The Sony a7S III is a highly flexible compact production tool. Lightweight with amazing autofocus: Sony a7S III If your budget won't stretch to the S1H or you don't need its full-frame specific benefits (like more potential for shallow depth-of-field), the Panasonic GH5 and GH5s offer many of its capabilities in a smaller, less expensive format. Probably the greatest weakness is the somewhat unreliable autofocus, which counts against it for run-and-gun shooting, but overall, it’s a powerful addition to productions both large and small. Its capture options are diverse: 10-bit 4:2:2 4K at up to 30p from the full sensor area or 60p from a Super 35 crop, with open-gate and Anamorphic support or 5.9K Raw output, but it’s the other features that make it our pick.įeatures such as waveforms and vector scope, shutter angle operation, dual zebra displays and the same V-Log profile as Panasonic’s VariCam pro cinema cameras make it a tool that can slot into professional working environments with minimal workarounds. The Panasonic Lumix DC-S1H’s stills-camera looks disguise one of the most video-centric stills/video cameras we’ve ever encountered.
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