustrates the point, well lit outdoors, stationary subject in the middle of the frame... how much more basic can you get?

I also think he make a good point, at this entry level price range, people will more likely value AF more, more likely to be shooting solo event work not on a movie set with a crew of people, proper lighting, etc. It really comes back to what type of work are you using this camera for.
 
NorBro said:
Are you going to get one or still researching?
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Funny enough this is more an intellectual exercise. I do love following the latest developments in the industry. Despite my criticism of the GH6 I welcome it's release. It gives us something to talk about and further advances cameras.

Even though I would love to buy a mirrorless A7s3, A74, R5c, GH6, BM6k, etc. I don't do the type of work that warrants such a purchase. I mainly do theater and legal work with some interviews and other random stuff thrown in. So dropping 5-7k on mirrorless setup for 5% random jobs doesn't make a whole lot of sense.
 
Those are the two most specific jobs in the world that can't justify a new camera purchase. lol

Like, one has people probably sitting in front of white walls talking about depressing stuff, and the other is mostly a dark scene with only the stage lit up where almost every camera you use looks the same, and you probably need rocker zooming.
 
filmguy123 said:
Peter, I have an HVX200 for sale
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Thx but I already own 4 camcorders (a pair of Panasonic UX90s and JVC HM600). Camcorders ironically haven't change much over the past 5 years and it doesn't look like there is anything in the near future that will be released. When tech stagnates it can be boring but it also means my old tech cameras retains their value and use because there's nothing better to replace it. Most of the jobs I do center around me doing all the boring stuff right that they don't talk about on Youtube. Filming, editing and producing in a timely fashion is far more important than whether I own the latest mirrorless camera.
 
Thomas Smet said:
The P4k is used on gimbals all the time. Are not gimbals typically used with very wide lenses that have a very short infinity focus? .
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I use gimbals with normals and telephotos. I probably didn't use telephotos on them before I had AF... but normals for sure I did. I mean, ideally you could do any dolly-type shot on a gimbal. And yes, you can pull it manually; it's just hard to achieve perfection, especially as a solo operator
 
filmguy123 said:
I’ve always shot on the included EVF/LCD while traveling and focus peaking highlights has never let me down. I turn it to be least sensitive and practice… but never had a problem. And yes the work is shown projected on very large screens in that size range.

maybe im crazy but I just trust the highlights and look for the bright green lines in the eyes / nose area, or right at a central part of an object. A couple rolls back and forth on the focus to confirm.
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I often feel like Peaking indicates more in focus than I consider to be in focus. I mean; only one plane is truly in focus. Also, ideally we wouldn't have to pulse focus to confirm (as I also do when focusing manually). But to be sure, as long as you get the results you need who cares how others do it
 
Peter C. said:
. I mainly do theater and legal work with some interviews and other random stuff thrown in. So dropping 5-7k on mirrorless setup for 5% random jobs doesn't make a whole lot of sense.
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I operated on a 4-camera theater shoot last week for the first time in a while. The producer had 2 FX9's, an FX6 and an FX3. (He owns them all except one of the FX9's, which he rented.) I almost got my FX3 in as a rental, but he veered towards another FX9.

Not a type of shooting I have a lot of recent experience with, but it seemed like the eND and AF were very useful. As was the servo zooms on our PZ 28-135's and the IS. All those aspects helped me concentrate on getting smooth shots and pointing the camera in the right place (which ultimately seems like the most important thing).

I think the guy recently started up and invested in gear. To be sure, it's a lot of camera gear to buy at once... but if that shoot was any indication,, I feel like mirrorless cameras lose out for lack of ND
 
GH6 is currently sitting at #2 on B&H's 'Best Sellers' list in the cinema section!

#1 = a7SIII

#3 = 6K Pocket Pro
#4 = R5 C

___

GH6 and OM-1 are currently sitting at #5 and #6 on B&H's 'Best Sellers' list in the photography section.

Top 4:
a7IV
R6
R5
a7SIII

They should get their badges soon and good for them!
 
B&H has an odd/unique category breakdown. It'd make sense to separate by sensor size but its "stills vs. photo" breakdown is odd ... unless it's for Fuji Instamatic.

So, here's what I get for the "body only" rankings under mirrorless.

Z9
A7SIII
R5
R6
A7IV
GH-6
OM-1
5Ds R
Z6II
R5C
A1

This is pretty underwhelming for GH-6 and OM-1 unless the total sales/pre-orders are compiled on a weekly basis. If they're averaged per day, the two new releases are trailing in the body count to much older (except Z9, which is also new) and higher priced model.

5Ds R can be taken off the list as a "stills only" model, with others being true hybrids.
 
You never do it right...we had this convo before.

You have to refresh the 'best sellers' list because the front end landing page during a normal search has 'Best Sellers' in the drop-down as default but it's not refreshed so you always get different results every time you browse.

Once you refresh, you'll see my exact list above unless anything has changed in the last 30 minutes.
 
ahalpert said:
I operated on a 4-camera theater shoot last week for the first time in a while. The producer had 2 FX9's, an FX6 and an FX3. (He owns them all except one of the FX9's, which he rented.) I almost got my FX3 in as a rental, but he veered towards another FX9.

Not a type of shooting I have a lot of recent experience with, but it seemed like the eND and AF were very useful. As was the servo zooms on our PZ 28-135's and the IS. All those aspects helped me concentrate on getting smooth shots and pointing the camera in the right place (which ultimately seems like the most important thing).

I think the guy recently started up and invested in gear. To be sure, it's a lot of camera gear to buy at once... but if that shoot was any indication,, I feel like mirrorless cameras lose out for lack of ND
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That's a very high end setup. The PZ 28-135 interesting but I'd be leery in theater work. My last shoot I was limited to one location towards the back 90ft away. A setup like that would not have enough reach. I've seen on occasion people using cinema cameras to film theater so I know it's possible. It usually involves multiple camera ops knowing what to do. That can get expensive and tricky finding dependable people who can pull off what's necessary with in a tight budget.

You're right that theater work requires a lot of concentration. You need to understand, and anticipate what going to happen and react quickly in a smooth manner. I prefer cameras with large dof so I can concentrate on panning, zooming and keeping the subject in frame.

I don't want to derail this thread but I do enjoy hearing about other approaches.
 
Peter C. said:
Was watching another review. Over all positive except when it came to the AF (no surprise). https://youtu.be/xqKTamQm-Vw?t=759
He includes real examples to illustrate where it fails. In a wedding it totally screws up a bride and groom ceremony shot. https://youtu.be/xqKTamQm-Vw?t=794 He also says in low light and contrast situations (that you would find in most night shooting or indoor things like wedding receptions, it's useless, so much so the camera automatically shuts off AFC below a certain exposure.
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This guy had to try and make that wedding video look that bad. Why would you turn it to continuous focus and wait for the camera to focus? On any camera. You only have one shot at this at a wedding. I've shot a few wedding and that is not the way to do it. They are both standing in the same spot. Either take it out of continuous AF, half way press the shutter or manual focus.
Maybe he is just trying to get views. I hope he wasn't getting paid.

The GH6 is going to be a great cinema camera and there have been some really good reviews so far on it. Even the AF.
 
Yeah, that's the problem...you don't do a new search.

You navigate to a single category that doesn't mix cameras from other sections.

Then you choose something else from the 'drop-down' menu and then choose 'Best Sellers' again and it refreshes and you obtain the same list I wrote above every time you do that (until a camera moves up or down because of more sales).

It's not my opinion; it's how the technology works. Try it.

I'm sharing the right way to do it (again) so you're providing the community accurate information.
 
Yeah from what I've seen the AF on GH6 should be pretty darn good for a lot of scenarios. It will take more know how on when/where/how to use the settings, and some more restrictions.

It's bottom line not going to be as easy, bullet proof, convenient, or robust as other systems and isn't the camera choice for those who prioritize AF. But taking a close look at it, I really think I will be able to make good use of it as an additional, high quality optional tool for a number of scenarios. I wouldn't choose the GH6 if AF was my top concern or I was relying on it as a cornerstone of my workflow. But I am not, so I am pretty well pleased with the AF capabilities as demonstrated thus far since I am prioritizing other things (industry leading IBIS, smallest/lightest quality lens setup on market by a mile, amazing & unmatched internal codecs and performance).
 
It also looks like VFR is finally fully implemented on GH6, I have been waiting for this *forever*. 4k 10-bit 422/420 high bitrate codecs supporting 36, 40, 42, 48, 72, 96 all internal in a small package like this. EVA1 and GH5 only had VFR in FHD modes and at a crappy codec, couldn't even get it out to Atomos for those odd frames.
 
On the "digital camera bestseller list" - it starts with A7SIII (then R5, R6, A7IV) but then lists A7IV as their "#1 seller", a yellow "sticker" that is also given to Fuji Instant Mini, and Rebel T7.

If I select "mirrorless", it starts with Z9, then A7SIII; then with the faded #1 seller sticker, R5; then with the same faded #1 seller sticker, R6; then with the bright yellow #1 seller sticker, A7IV. Now, considering that Z9 is digital and mirrorless, it looks to be displaced as #1. And the same can be said about A7SIII.

So, it's either an inaccurate list or in wrong order accidentally on purpose. This is often disclosed, as an example, in the KBB car pages. An item that seems to be not exactly fitting the chosen criteria will have a disclaimer, "an advertised item" and so on.

I searched off private browsing with no cache stored.
 
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