GH5 How interested are you in a GH6 anymore?

Less_is_more said:
So NorBro wants magical full-frame. Clear enough, but unlikely in a GH6.

I’d like to know what any GH6 will do to GH5S prices. Dip or crash? I wasn’t watching this market when previous GH models arrived.
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ha...NorBro doesn't have any plans on personally purchasing another camera ever again besides an iPhone.
 
ahalpert said:
The S1 was noticeably softer and noisier in crop mode. The red scarlet was likewise waaaay noisier in crop mode

"Backwards thinking" - I dont appreciate your demeaning characterizations. If you disagree, just make your point
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I don't care that you don't appreciate it. Stop quoting me and disagreeing with everything every other day because you're bored.

Say whatever you want to say in the thread without adding my initial posts above all of your responses making me feel like I have to respond to everything.
 
Tom Roper said:
For convenience and practicality alone he's going to shoot with a regular S35, not going to use S-35 crop from a FF camera. I can't see a marquee DP doing S-35 crop, no.
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But don't you think people, the world changes? What are your thoughts?

Many DPs weren't too crazy about digital either.

Now it might seem asinine for the best-of-the-best to use a cropped mode when they have access to the best-of-the-best that's not really optimized to do this, but if a future camera can do everything - and do it really well - you don't think that might be something someone will really consider? So much flexibility for storytelling.
 
NorBro said:
I don't care that you don't appreciate it. Stop quoting me and disagreeing with everything every other day because you're bored.

Say whatever you want to say in the thread without adding my initial posts above all of your responses making me feel like I have to respond to everything.
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Do you think everyone will be shooting large format someday? Or will it be larger than that?

Of course people will be cropping FF sensors sometimes even on big budget stuff but my guess is that there will be enough demand for proper S35 cameras to keep the format alive. Hence: coexistence
 
In short, IMO, I just don't see a need for S35 sensors moving into the future as full-frame chips are being produced on a regular basis.

It's not that I prefer full-frame (I mean I want an amazing iPhone FGS), I just think the S35 sensor is now in an awkward position (agreeing with what filmguy said before).

If the Japanese get serious about improving their MFT cameras, I think MFT is a much better fit for society along with phones, fixed-lens cameras and bigger sensor cinema cameras.

I don't think everyone will be shooting large format someday unless cameras with smaller sensors simply stop being made forcing people (and machines) to adapt.

I can't picture affordable, elite large-format video specs right now in my mind although it may happen in my lifetime and undoubtedly will in the future (I'm not impressed with the GFX100).
 
I agree with what you say about manufacturers potentially forcing people to use (and crop if they want) larger sensors because they stop making smaller ones. That could happen with full-frame. Not everyone would be happy about it.

MFT never really took off. Fuji's strategy has been medium format and APS-C, which I think makes even more sense (for video, not stills) than a full-frame/MFT option. Both because S35 is way more established than MFT and because medium format gets you into that selective-focus wide-shot territory with a fashion photography feel if that's all what you want. But generally I agree that no 2 adjacent formats are that different from each other (mft to S35, ff to mf) - you really need to go 2 over to get more than an incrementally different aesthetic. Sure, that could be FF/MFT but MFT is not that popular.

In my ideal world, there are still cameras available in every format

I was kidding about large format. It's a beautiful medium but the focal lengths are huge and it's got precious little DOF. My point is just that sensor size growth must stop somewhere
 
NorBro said:
But don't you think people, the world changes? What are your thoughts?

Many DPs weren't too crazy about digital either.

Now it might seem asinine for the best-of-the-best to use a cropped mode when they have access to the best-of-the-best that's not really optimized to do this, but if a future camera can do everything - and do it really well - you don't think that might be something someone will really consider? So much flexibility for storytelling.
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I'm not qualified for this. I mean, no I don't think think there is an inherent objection but rather just more of a practical consideration of taking the path of least resistance for 85-90% and the road less travelled for the other 10-15%. He has the desire to explore and be creative but he has the deadlines, the schedules and the budget pressures. So how do we know at this point how reliable and what is the ease of use of this future camera that does everything? I think I would be wanting to work in some of the new but also hedging it with the tried and true of the old. If I wanted to explore the Arri 65 it would be hard for me to push back against the producer wanting the regular Alexa if I thought it would simplify the work. I'd have to have a very strong belief in something like the iphone12 max before I'd go down that path. I just don't. And then there's the actors. I've heard some of them can't perform in front of a small lens, need to put on a large cine matte box to get them to perform.
 
I haven't seen much of a difference with shallower DOF with MF vs. full-frame.

I think because of the way they are both used and how fast many lenses are for FF (f/1.2, f/1.4) versus almost everything being f/2.8 and f/4+ for medium format.

MF can get shallower wider though which provides that nice, soughtafter aesthetic.
 
ahalpert said:
Do you think everyone will be shooting large format someday? Or will it be larger than that? ...
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I just read news about a new/old type of a lens being worked on ... something that would make the larger format lenses more tolerable in terms of size and weight ... hmm, where the heck did I read it? ... on some rumor site? ...

In any case, an 8K RGB sensor is ~ 100 MPX and that's where it's going. Sony already makes 102 and 150 MPX MF sensors (102 of GFX 100 even has a quality auto focus). When Chivo decided on Alexa65 for the Revenant, he ended up using it with the old Hasselblad 65mm primes. 100 MPX can work for the full frame but the high end is likely to be in medium format. Considering that 8K Raw FF is already being sold for under $4,000, the next generation of sensors and electronics is on its way.

And the depth of field is an artistic choice anyway. 65mm film cameras dominated the theatrical releases after the war. 8K will bring the format back into mainstream.
 
ahalpert said:
The S1 was noticeably softer and noisier in crop mode. The red scarlet was likewise waaaay noisier in crop mode. Among other issues, I believe that the aa filter is not optimized for cropping
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This was not my experience using APS-C crop mode when shooting 4K, only when shooting 1080p. Maybe I didn't look close enough as I moved to the S1H pretty quickly. Could you elaborate on your experience here?
 
filmguy123 said:
This was not my experience using APS-C crop mode when shooting 4K, only when shooting 1080p. Maybe I didn't look close enough as I moved to the S1H pretty quickly. Could you elaborate on your experience here?
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Slightly glossier in the crop. Noise level felt like one stop higher uncropped ISO.

And technically it makes sense. Uncropped is super sampled 6K. When you crop, you enlarge the noise.

Brawley claims he can observe a difference between 4K and 8K but not 8K and 12K. So perhaps when the cropped mode is 8K you will not notice a detail difference. That AA filter though.

And it will always be noisier cropped. No way around that. It might be good enough but it will always be better uncropped. Maybe it wont matter on the low end because it will be good enough or on the high end because they can adequately light.

Incidentally, Chivo used the Alexa 65 40% of the time on revenant and Alexa M for handheld and the XT for low-light for some reason. But obviously 65mm cameras could be made smaller.

I'm sure larger format cameras will proliferate. But there will still be s35.
 
How the hell did this thread go from - the GH6 will be crap if it doesn't have built in ND's, 4K 180 fps, and killer auto focus, to you need to shoot with an Alexa LF, with external ND's, a first rate focus puller, and 50 person camera crew?
 
I was mentioning to Abe and Norbro in another topic, that I thought the Face Detect AF on my GH5S was working pretty well on my gimbal. I was getting my stuff in order for tomorrow's wedding shoot which I'm doing this one alone, so gathering a 3rd camera, my GH5 when I noticed it didn't get all the AI functionality that came with update for GH5S, kind of a bummer. I think it will be okay, it's only going to be for a static tripod angle that'll be MF anyway but still a bit disappointed.
 
Somewhere in one of these threads one of these videos was posted (maybe this one, IDK), but this is going to be so nice for the Pockets and Panasonics for people that really love this stuff:

 
ahalpert said:
I'm sure larger format cameras will proliferate. But there will still be s35.
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I agree. I guess I didn't realize people were talking about it going away or being replaced. I think it won't. It has too many advantages for cinema, (Not saying I can name any Lol..), but for PL mount lenses, with so many focal lengths, anamorphic, telephoto, that would be a lot of top tier glass that would have to disappear as well. Because of photo FF? I doubt it. How safe is it as a format, btw?
 
It's safe...the LF is the de facto now with plenty of full-frame cinema glass at its disposal, especially now.
 
NorBro said:
Somewhere in one of these threads one of these videos was posted (maybe this one, IDK), but this is going to be so nice for the Pockets and Panasonics for people that really love this stuff:
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It's interesting, but on some level, it's got to be in alignment with the sensor. And this is something I remember from 35mm camera SLR film days. It started with rangefinders, or even before that just a near/far switch, and progressed to split prism and then finally whatever it took for autofocus, I think it bounced an IR signal off the film plane through hole in the mirror, but the point about that, is even with the split prism, if it wasn't in perfect alignment with the film plane, or the sensor, you could think you had perfect focus nailed yet when you developed the pictures you didn't have perfect focus nailed.
 
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