GH5 How interested are you in a GH6 anymore?

ahalpert said:
If i understand correctly, pixel shift can only pick up as much detail as the lens can resolve in a single lens position. Youre not going to capture more detail than the lens can resolve
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There are quite a few posts/articles on the topic, with the majority of them done about three years ago when A7RIV was publicly released. Since no two setups or results were identical, the best estimate I found off a comment that the purported 240 MPX composite - an alleged quadruple improvement from 16 shots into static targets - by A7RIV was closer to 180-200.

A four shot composite by A7RIV doesn't even claim to increase the resolution but the various tests and testers found the effect to be closer to the removal of the AA filter. In other words, there was an improvement in resolution of a four shot sequence over a single shot. One could guess further than the single shot from A7RIV was closer to 50, while the 4-shot composite was ~ 60'ish (most tests zoomed in, obviously, to decipher any differences).

The lens selection was on the "this is the best we could find" principle. (but pretty decent with Otus E-mount, etc.). The 150%-200% blowups seemed to show considerable increase in the image - buildings, test charts - resolution.

YMMV.
 
DLD said:
So, OMD crippled its 4K video into 8bits. Yes, it's a $2,200 camera of 2022. And the cartel hasn't disappeared overnight.
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Now I know why the DP Review video footage of the Sigma 20mm looked terrible. For a while I thought it was the GH6 but am relieved to see it ain't so.
 
stoneinapond said:
Now I know why the DP Review video footage of the Sigma 20mm looked terrible. For a while I thought it was the GH6 but am relieved to see it ain't so.
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In the video, (formerly TCS) Jordan said that it does have 10-bit in H265 (I missed this but it's 4:2:0) but they didn't have the proper LUT for the OMD Log yet and hand-grading was so-so. The production model will likely have some of these kinks worked out.

My take is that it's a decent camera but overpriced by ~ $500. The pixel shifting works OK but it feels moodily like the days of futures past.
 
10-bit 4:2:0 H.265 is common in cameras.

If you don't make your own sensors you have to take what you can get, so I won't blame them for that.
 
Ok I just noticed something interesting in the specs for the OM-1...
[TABLE="border: 0, cellpadding: 0, cellspacing: 0"]
[TR]
[TD]8160 x 6120[/TD]
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[TD]5760 x 4320 (25MP)[/TD]
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those are the possible high resolution modes.

Panasonic early on stated 5.7k video. DLD stated he believes the GH6 and OM-1 will use the same sensor.

Could the GH6 be pulling off 5.7k by using the 5760 mode the OM-1 does for handheld high resolution stills? If the readout is really 5x faster for AF it makes sense they could potentially use the lower form of high resolution mode to give us a sort of 5.7k video.

I don't think those numbers are purely a coincidence. They could be but its interesting that the lower resolution high resolution mode that works for any kind of handheld photography just happens to be exactly 5.7k. Plus with a 16x9 crop the readout may be even better for video than the 4x3 for photos.
 
DLD said:
So, OMD crippled its 4K video into 8bits. Yes, it's a $2,200 camera of 2022. And the cartel hasn't disappeared overnight.

But it does have an external 12-bit 4K Raw to Atomos Ninja5.

And for $hits and giggles -

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I could be wrong but my understanding is 10bit is saved just for HLG and log recording. Much like it is on the Canon R6. I only get 10bit if I shoot HDR PQ or Clog. I'm not sure if this is a cripple as much as it is to keep certain video formats more practical. Most that shoot standard camera profiles likely don't need 10bit as much since the grading is not going to be pushed as hard. I thought it was odd on the R6 but it kind of makes sense in a way.
 
OM-1 is getting external ProRes Raw which bodes well for the GH6 gettign the same thing. Whats interesting is the OM-1 is limited to DCI 4k meaning its going to be an extra crop. If the Gh6 is using the same sensor and sensor shifting to get 5.7k is that possible for external raw or would it be limited to 5184 external raw video? I see the high res stills mode does work for raw photos so I guess it is possible if the processing power is there. Might be totally fine to be limited to 5184 raw however.

Not entirely sure how I feel about the 5.7k potentially being from a sensor shifting. It will without a doubt have more detail than 4k video but its not exactly 100% true 5.7k video either. It may not resolve as well as a true 5.7k sensor would. Still might be enough for some users however.

Guess we shall see in a few days.
 
I am out of guesses. The sensor can technically read up to 20.89 MPX at 120 fps. Maybe Olympus is shedding a few pixels to get a better auto focus. Maybe Panasonic will use all of the available 22.93 MPX rather than the "active" 20.89. Maybe the difference is merely semantics. Maybe the GH-6 sensor will be different (though I doubt).

PS. H265 is offered at lower speeds than H264. I didn't see that coming either.
 
IMO, I think the bottom line is what do we really expect, you know? It is a $2K camera from Olympus.

Its video quality will surely be GREAT, but it will likely look like a high-quality video camcorder like 50 other cameras on the market.

Dynamic range, color science, skintone handling and softness, motion/cadence...this is all stuff reserved for the best of the best dedicated hardware.
 
Olympus has always prioritized photo over video and thats their expertise. Panasonic are wizards at creating video cameras. Its not juts the sensor but the DSP that handles all that data. I just don't think Olympus has the knowledge or experience to pull off some complex advanced video processing like Panasonic does. I don't think their user base really cares all that much either. Kind of ironic given they are supporting DCI and external ProRes raw. Its like they kind of want to be taken seriously for video but woah not so fast. Thats why I think it just comes down to understanding of how to process video and using most of the processor to handle video vs photos.

I'm still not convinced its the same sensor but it very well could be but yield two very different sets of video capabilities. The sensor itself does not entirely dictate what kind of video a camera can handle. Panasonic knows how to program encoders, video scaling, debayering, temporal noise reduction and so on to have that edge over Olympus. Heck most of that is an edge over everybody else out there. Thats why we like Panasonic. That is their edge. They are the kings of video processing. The S5 is darn near a perfect camera minus the AF and the insanely overpriced lens options. If they had a workable EF adapting option that would be fine but they don't. So that right there pretty much killed the format for a lot of people. If I only used full manual lenses I would have grabbed a S5 over a R6 in a heartbeat. Even if a S5 mk2 gets the 5x faster AF in the future I'm still not going to be a fan of the L mount cameras because of that mount. I just don't see much of a future for the L mount. I would rather invest in RF glass which I'm sure will have a future.
 
RF will have more of a future but I think the L-mount is better than what it was. You can now build a decent set with a few $600-ish lenses.

Or the 24-105mm for $1300 which is what the RF version costs as well.

But...just like the RF mount the best L-mount glass is over $2,000. I don't think G Masters are cheap either.
 
One other note I'll add is that higher priced lenses can also be good for a buyer's image/business.

I know not everyone can afford them, but when you're using nice cameras not everyone wants a $100 50mm STM pancake on it.

You want superior glass for your superior camera.

As we all know, 8,10 years ago there weren't too many lenses out there for the EF mount besides Canons and Rokinons, and you paid the same premium back then for the best red ring lenses.

And the fact that they are still around the same price is pretty good (although companies didn't have much of a choice because $2,000-$2500 is just about the limit for normal folk interested in at least one premium piece of glass and even that's kind of pushing it).

I would have liked to see the f/2.8 red ring glass around $1500 so I could at least consider two lenses rather than one for ~$2400.
 
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I haven't seen a MFT camera sensor in so long that it doesn't even look normal to me anymore (because of seeing all those shots of the large chips without body caps of the new cameras from the last two years).
 
Probably not, but if they are and Panasonic somehow kept that quiet in 2022, they would be the coolest ever.
 
Maybe they will improve the AF even more. The Gh5II did, so no reason to think it won't be improved even more with the GH6. ( maybe Nor will have to enlarge 800% to see it) I hope they improve the whole package.
Just wondering does turning off continuous AF help the pulsing on the GH5?
 

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Well, yeah...because then it's not AF anymore. lol

The camera isn't looking for focus thus resulting in no pulsing. You only have push AF after that which is technically focusing automatically but it's just once and you have to manually operate it.

And get used to that zooming test...don't be happy with something just because you can't see it with your brain/particular set of eyes without zooming in.

You deserve better AF in a Panasonic camera.
 
did we already talk about how the new olympus is squeezing out an extra stop or two of sensitivity and DR thanks to the quad bayer situation? just like was supposed to happen with the a7siii but they likely held it back...
 
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