松下新机GH5可录制6k
毫无疑问，我最喜欢的相机系列的最后5年来一直是松下的GH系列。
但随着地平线上的运动全6K读出一个超级35毫米传感器索尼A6300，是未来看起来有点摇摇欲坠松下的视频神童？
在过去的几年里松下确实听了很多人，包括我自己。然而，最近的邀请停了下来，我没有听说过一个关于GH5事情。很奇怪。如果之前的GH产品周期将被重复GH5应该出现从四月到2016年的Photokina在九月的任何时间。当我GH4发布之前上次见面松下我告诉他们 - 我们都告诉他们 - 他们必须加紧规范。该GH3是一个有点失望，它没有把GH2的形象在阴凉处。Blackmagic的是为我们提供有13个站的动态范围和全画幅生刚刚发生在5D Mark III的原始视频，所以我们只是附和什么都业主已经话说像EOSHD论坛DVXUser的地方 - 我们想要的GH4到是迈出了一大步。而正是！松下虽然现在的问题是他们保持先入市场，并率先通过比赛来打 - 因为4K中心GH4的发布，索尼已经走了所有枪支炽烈到GH4的领土不低于3 4K全画幅摄像机（A7S，A7S II，A7R II），一个非常有能力的4K APS-C相机（A6300），甚至三星调升其短暂的NX1的赌注。他们都提供更大的传感器，更好的高帧速率和光性能比GH4更好的低。Blackmagic的已经增加了4K的蛋糕片了。此外松下均给予GH4一个LOG轮廓太慢，索尼的东西给了我们与A7S马上回到2014年索尼一直没有在任何添加到了他们的其他相机害羞。近期高端的版本中，只有RX1R II缺乏它。到现在为止，GH4的价格已经从索尼的产品保护，但在A6300改变了这一切。他们可以真正找到自己丢失市场份额，尤其是佳能和尼康看起来是（松下的价格，那么也许很快，如果还没有）渐入4K市场了。所以，我很乐意为松下再次开始倾听。尤其是这个......因为如果不这样做，我可能不会买GH5 ...盛大的想法！该微型4/3卡口物理适合超级35毫米传感器。这已被证实。电流传感器技术使全像素读数在6K的区域，或者如果您认为三星NX1近7K。这也被证明。在便宜的小天体图像处理器可以采取6K读数和紧缩的数字，没有问题。该NX1证明了这一点（甚至与H.265复杂性的增加）。该A6300是下一个。它为$ 999客户已经相当带到拆分“决议”，并与A7R II和A7S II索尼的“敏感性”的产品。现在，松下可以做的GX系列是高分辨率和摄影师导向的2倍作物传感器相机类似的东西，而GH5会去超级35mm和保持像素数的水平受益视频和低光。因此，这将是一个绝好的机会，使GH5一次粉碎微型三分之四的一些限制 -
[*]与速度的助推器，全帧？是的。
[*]6K超35毫米没有速度的助推器？是的 -完美的PL电影和APS-C镜头
[*]伟大的低光？是的 -得益于更大的传感器
[*]尽管如此拍摄15MP / 4K与微型三分之四镜头？是的 - 4K裁切模式下保持兼容性和更小尺寸的光学
所有这些改进都来自一个单一的变化 - 一个更大的1.5倍作物传感器。这种工作方式非常简单。在6K来自全超35毫米感应区（24MP - 或20MP时，16：9的宽高比应用）。然后，它可以扩大到4K的处理器或者更好的是 - 为什么不直接将其存储为6K的卡上？媒体现在不够快，这将真正从竞争设定它拆开。虽然我个人比满意更4K（1080，甚至在很多情况下）客户对整体数据非常敏感。
传感器尺寸方面，超35毫米（1.5倍作物）是一个真正的甜蜜点，因为它允许我们去全帧速度的助推器。然而，芯片仍然适合中，小微型4/3卡口。它仍然允许小型光学和小天体。如果速度的助推器0.74x E卡口光学部分适合微型4/3卡口的话当然同样超35mm规格传感器会去全画幅的GH5了。与全画幅看起来GH5是几乎一样巨大的卖点为6K。这种新的传感器我梦想着将24MP - 为什么？任何较少和4K与微型三分之四镜头就不太是可行的和更多的会伤害低照度性能。即使在传感器2X裁切模式下运行它会在GH4的1600万像素Micro Four Thirds规格传感器的显著低光照改善同时保持相当多的剧照相同的分辨率。现在最重要的一点...它要记住一个超级35毫米GH5仍100％是一个微型三分之四相机是非常重要的。就像GH2与它的过大1.86x作物传感器了。附加Micro Four Thirds规格的镜头，这一切仍然有效。相机会检测到，并用6K超35毫米传感器的4K窗口。对于蒸馏器这个领域将是大约15MP 3：从过大24MP传感器2。对于我来说，这就像用GH4目前的情况一样好，而与它GX8的20MP 2倍作物传感器配合摄影师的法案，GH5的15MP剧照当微型三分之四镜头连接将是一个必要的妥协给主要受众这台相机（视频射手）他们想要的东西 - 超级35mm和6K。这里松下还有另一个机会，如果他们选择把它和我将在稍后沾到一点。当全画幅或APS-C镜头通过一个适配器连接的GH5会（从像A6300全套6K像素读出或4K），并在剧照拍摄24MP在6K视频。这不会是第一次松下已经在微型三分之四相机使用大于2倍作物传感器。的GH1和GH2有松下自己1.86x作物传感器允许多个宽高比不伤害的视场。随着开关索尼传感器的GH3这缩了回去2倍和多方位的功能被取消。相比之下佳能APS-C是1.6倍作物和超级35mm是可以1.5倍作物。终于在这里是新的传感器尺寸创造了其他机会 - 微三分之四“加”镜头一个新的“高级”线路覆盖1.5倍作物传感器。硬停止这些是超级的35mm镜头会下降得非常好与电影制片人！为什么制造商继续把只有在高端反光镜相机的镜头，我不知道线聚焦环飞。
上图：我的LOMO变形旨在涵盖超35毫米传感器-在任何GH5的变形模式会从传感器尺寸大大受益相匹配它必须从视频2X裁剪移动我相信这1.5倍作物传感器的GH5的未来作为视频工具至关重要。除非较小的格式以某种方式获得15站的动态范围内具有RAW编解码器，但事实是，一个较小的2倍作物传感器会发现它很难在市场上的竞争与这么多的全画幅和超级35毫米4K摄像机。速度的助推器，可以做很多事情了2倍作物传感器，但只有当你得到一个超级35毫米1.5倍作物传感器，其中速度的助推器神奇地将其转换并为您提供全帧的外观。所以，我们许多人都全画幅镜头，我们要使用它们。记住，我们不是在谈论与错传感器尺寸不匹配的镜头或杀死松下的镜头销售动摇微型三分之四的平台。我们谈论的是保持100％的兼容性和4K这些镜头以及bolstering用一个较大的图像圈溢价镜头范围。采用微型三分之四镜头VS与优质镜头24MP时剧照15MP作物是完全可以接受的视频优化的混合型摄像机的用户来说，当然是更好的保持在16MP盯住传感器不增加它的大小。需要观念的改变时，什么是小进化的意义呢？它提供了一个松下借口大卖2机构以及。试想一下，谁想要的分辨率和弱光和视频谁优先摄影师GH5摄影师GX9。这是确切的策略，索尼已经与A7R和A7S做，更重要的是它已经奏效。如果松下GH5出来与其他作物的2倍传感器，这将分开使用它与其他相机的唯一的事情是，如果它会从徕卡SL和内部的10bit的ProRes编解码器的令人难以置信的大，高分辨率EVF。我看不到任何正在为GH5的价格现实。让我们记住，GH线需要根据2000 $竞争。索尼A6300已经是它的严重威胁，中档的价格留下松下小房间颠簸起来规范昂贵的10位处理和EVFS的条款。所以对我的GH5哇最具成本效益的方式再次我们将是传感器尺寸的增加。你会买这台相机？
[*]松下GH5为$ 1799年，2016年11月
[*]6K视频和剧照24MP
[*]超级35毫米模式6K视频，而无需像素组合
[*]2个作物微型三分之四模式DCI和4K超高清
[*]与所有Micro Four Thirds规格镜头兼容
[*]高达200Mbit / s的H.264编解码器和V-LOG 2.0
[*]即将到来的微型三分之四保费/加镜头的超大传感器
[*]全帧外观与Metabones速度的助推器
[*]4K RAW奥德赛7Q +（请！）
什么是不爱吗？这将使松下成为争论再次与索尼的另一个非常重要的事情是人体工程学和可用性。这仍然是索尼和松下的东西可以利用一个薄弱环节。我当然没有从GH4移到A7S的人体工程学和菜单系统，我们只是停留在这一点http://www.eoshd.com/wp-includes/images/smilies/simple-smile.png转至EOSHD 原文连接
英文原帖
Without doubt my favourite camera series of the last 5 years has been the Panasonic GH range.But with the Sony A6300 on the horizon sporting a Super 35mm sensor with full 6K readout, is the future looking a bit shaky for Panasonic’s video wunderkind?
In the last few years Panasonic have really listened to many people, myself included. Recently however the invites stopped and I haven’t heard a thing about the GH5. Very strange. If previous GH product cycles are to be repeated the GH5 should appear any time from April to Photokina 2016 in September.When I last met Panasonic before the release of the GH4 I told them – we all told them – that they must step up the specs. The GH3 was a bit of a disappointment, it didn’t put the GH2’s image in the shade. Blackmagic were offering us raw video with 13 stop dynamic range and full frame raw had just happened on the 5D Mark III, so we just echoed what all of the owners were already saying on places like the EOSHD Forum and DVXUser – we wanted the GH4 to be a big step.And it was!The problem for Panasonic though is that they keep being first to the market and first to be beaten by the competition – since the release of the 4K centric GH4, Sony have gone all guns blazing into the GH4’s territory with no less than 3 4K full frame cameras (A7S, A7S II, A7R II), a very capable 4K APS-C camera (A6300) and even Samsung upped the ante with their short-lived NX1. All of them offer larger sensors, better high frame rates and better low light performance than the GH4. Blackmagic have increased their slice of the 4K cake too.Additionally Panasonic were too slow in giving the GH4 a LOG profile, something Sony gave us straight away with the A7S back in 2014. Sony hasn’t been shy in adding this to their other cameras either. Of the recent high end releases only the RX1R II lacks it.Until now the GH4’s price has protected it from Sony’s offerings but the A6300 changes all that.They could really find themselves losing market share, especially as Canon and Nikon look to be getting into the 4K market too (if not yet at Panasonic’s prices then maybe soon). So I’d love for Panasonic to start listening again.Especially to this… because anything less and I am probably not going to buy a GH5…The grand idea!The Micro Four Thirds mount physically fits a Super 35mm sensor. This has been proven.Current sensor technology allows full pixel readouts in the region of 6K, or nearly 7K if you consider the Samsung NX1. This has also been proven.Image processors in cheap small bodies can take a 6K readout and crunch the numbers, no problem. The NX1 proves this (even with the added complexity of H.265). The A6300 is next. It is $999.Customers have rather taken to the split “resolution” and “sensitivity” offerings of Sony with the A7R II and A7S II. Now Panasonic can do something similar with the GX series being high resolution and photographer orientated 2x crop sensor cameras, whilst the GH5 would go Super 35mm and keep the megapixel count at a level benefiting video and low light.Thus this would be a perfect opportunity to make the GH5 smash several limitations of Micro Four Thirds at once –
[*]Full frame with Speed Booster? Yes.
[*]6K Super 35mm without Speed Booster? Yes – perfect for PL cine and APS-C lenses
[*]Great low light? Yes – thanks to larger sensor
[*]Still shoots 15MP / 4K with Micro Four Thirds lenses? Yes – 4K crop mode maintains compatibility and smaller sized optics
All these improvements come from one single change – a larger 1.5x crop sensor.The way this works is very simple. The 6K comes from the full Super 35mm sensor area (24MP – or 20MP when 16:9 aspect ratio is applied). It could then be scaled to 4K on the processor or better still – why not just store it as 6K on the card? The media is fast enough now and this would really set it apart from the competition. Although I am personally more than satisfied with 4K (even 1080p in many situations) customers are very sensitive to headline numbers.
In terms of sensor size, Super 35mm (1.5x crop) is a real sweet spot as it allows us to go full frame with Speed Booster.Yet the chip still fits within the small Micro Four Thirds mount. It still allows small optics and small bodies. If the Speed Booster 0.74x E-mount optical part fits the Micro Four Thirds mount then of course the same Super 35mm size sensor would go full frame on the GH5 too. A GH5 with full frame look would be almost as HUGE a selling point as the 6K.This new sensor I am dreaming up would be 24MP – why?Any less and 4K with Micro Four Thirds lenses wouldn’t quite be doable and any more would hurt low light performance.Even with the sensor operating in 2x crop mode it would have a significant low light improvement over the GH4’s 16MP Micro Four Thirds sensor yet maintain pretty much the same resolution for stills.Now the important bit…It is really important to bear in mind that a Super 35mm GH5 would still 100% be a Micro Four Thirds camera.Just like the GH2 with it’s over-sized 1.86x crop sensor was.Attach a Micro Four Thirds lens and it all still works.The camera will detect this and use a 4K window of the 6K Super 35mm sensor.For stills this area would be approximately 15MP 3:2 from the over-sized 24MP sensor. For me that’s just as good as the current situation with the GH4, whilst the GX8 with it’s 20MP 2x crop sensor fits the bill for photographers, the GH5’s 15Mp stills when Micro Four Thirds lenses attached would be a necessary compromise to give the main audience for this camera (video shooters) what they want – Super 35mm and 6K. There’s also another opportunity here for Panasonic if they choose to take it and I’ll get onto that in a moment.When a full frame or APS-C lens is attached via an adapter the GH5 would shoot video at 6K (or 4K from a full 6K pixel readout like the A6300) and stills at 24MP.It wouldn’t be the first time Panasonic have used a larger than 2x crop sensor in a Micro Four Thirds camera. The GH1 and GH2 had Panasonic’s own 1.86x crop sensor allowing for multiple aspect ratios without hurting the field of view. With the switch to a Sony sensor in the GH3 this shrank back to 2x and the multi-aspect feature was dropped.By comparison Canon APS-C is 1.6x crop and Super 35mm is 1.5x crop.Finally here’s the other opportunity the new sensor size creates – a new “Premium” line of Micro Four Thirds “Plus” lenses to cover the 1.5x crop sensor. These being Super 35mm lenses with hard stops would go down very well with filmmakers!! Why manufacturers continue to put only fly by wire focus rings on high-end mirrorless camera lenses I do not know.http://www.eoshd.com/wp-content/uploads/2015/04/gh4-anamorphic-lomo-lens-702x560.jpg
bove: my LOMO anamorphic is designed to cover Super 35mm sensor – the anamorphic mode on any GH5 would greatly benefit from a sensor size to matchIt MUST move on from 2x crop for videoI believe this 1.5x crop sensor is vital to the future of the GH5 as a video tool.Unless the smaller format somehow gains 15 stops dynamic range with a RAW codec, the fact is that a smaller 2x crop sensor will find it very hard to compete on the market versus so many full frame and Super 35mm 4K cameras.Speed Booster can do a lot with a 2x crop sensor but it is only when you get to a Super 35mm 1.5x crop sensor where Speed Booster magically transforms it and gives you the look of full frame. So many of us have full frame lenses and we want to use them.Remember we are not talking about destabilising the Micro Four Thirds platform with the wrong sensor size that doesn’t match the lenses or killing Panasonic’s lens sales. We’re talking about maintaining 100% compatibility and 4K with these lenses AS WELL AS bolstering the range with premium lenses with a larger image circle.The 15MP crop for stills when using Micro Four Thirds lenses vs 24MP with the premium lenses would be perfectly acceptable to users of a video optimised hybrid camera, certainly preferable to keeping the sensor pegged at 16MP without increasing the size of it. What’s the point of a little evolution when a change of concept is needed?It gives Panasonic a great excuse to sell 2 bodies as well. Imagine a GX9 for photographers who want resolution and a GH5 for photographers who prioritise low light and video. This is the exact strategy Sony have done with the A7R and A7S, what’s more it has worked.If the Panasonic GH5 comes out with another 2x crop sensor, the only things which will stand it apart from other cameras is if it gets the incredibly large, high resolution EVF from the Leica SL and an internal 10bit ProRes codec. I can’t see either being realistic for the GH5’s price.Let’s remember that the GH line needs to compete under $2000. The Sony A6300 is already a serious threat to it and the mid-range pricing leaves Panasonic little room to bump up the spec in terms of expensive 10bit processing and EVFs.So for me the most cost effective way for the GH5 to wow us again would be that increase in sensor size.Would you buy this camera?
[*]Panasonic GH5 for $1799, November 2016
[*]6K video and 24MP stills
[*]Super 35mm mode for 6K video without pixel binning
[*]2x crop Micro Four Thirds mode for DCI 4K and Ultra HD
[*]Compatible with all Micro Four Thirds lenses
[*]200Mbit/s H.264 codec and V-LOG 2.0
[*]Forthcoming Micro Four Thirds Premium / Plus lenses for the oversized sensor
[*]Full frame look with Metabones Speed Booster
[*]4K RAW to Odyssey 7Q+ (please!!)
What’s not to love about that?The other very important thing which would put Panasonic into contention again with Sony are ergonomics and usability. This is still a weak area for Sony and something Panasonic can capitalise on. I certainly didn’t move from the GH4 to the A7S for the ergonomics and menu system, let’s just leave it at that
标题党 请出了再说。。- -储存和接口不换再高还是得8BIT外录还不如现在的A7S2。
外加一直跳票的固件。。出了再等 看完想哭 第一次感觉中文这么难懂啊……http://www.filmaker.cn//mobcent//app/data/phiz/default/34.png……原来是机翻~
译文太生涩！ 这翻译。。。我觉得我需要再复习下语文
这翻译真实醉了 GH系列最大的痛点就是画幅小，高像素在小芯片上会有很多弊端~GH系列本来就高感不好，还一味走高像素，那是找死啊~ 但是，我认为，市场少不了松下的搅局......
如果一枝独秀，我们的银子牺牲的太多...... 尻，一开始我还认真的看，下拉才发现是网页直译， 老板，来两斤语文书 这是EOSHD意淫出来的，你真信？标题还搞得那么言之凿凿，你很适合去做娱记... 还是M4/3底，却飙24万像数，6K+V-log2.0 吓坏本宝宝了。
6k 机器不会炸吗 别家都是傻逼吗6k 码率800m吗6k你用啥卡6k电池带的动吗6k 原生感光3600吗 本帖最后由 liangjb9527 于 2016-2-18 09:43 编辑
gh系列的一路走低，只是再一次印证了一个道理，相似成像水平的情况下底大就是王道，大一分则强一分
当然现在还有《卡萝尔》《黑天鹅》这样s16幅面拍摄的画面精美的大片，咱可千万不能让人带沟里去。这些片别说用s16就是拿个dv拍还是大片。
m43视频拍摄感觉日薄西山。
来，让我放下手中的键盘，对着屏幕挥舞我们的双手，让我们齐声呐喊——sony大法好～～～～
^09^ 还是尿黄色的GH2好，都五年了，舍不得换。。。如果真要换的话，等GH10的尿布换大一点看看钱够不够。 给翻译跪了
这翻译的啥玩意，自己读过么http://www.filmaker.cn//mobcent//app/data/phiz/default/34.png
然并卵
把高感、屎黄色整好就OK了，别整那些虚的，现在4K还没有推广普及了，6K有啥用？
GH无爱了。还是让我们高喊，SONY大法好。
M43的松下产品现在很是尴尬 期待GH6的8k视频拍摄
神翻译，需要赞个。
呵呵 现在看看还真是 毕竟还是个相机，感觉应该出个LT小版本。 翻译译的人都醉了 ^16^^16^^16^ 留印
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