GH5 How interested are you in a GH6 anymore?

Just that people are much smarter buyers than they were 5, 8 years ago because of YouTube.

Everyone knows what's up and what's hot (related to DLD's point about cameras), and knows about all of the budget options that do the job "good enough" for everything.

So while $100/$200 was kind of a joke, I think it's tougher to resell more expensive stuff these days, especially how quickly everything changes every year.
 
If I were you, I would sell those Milvus' while you can.

I know they are beautiful, but start setting yourself up for the future...
 
filmguy123 said:
I do think AF is more valuable than that, especially in a camera like a GH. The thought of just free moving a camera around with a shallower DOF, say pulling back on their hands as they play piano, pushing in on someone's face, doing a more complicated camera move without a team where you can't even really get a good grip on the focus pull. That really adds a certain dynamic je ne sais quoi and creative freedom, plus ease of use convenience, that I would be very excited about.

That said... I hear you Thomas, too. I do think it's silly when someone worries about AF pulsing for a talking head. Just set a shot like that with manual focus, how inept are you!? (lol sorry). I just mean, it's like, I don't care how good the AF is - if a shot is roughly static I will use the MF every time, because I trust me more than a computer. But I've been doing this a loonnggg time, so I can see why some would trust a computer more.

It also seems that the GHx does a pretty solid, though imperfect, job of tracking some more basic movements. I actually think I could get away now with a handheld camera push towards a persons face at shallow DOF and have it hold perfectly well, or throw it on a gimbal and have it hold focus on someone while following them. I wouldn't trust it for a critical one-take like a bride down the aisle, but something I can shoot, and then try again if needed? Sure. I do wish I could get fancier than that or riskier than that, as it would be really cool to open things up. But without jumping ship I can't, and is it just me or does every year keep going by faster and faster as we get older? I swear I just, I mean literally just, bought the S1H. But I guess that was 2.5 years ago, geesh.

Though if I find myself on a project or shoot where I really could use the AF I'll probably rent a canon to try it out. Maybe I'll add one as my AF camera after another revision, R5 mk ii sounds nice if they can turn up the heat (err down the heat?) on the next revision.
Click to expand...

Yes but I managed it for many years on ENG cameras and DSLRs since the GH1. I like to think I was really good at manual focus at one point but I don't think I was that good. Its totally possible to shoot anything and manual focus without a crew. Lots of people do it everyday on the Pocket cameras that have no AF at all. Lots of Pocket users are one person operations.

I agree there are some situations where it is incredibly helpful to have but I still wouldn't say its a must have. If nobody could manage manually focusing on certain types of shots then sure but people out there are.

Look I think we need to face the reality that there will never be that one perfect camera. Something will always be lacking. These cameras are affordable enough where we need to start thinking of having a tool bag for the job and not try to build a house with just a screw driver. I see no problem with myself having a R6 and a GH6. Its not very practical for any of us to really just have one camera. At some point we need a backup or a second angle. Get the best of both worlds and use the Canon for those moments that are more practical with AF. I know a lot of Pocket users that want to pick up a second camera with AF and IBIS for certain type of shots. Its not meant to replace their Pocket cameras but a supplemental tool to add. I think if we look at thee cameras from that perspective we can all stop obsessing with that one perfect camera and just build up a good tool box instead.

I bought a R6 because I can't always bring a tool box with me on vacation or when my daughter has gymnastics. The R6 is a great push the red button and only worry about composition camera. Perfect for that sort of thing. At times it may be a great camera on a gimbal. But my main camera is still la P4k for paid projects or my own creative projects. I use the P4k as my main camera for my live DJ streaming and yes this will make DLD very happy I use my iPhone 11 Pro Max as a second camera for a super wide angle closeup of my DJ controller.
 
NorBro said:
Just that people are much smarter buyers than they were 5, 8 years ago because of YouTube.

Everyone knows what's up and what's hot (related to DLD's point about cameras), and knows about all of the budget options that do the job "good enough" for everything.

So while $100/$200 was kind of a joke, I think it's tougher to resell more expensive stuff these days, especially how quickly everything changes every year.
Click to expand...

Yeah selling gear now sucks. I ended up selling to B&H and KEH because it was a no hassle and safe solution.
 
NorBro said:
When you talk like that, to me it's clear the R6 really isn't the camera for you...I think you'd be happier with the GH6, back where your heart is... :love4:
Click to expand...

I like both and see a place for both. I need a backup for the R6 and was going to get a RP for that but instead I might get a GH6. The RP doesn't have DPAF for video anyway, only stills. Canon only reserves DPAF for video for their higher end cameras.
 
I have a brand new RP if you want it. Got it as a gift for Christmas, still in the box.

Does have DPAF but only in HD.

Didn't plan on selling it and I wanted it as a full-frame stills camera because it's so small and nice, but I've been busy with the other camera for now.

P.S. Why not Adorama? B&H made a better offer?
 
NorBro said:
But I know you know better than that...

If you're shooting a FF interview on a 85mm or 135mm as a second angle at f/1.4, f/1.8, and you have a nervous speaker inching back and forth, are you telling me you're going to pull focus manually back and forth with him or her? (Yeah, you can stop down but if you don't want to?)

If you are pulling manually, you're doing it wirelessly without touching the rig, right?

Because if not...the computer will do it for you. Tracks the eye, the face. 99% perfectly for a sitting subject.

These are the kind of situations you enlighten yourself with, even the most simpler ones you think you've gotten figured out.

___

And of course the AF system is much more useful than how it's described above. It opens up a world of possibilities never dreamed of with full-frame sensors and fast lenses that are moving and following other objects, especially moving objects.
Click to expand...

Why on earth is an interview with someone who clearly had too much coffee or something less legal being shot on FF with 85mm at f1.4? That seems a bit extreme. I agree good AF is really the only way to pull that off but I'm not entirely sure thats the best setup for an interview. I wouldn't want to manually focus that either. Yuck.
 
That's the new production world...would have never thought of this myself 10 years ago, but that's what people do now or ask for. :cheesy:
 
NorBro said:
I have a brand new RP if you want it. Got it as a gift for Christmas, still in the box.

Does have DPAF but only in HD.

Didn't plan on selling it and I wanted it as a full-frame stills camera because it's so small and nice, but I've been busy with the other camera for now.

P.S. Why not Adorama? B&H made a better offer?
Click to expand...

I forgot about Adorama. I hunted for the best offers from B&H and KEH. Some items B&H offered me more and some items KEH offered more. I doubt Adorama would have more than a $50 difference for the bigger items. They need to make money too.

I think there is just too much used crap out there now. The DSLR flood for film making was cool but those cameras all went somewhere when people finally upgraded. Only the current hit cameras like the P4k seem to have any kind of market out there.

No thanks holding off for now. Not really sure what the hell I'm doing anymore. Was only going to get the RP to have a backup for stills and 4k video even if the 4k was cropped and had no DPAF Figured in a pinch if my R6 was on fire it would be good enough for 45 minutes and I could use the same RF lenses. Which I currently only have two.

Since I kept a Speedbooster and have more EF lenses for the P4k the GH6 might now make more sense. Its $2k instead of $1k but a way better 4k video backup or even second camera. Love the P4k but it can't shoot stills. Thats kind of why I was thinking the RP. It could mostly be a stills backup and the P4k my video backup when the poor R6 needs to cool down and stop hyperventilating.
 
BTW, but the people who ask for that usually say, "Can you make the background blurry?"

"Yeah, yeah...I can make the background blurry." (But only because this machine is helping me.)
 
Thomas Smet said:
Thats kind of why I was thinking the RP. It could mostly be a stills backup and the P4k my video backup when the poor R6 needs to cool down and stop hyperventilating.
Click to expand...

So you're still not resetting the timer, huh?

You seen the video but you don't want to do it because you don't want to harm the camera?

Makes perfect sense to be cautious, just wondering.
 
NorBro said:
So you're still not resetting the timer, huh?

You seen the video but you don't want to do it because you don't want to harm the camera?

Makes perfect sense to be cautious, just wondering.
Click to expand...

Yeah I'm a wuss about doing things like that to my camera. I will not buy an off market AC adapter for the R6 either for $25. Will end up buying the official one for $140 because I'm chicken.
 
Peter C. said:
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.
Click to expand...

I used to do a fair amount of theatre stuff as well. A couple of months ago got called in at the last minute for clips for a road tour of a musical. No audience for afternoon setups - we had 2 FX9's in 3rd row aisles and FX6 as a center wide about 8 rows back. Started out with 28-135's on all 3. Even that close to the stage it was tough to get close enough on the FX9's. Since we were doing stop-and-go during the afternoon I also occasionally took another FX6 on a Ronin-S up on stage with a wide lens. For the evening show / dress rehearsal with invited audience --with cameras almost in the same spots, we switched the FX9's from FF down to a smaller sensor area to get more reach on one 28-135, and swapped out the other one to a 70-200. If we'd had another 70-200 with us that would have gone on the other FX9.

One of the companies I shoot for bought several FX9's for their theatre shoots -- they shoot S35 area and bought Canon 25-250 $ervo lenses for them. If we're shooting a live performance from near the back of the house the 25-250's are barely tight enough.

When I get called to do a low budget theatre shoot I now bring my EVA1 for the wide, CX350 for tight shots, and a BGH1 and/or GH5s for other angles as needed.

Of course what I'd really like to have would be a nice, parfocal 10x servo zoom that would work on MFT sensor cameras....
 
OnSet said:
I used to do a fair amount of theatre stuff as well. A couple of months ago got called in at the last minute for clips for a road tour of a musical. No audience for afternoon setups - we had 2 FX9's in 3rd row aisles and FX6 as a center wide about 8 rows back. Started out with 28-135's on all 3. Even that close to the stage it was tough to get close enough on the FX9's. Since we were doing stop-and-go during the afternoon I also occasionally took another FX6 on a Ronin-S up on stage with a wide lens. For the evening show / dress rehearsal with invited audience --with cameras almost in the same spots, we switched the FX9's from FF down to a smaller sensor area to get more reach on one 28-135, and swapped out the other one to a 70-200. If we'd had another 70-200 with us that would have gone on the other FX9.

One of the companies I shoot for bought several FX9's for their theatre shoots -- they shoot S35 area and bought Canon 25-250 $ervo lenses for them. If we're shooting a live performance from near the back of the house the 25-250's are barely tight enough.

When I get called to do a low budget theatre shoot I now bring my EVA1 for the wide, CX350 for tight shots, and a BGH1 and/or GH5s for other angles as needed.

Of course what I'd really like to have would be a nice, parfocal 10x servo zoom that would work on MFT sensor cameras....
Click to expand...
I do low budge theater stuff with full audience attendance. My clients are trying to sell as many tickets as possible. Very often the only way I get paid is by selling videos to the parents. I would love to have an excuse to buy cinema setup but it doesn't make sense for what I do.
 
I can relate to you Peter as my hobby is similar situation. One location etc. I set up the GH5 wide full stage and then frame closer in with the GH5S that I move around to roughly follow action. Both shooting UHD60P but edit on a HD timeline so both can crop in/zoom and pan. Again max depth of field is essential for this approach. Also 5.7K 60P makes it better. The reason I just ordered the GH6. Will also get a Zoom F3 when they are available then no worries about audio levels.
 
filmguy123 said:
I actually was researching a Canon R5 vs R6 this morning. My wife has an old 7D and I thought, maybe I can convince her to upgrade to the new R series. Sneak another camera in here, you know. For science.

I think my hang up is, my workflow is pretty streamlined when you're all in one camera family, and getting another set of batteries and chargers and adapters, and another camera bag to store it, and matching cameras in post... it all feels like a distraction. Where I am wondering if I just hold out for a few more years, AF will arrive on Panasonic in full force eventually. I've done the dance of switching back and forth between Mac & PC, NLEs, etc. and it's always kind of a PIA.

But I do resonate with the creative freedom of AF, I could really get a lot more dynamic shots. My shooting style has been dictated by technical limitations, I've always appreciated solo op with lots of movement so in many ways it seems a natural fit. My EF are all manual focus Milvus, except for the APS-C Canon 17-55 I inherited upon marriage and 70-200 f/4. So I'd also need a few more lenses. And another UI to mentally move back and forth between. I guess Cinematch would make camera matching pretty easy, but still.

If I were to step outside Panasonic for a go, Canon or Sony? For canon, R6 or R5? For Sony, A7SIII?
Click to expand...

I've had a mix of canon, Panasonic, and Sony cameras until now. Now I'm all in on Sony. Its much less hassle to stay within a single system

I wouldn't hold your breath waiting for Panny to get AF right!! That being said,, I'm a firm believer that if you don't NEED a new camera right now, you should wait because something better will come around soon. And if you do need a new camera right now, just get the best thing currently available and don't sweat the future.

that was largely how i ended up sony. I wanted to switch to a good AF camera, which meant canon or sony. It was r5 vs a7siii, and the r5 was not fully functional. Plus I had an fs7 I was planning to keep. So I went a7siii and now have fs7, a7siii, fx3, a7iv and 8 FE lenses.

Sony continues to offer a low-light advantage on some cameras, possibly a DR advantage in general at least on some, far better 3rd party lens options, and modestly lower pricing on bodies and lenses

considering whats available now, though, and if you don't need to save money -- I would go canon. I like Sony color science now but only in certain modes. Especially compared to slog3/sgamut3.cine, I think that canon has a skin tone advantage. I'm not sure, but I think canon has a movie AF mode that will settle/feather the AF into the mark instead of abruptly stopping. Canon has internal raw, if you ever need that. More high res options, if you need those. Canon ibis seems better than Sony though not as good as panasonic.

I feel Zero need to switch. Plus Sony will probably match most or all of Canon's features. But if you wanted to buy right now, i might go canon
 
filmguy123 said:
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).
Click to expand...

Maybe. My feeling is that AF isn't good enough that I'd want to use anything less than the best. Even the best isn't perfect
 
You must log in or register to reply here.
Back
Top