GH5 How interested are you in a GH6 anymore?

Samuel Dilworth said:
Sure, though I feel the same way about my GH5S with its internal DCI 4K 4:2:2 10-bit, true 24p, codec and frame-rate flexibility, Raw output to Blackmagic or Atomos recorder, reasonable timecode support and audio generally, good low-light noise, solid exposure- and focus-assist tools, no overheating, fast readout, good battery life by mirrorless standards (though still annoying; by the way, the GH6 looks worse for battery life although maybe they’ve got another powering option in the works?), etc.

The GH5S still strikes me as a camera that concentrates on getting the nitty-gritty details right instead of just doing flashy headline specs. That’s the sort of product I like. Can’t stand flakey half-baked products like nearly every Canon camera. Clearly the market at large thinks otherwise.

Of course it’s of no use to the full-frame fetishists, but that explains its low price, which is what makes it possible for me to own such a capable camera. I’m not a pro and can’t drop four-grand here there and everywhere.

(I see you’re selling your GH5S so evidently you disagree on some level. That package you’re selling is a true bargain for someone, by the way. Good luck with the sale.)
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I don't have a GH5S. I still have a GH3. They battery life will be something to watch
 
Zim said:
When you half way push down the shutter or tap the screen it is AF. It is not continuous AF. So you can shoot that way or manual to stop background pulsing. I normally don't use continuous AF. I hope the GH6 fixes or improves that. But the whole package on the gH6 looks really good. Continuous AF will not be a deal breaker.
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Yeah, that's called push AF, or single AF...every camera has it. Some older systems still pulsed in this mode but it was different; if the lens didn't recognize any contrast and what to focus on, it would zoom in and out, back-and-forth until it locked focus, creating a pulsing-like effect. But it was much slower and not like the highly erratic pulsing from Panasonic's continuous AF.
 
The "leaked" spec sheet still mentions V-log and not V-log L. Could this be it? Could we finally be getting rid of V-log L?

The ISO 2000 for V-log is also only when using the special extra DR mode. When that is turned off its ISO 250 for the base.

No mention at all of dual native ISO but in a way this DR boost feature is kind of a different set of base ISO values. So instead of dual native ISO we now get normal DR 12+ or boosted DR 13+ with its own set of use ISOs.

I still don't see this being a massive low light beast but maybe the DR boost mode thing will help. It has to be cleaner or else 2000 ISO would look pretty bad as the base for V-log. Perhaps whatever voodoo they are doing to manage this booster DR mode is helping shift the ISO range kind of like dual native ISO. Helps boost DR but also makes the camera more sensitive. Could be nice for log since even the mighty Canon R6 and R5 have a lot of visible noise with c-log 3 at ISO 800.

This is a tempting camera... Can't wait to see it in action. If anything it hopefully will keep lighting a fire under the butts of Canon and Sony for video features.
 
Zim said:
It will be sold to help buy the GH6
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Best of luck finding any decent value selling that GH3. I have been trying to sell stuff recently and the used market is pretty sad at the moment. If anyone doubts how well cameras sold the past couple of years they only need to look at the flooded used market. I just sold a GH4 and was lucky to get $287 for it. You might be able to buy a battery by selling the GH3.
 
I think you should see V-Log since they moved to it in the full-frame cameras after the GH5/S.

[Of course the cinema cameras had it before that.]
 
Thomas Smet said:
Best of luck finding any decent value selling that GH3. I have been trying to sell stuff recently and the used market is pretty sad at the moment. If anyone doubts how well cameras sold the past couple of years they only need to look at the flooded used market. I just sold a GH4 and was lucky to get $287 for it. You might be able to buy a battery by selling the GH3.
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Every little bit helps
 
Thomas Smet said:
Best of luck finding any decent value selling that GH3. I have been trying to sell stuff recently and the used market is pretty sad at the moment. If anyone doubts how well cameras sold the past couple of years they only need to look at the flooded used market. I just sold a GH4 and was lucky to get $287 for it. You might be able to buy a battery by selling the GH3.
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yeah I'm feeling dumb for not selling my GH5 a month ago. but, as you say, probably little value left to depreciate anyway... at this point, clearing out old cameras is almost worth more in storage savings. if only i had the time to do it
 
Thomas Smet said:
This is a tempting camera... Can't wait to see it in action. If anything it hopefully will keep lighting a fire under the butts of Canon and Sony for video features.
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I think that these video features will find their way into full frame and canikony cameras in due time, but I don't think the fire is under their butts

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FWIW, Sony does not have a 25 MPX MFT sensor listed anywhere. It has had the 20 MPX IMX 472 that's inside the OM-1 on their page since last summer. Could Panasonic have developed this on its own or with the third party? This looks very possible. If so, this may portend other developments in the full frame lineup.

PS. Their previous contact in the sensor biz was Tower Jazz, an Israeli designer and foundry. It was just sold to Intel for over $5B, which was also about 40% higher than their market value.
 
I watched Chris and Jordan review of the OM1. Seems like a decent camera they went over the AF it works pretty good but can get confused sometimes. Better than contrast detect but its missing the refined programing that Sony and Canon have developed that can identity and track a subject 95% of the time.
 
DLD said:
FWIW, Sony does not have a 25 MPX MFT sensor listed anywhere. It has had the 20 MPX IMX 472 that's inside the OM-1 on their page since last summer. Could Panasonic have developed this on its own or with the third party? This looks very possible. If so, this may portend other developments in the full frame lineup.
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Sony never adds exclusive sensors to the general catalogue until the exclusivity period elapses. Most likely this is such a case. Of course it might be made by someone else, but why go elsewhere when Sony has the best tech, the best price, a modular approach that allows you to pick and choose your precise capabiltiies, and is an existing supplier to your company? It’s probably a Sony.
 
If it's exclusive and unavailable to anyone else, it's a de facto third party sensor. Over the last decade or so, Panasonic stood in line along with everyone else and had to cripple some features and artificially inflate the product prices in order to fit into the predetermined cartel product map. GH-6 specs haven't quite violated these stipulations but, at least, it's not an identical Sony part to OM-1.

Had GH-6 been a 25/100 MPX fully enabled Quad Bayer, it would be sending some shock waves throughout the cartel. It looks like it isn't quite as daring.
 
I shared a few pages back that I thought Sony and Canon have fully moved on to full-frame and I could see them letting MFT run wild now.
 
As we know DR is notoriously complicated to pinpoint, but according to the specs the GH6 seems to have 12 stops default and 13 stops with boost. Even without boost, it appears we are looking at a noteworthy improvement over and above the GH5 ii, which was actually a noteworthy improvement over the GH5:

https://www.cined.com/panasonic-lumi...latitude-test/

That should put it within spitting distance of the S1H: https://www.cined.com/panasonic-s1h-...utter-results/

So what we will have might be a GH6 camera with:

- Only slightly worse DR than the S1H.

- A GH6 with vastly better internal codecs than S1H, higher HFR/VFR capability

- A GH6 with better AF than S5/S1H

- Worse lowlight than FF S1H, but only practically slightly worse (what I mean is, the S1H will outclass it, but in 90% of shooting scenarios the lowlight on GH6 has reached the point where it shouldn't matter much, as most pros aren't shooting in black out scenarios, even at a wedding reception). So the S1H wins, but the gap on how meaningful that win is should be narrowed. If GH6 is close to GH5S, my experience with GH5S vs S1H is that it doesn't matter that much.

For the talk on the GH6 being chunkier, its only about 15g heavier than a GH5, and I welcome the slightly larger body size as it is easier to handle and grip. I am more concerned about total package weight and size, and a few centimeters don't change that equation, they give the benefit of better handling without any meaningful downside. IMO.
 
filmguy123 said:
As we know DR is notoriously complicated to pinpoint, but according to the specs the GH6 seems to have 12 stops default and 13 stops with boost. Even without boost, it appears we are looking at a noteworthy improvement over and above the GH5 ii, which was actually a noteworthy improvement over the GH5:

https://www.cined.com/panasonic-lumi...latitude-test/

That should put it within spitting distance of the S1H: https://www.cined.com/panasonic-s1h-...utter-results/

So what we will have might be a GH6 camera with:

- Only slightly worse DR than the S1H.

- A GH6 with vastly better internal codecs than S1H, higher HFR/VFR capability

- A GH6 with better AF than S5/S1H

- Worse lowlight than FF S1H, but only practically slightly worse (what I mean is, the S1H will outclass it, but in 90% of shooting scenarios the lowlight on GH6 has reached the point where it shouldn't matter much, as most pros aren't shooting in black out scenarios, even at a wedding reception). So the S1H wins, but the gap on how meaningful that win is should be narrowed. If GH6 is close to GH5S, my experience with GH5S vs S1H is that it doesn't matter that much.

For the talk on the GH6 being chunkier, its only about 15g heavier than a GH5, and I welcome the slightly larger body size as it is easier to handle and grip. I am more concerned about total package weight and size, and a few centimeters don't change that equation, they give the benefit of better handling without any meaningful downside. IMO.
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Never understood the whole body weight argument. I remember when pros were thrilled when the GH cameras started weighing more. Light and compact is nice at times but other times we do want more robust. Heavier ironically is sturdier to handhold and just feels like a more pro camera.

It is the lenses that are a bear on FF and make the system overall super heavy to use. I'm already missing the Leica 25mm f1.4 I just sold or the EF-M Sigma 30mm f1.4. Both stellar lenses and not massive in size or weight. My camera bag is vastly heavier now when I switched to the R6. Its about to get even heavier as I invest in more FF glass. Mirrorless was supposed to help Canon lenses but so far I'm not sure they are all that much smaller or lighter than EF versions. Maybe Tamron and Sigma can work some magic with the RF mount.

To be fair I was already starting to switch to EF lenses which made the transition to RF much easier. I was using a Tamron 70-200 f2.8 G2 which is a stunning lens but holy crap is it a beast. Thats not even the biggest FF option. I know a lot of wildlife photographers that switched to Olympus and Panasonic mainly due to the smaller but longer reach m43 lenses. They mostly shoot outdoors anyway and they love m43 to reach 600mm FF equivalent or further for a fraction of the cost and weight. I at times regret my move to FF because telephoto kind of sucks. I either need to crop a lot or invest in some lenses bigger than Jabba the Hutt's tail.

Not that some of the Olympus Pro lenses are all that much smaller.
 
NorBro said:
I think you should see V-Log since they moved to it in the full-frame cameras after the GH5/S.

[Of course the cinema cameras had it before that.]
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I would think so as well except I thought the entire reason for V-log L was because the GH4 at the time just didn't have the DR to support full V-log. So instead of creating different log/luts like Canon and Sony do Panasonic opted for a universal form of log where the camera would truncate what it couldn't handle but use the same luts.

Can a GH6 really handle full V-log? The S series got full V-log because they can do 14+ stops of DR. It looks like the GH6 isn't exactly going to be as good when it comes to DR.

Many of us wished Panasonic would have just made a V-log 2 with its own luts optimized for the m43 cameras but alas they did not.

Even if the Dr boosted mode can handle full V-log I'm not sure the 12 stop normal DR mode could.

I think this is the reason why the R5 and R6 from Canon don't get C-log 2. It needs too much DR to be used. Even the new R5c doesn't use C-log 2. Full V-log is a very flat extreme form of log. A very nice form of log but it needs a lot of DR in order to work. Just like Clog 2 does.
 
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