Well, at least they will no longer be able to call this a "45MP" sensor like they do with the others. LOL
And what's with the reversed grip design. That just looks uncomfortable.
mpgxsvcd: "NTSC (offering frame rates of 23.98, 29.97 and 59.94), PAL (25 and 50) and Cinema (24) and requires that the camera be rebooted to switch between settings."
I assume rebooting simply means turn off and then back on. Hopefully nothing more complex.
The Photo Ninja: Tech question: after reading the specs, it seems like 1080p will offer higher resolution (i.e. high bitrate). So if the ultimate goal is to output to 1080p. Are you better to shoot 4K so you can crop or just shoot 1080p at 200Mbps?
Yes, bit rate does not equal resolution. That said, I have not seen anything that stated the bitrates for 4:2:2 10bit output. Or did I miss it?
RichRMA: The only drawback in these cameras is that the fit between the grip and the body is crude, like a 1970's car body, big gaps. They round the edges of the grip and the body which makes the fit when they come together look pretty rough. The grip should fit so it looks like part of the camera, not something tacked-on.
Functionality is far more important than cosmetic appearance.
Aroart: I think Canons video dept just had a stroke. The gh3 noise in lowlight put me off but the gx7 and gm1 video output is close to the 5d mark 3. Who knows maybe canons new 7d m2 will have 4k. If not canons going to have lots of video guys switching over..If Pani put in a 5 axis image stabilizing sensor than canon video based line will be fuc!?# $.....
No IBIS in the GH4, as far as I know.
I also have to applaud Panasonic for making this a GLOBAL camera.
Archiver: I love this upgrade, but I'm wondering about what is NOT being said. HDMI output has a maximum of 4:2:2 10bit quality, but what about the in-camera files themselves? And what of useable dynamic range?
While the 4k output and 200mbps and 100mbps ratings should be excellent, what about the bit depth and dynamic range of the in-camera files? Surely Panasonic would make something of quantifiable advances in those areas?
If you want to do any real grading, 4:2:2 is a MUST.
The BMPCC camera records ProRes 4:2:2 at 220 Mbps to high end SDXC cards, and even RAW video at 60-65 MB/s to higher end SDXC cards.
So Panasonic could have done it they had wanted. So I am guessing that the 4:2:0 in camera is to force users to buy the XLR dock.
Arghhhh.... just when I thought I would not have to buy another new camera for a while. Sigh.
This pretty much seals MFT as my system of choice in mirrorless.
Although, one has to ask why we have to use HDMI/SDI out to get 4:2:2 footage? Why not save in camera to SDXC card?
So no e-mount?
peevee1: Terrible choices of color for a beach camera. Black will get superhot under the sun very quickly, blue can easily get lost under water. They should be bright-yellow, orange, red.
Exactly. My Nikon 1 AW1 is white with the orange condom.
No RAW = NOT premium
eNdie: Why still no raw? :( That's about the only thing keeping me from buying any one of these little compact cameras. It's been three years now that I'm waiting for any company to introduce raw to their underwater compact and still nothing...so disappointing
I'm with you, which is why I bought a Nikon 1 AW1.Very rugged, shoots raw, has interchangeable lenses AND a larger sensor.
Once more, yet another 'tough' camera without raw capabilities.
Why, oh why?
Impulses: How about a comparisoto with RAW Vision? It looks intriguing, Photo Mate is hardly the only RAW processor on the Play market... I haven't tried it because I haven't had the time and the 15 min limit is hardly enough time but maybe Connect could look into it? I had suggested a look at both these apps months ago...
Nexus Media Importer is not required, if all you need is to transfer images.In fact you can use one of many OTG apps to access or import USB media. I use StickMount which is free, but requires root (as do some of the other OTG apps). Nexus Media Importer ( not free) does not.
Clint Dunn: Is it just me or does anyone else think it's just pure lunacy to take an ILC camera underwater without using a dedicated diving case?? Not in a million years would I trust the lens gasket to keep water out....or to submerge the camera in salt water...just crazy.
The original Nikonos cameras did not use a housing, and they had interchangeable lenses. Plus they had a depth rating in excess of 150 feet. And they were GREAT cameras. I still have two of them. Still going strong after 30 years.
Built like tanks, they were, but you absolutely had to maintain those O rings... or else.
Crazy? I think not.
Black Box: Check camera for an hour, smear it with silicon, assemble, go dive for half an hour, go back, wash it and dry it, charge it for three hours. Find out it's leaked and broken. Pay another $1000. Repeat. I'm sorry but it looks like too much trouble for the doubtable pleasure of taking murky, color-drained photos of some half-eaten fish.
You have obviously never use any camera underwater, such as the film Nikonos series or any camera with a housing.
Meticulous maintainence is a MUST.
jkoch2: The "pocket" appellative merits clarification. The camera is small, but not pocketable, but is suitable mainly for pros with lots of money and batteries in their pockets. The camera body is only a fraction of what one must buy to make proper use. People without time or incentive to edit h.264 MOV or AVCHD video won't need ProRes or CinemaDNG any more than a kid on the lap of Kris Kringle (or Edmund Gwenn) will need a real locomotive or a B-29.
It is possible to admire this camera, as one might admire an RJ Corman GG10B, without having any impulse to buy one.
Folks anxious to capture or edit CinemaDNG, and who have the requisite equipment, time, and fine eye to take advantage, may be disappointed when the fruits of their labors fail to register in the 3mbps 480p version most people actually see, or the absence of any incremental pricing they'll be able to pass on to clients to cover the costs.
"Folks anxious to capture or edit CinemaDNG, and who have the requisite equipment, time, and fine eye to take advantage, may be disappointed when the fruits of their labors fail to register in the 3mbps 480p version most people actually see"
It's no so much about the final product, but about the flexability while editing to achieve the final product.
SteveNunez: It should be noted to capture RAW video the camera MUST use SD cards that are rated at 95/mbps and faster of only which the Sandisk Extreme Pro 64GB is recommended!
Yes, BlackMagic has told me that the data rate for raw is in excess of 45MB/s (that's >360Mbps).
The Sandisk Extreme (45MB/s) card I use for ProRes does NOT work for RAW... unfortunately.
GodSpeaks: 30MB/s isn't fast enough.
The BMPCC camera shoots 1080P30 at just under 30MB/s, and 4K is 4 times larger.
You are going to need 100+MB/s sustained write speeds for 4K, unless it is massively compressed, in which case, what's the point.
My point is, try finding a card that will work with real 4K.The BlackMagic camera writes at 220Mbps and VERY FEW cards work, even many class 10 UHS cards that say they can write at 30MB/s or faster.