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Humbled this week while I am in Nicaragua using an older camera that would never be my first choice...the GH4. I have been pleasantly surprised by the image quality once I figured out how to dial in the picture profile. Shooting on Natural with contrast, saturation, sharpness down all the way and using filmconvert to bring the image back to normal. Shooting mostly with Sigma 18-35 with speed booster on a MoVI M5. Love the long battery life. The very efficient 4k compression. The audio preamps for in camera audio. Weather sealed body. Great slow motion in camera. My previous experiences with the GH4 SUCKED. Hated the IQ and never gave it a chance. I think once you dial in a solid workflow and picture profile...you have a killer video machine! More to come later. Ill post in this forum post. Should have a video soon.

From what I gather, the IBS ruins the in-body sound; so, you're only left with the option of off-camera sound. I've got a Zoom H1 and I plan on using it to the fullest with this camera. It's a cumbersome process to keep track of the audio and matching video files, but I find that if I do it immediately after sooting, it works. So far, I've sold off a bunch of gear too... only my RX100 to go. Last month, I had bought a GX7 (before sending it back because the GX80/85 appeared) and just loved the combo of the GX7's Natural profile and an easy grading option of film convert. With the FZ300, Panasonic really gives you everything but a large sensor; however, I'd trade the microphone input for a large sensor, pocket-ability and the interchangeable lenses any day. The GX80 is going to be a great option for off-the-cuff style shots and possibly more serious projects too- a great allrounder. Some will say not an A camera, but in the right hands, it could be.

It looks as though Martin Wallgren shot another video showing off the IBS (with the Panasonic 15mm). Cute video with seemingly great stabilisation. https://www.instagram.com/p/BE3qDpYknMs/ Looks good to me! For me, this is the camera to get, even if it doesn't have a microphone input.

Thanks everyone that worked on the bitrate hack and the no limit rec one ass well. Im enjoying my NX1 more because of you guys. I really appreciate it. If i can pay you guys with a beer or coffee send me the the rite place so i can make it happen. Sorry for not naming everyone but if ill miss someone ill feel bad, i been looking here since it started and joined this thread and forum in March because of all this, see its going great, wish Samsung would have seen the potential that everyone here see's in the NX1 and the NX500.

Went to Porto on vacations this past week, what a wonderfull city ! Will be doing a video of it soon (trying to go for a watchtower of turkey feel). Anyway, I found a new 16-50S for 499€ and couldnt afford it, still bummed about it, but I might be able to get it, but its a shame I just got the 18-35mm...I dont really know what to do... Also, tested some new in-cam settings, here are the graded results !

If at all possible when you upgrade to a major OS version, stick it on a partition or a separate boot drive (clone your current boot drive and then boot from the clone and install the new OS and you'll see how everything will work through the upgrade process to actual real-world work). Test everything you can think of on the new one. if something's not ready for prime time, you can get straight back to work on your old drive. When you finally decide it's cool to switch over, keep the old version handy for a few more weeks just in case. I assume most people working with this level of software are only using their boot drives for system, apps, and maybe email and invoicing. Maybe music and personal photos as well. That's really the way to go (and you should be backing up your boot drive as well as your raids and work drives). Keeping your boot free of work and renders and scratch files makes testing a new OS a lot easier.

This weekend I followed a two-day course on Resolve. When you work with RAW or good ProRes files, you can't appreciate h264 the same! ;-)

Yeah this looks great. And yes this is the camera to get. Am already selling off a bunch of lenses so I can pay full price for it. I agree though, I do wish it had a mic input. I mean, the FZ300 has a mic input.

Well, you can't share something that looks as nice as these and then NOT share the in-camera settings Please, Ricardo, do share your latest settings?

This trailer is for a feature documentary (80 minutes) I shot that was projected at three different theaters for festivals. I screened on Blu-Ray for the festivals because DCP wasn't an option for one reason or another. To qualify what I write, I made tests of DCP vs Blu Ray for another film at a theater and found that Blu Ray washes out color without losing much in resolution. I have also projected two different films at festivals occasionally on Blu Ray, one shot on 35mm and another on the Alexa. In my experience, 5D Raw has noticeably less resolution than the Alexa and 35mm (with 2K DI). It looks great on my large computer screen but the lower resolution was surprising for me once it played on the big screen. For me, it didn't seem good enough (with all due respect to what others have said), but this is very subjective. I haven't had a chance to compare it to the C300 or any lower end cameras. I still use my 5D for casual shooting, but in the future, I would try to film on the C300 for any documentaries. The C300 seem to be fine on large screens, and the ergonomics and workflow are so much better for documentary filming. The price for these cameras used are so cheap now, and they are not huge cameras. If you do go ahead with the 5D, I noticed that anything I filmed 400ASA and under held up much better. And on the positive side, you save a ton of money if you already own the camera, and the film will look great on smaller screens. No one at the festival screenings seemed to be bothered by the cinematography in our doc, and we received many compliments on it.

5D RAW is good enough for projection on a big screen. Made it several times with always good results. DCP in jpeg2k and you're done. Just have to upscale your size from the native 1920x1080 to 2K. Projectors accept only DCI standards and no 1080... Concerning the project : a doc. For documentary for sure i'd go with an A7SII and not a 5D RAW... By far. I've got the two bodies at home and as jcs said, the only major drawback of the A7SII is the jello effect from the Rolling shutter technology... Too bad really. Annoying even on tripod with micro jitters. But when you know it you do with it. The A7SII has by far more little files, has better dynamic, and better low light abilities... Everything i would go with for a documentary. Get a power bank like an Anker astro E7 26800 mAh and you have more than 2 days of shooting with you. After using the A7SII, i never use anymore my 5D for video... I only use it for pictures, where it shines a lot compared to the A7SII.

Here's Reid's new video: It's funny, though, because prior to DSLRs all we wanted was HD video with interchangeable lenses. Now we want 10-bit 4k at 120fps in the same package. I'm not complaining, I want it, too. It's just that the lower end of the market will always have the leftovers from the higher end. Kinefinity TERRA for the win.

I assumed correctly they shot this on L series. and it looks like also the L series 'cine' versions. It's not the camera that makes this feel the polar opposite of the look of No Country for Old Men. It's the glass. If they'd had cooke s4's on the front of the 1dxmk2 i imagine the image would look like a real movie. The fact that they can be in just about the most filmic location I can imagine and it still feel like a dslr shoot is because of the lenses. Canon glass = photo journalist snapping a criminal after his day in court Cooke glass = Hollywood. Shame Canon stick with their EF mount and stop people using real lenses. If you want it to look filmic you need filmic glass. An Alexa mini with an EF mount and L lenses looks just as non filmic

Natural is the best profile on the GH4, hands down I think. Perhaps not as much grading room as V-Log or Cine-D, but the colors are usually pleasing. GH4 is a hell of a workhorse camera, no doubt about it.

Well, it says that it's designed to adapt PL glass to Canon EF, so I'm guessing that's what it does.

Here is the finished video. Everything was shot on the UM46 ProRes UHD. One shot on a beach was with an iPhone 6.

Hi cisco150, Well, the effort is/was spread between various contributors (in temporal order of first contribution): Otto - initial break in the camera (through information gleaned from the NX500 service manual, which allowed access to a root shell); also various utilities that are enhancing the photo side of the camera as well as providing the user interface you can see used by various mod packs, and the bluetooth hook; low bitrate 2.5K mod for NX500. Myself: all my work to date was basically about video: access to DEV menu to (among others) disable video recording limits, high bitrates for all video modes for NX1 and NX500 and high bitrate for NX500 / 2.5K. I am also looking into other more difficult aspects of the camera operation but I won't comment about it because nothing came out yet. Kino Seed (and maybe others) - packaging and fine tuning the results of 1. and 2. above. If you would like to recognize the above work there's no one place for everything: Otto suggests you contribute to a charity as a recognition of his efforts. I am looking to get some more NX lenses (so far I am about 1/3 :-( of the way to my first wish (take a look here), and Kino Seed did not mention anything. In addition, you might pledge here to help make a camera available to me to (a) stop using my own camera for my investigations - two months of intensive research use resulted in a loose power button that needs replacement and (b) to enable some dangerous experiments for which I do not dare risk my own camera but which might benefit the user base - an example would be a permanent hook that does not depend on bluetooth and would be instantly available upon power on. Hope this helps regards

Yeah, I make sure all my files are kept in a separate disk. Check this out: http://www.macworld.com/article/1164891/mac-apps/keeping-mac-os-and-data-on-separate-drives.html This is one hell of reason I like Mac OS, just like those Linux and Unix systems. Organizing files is a breeze. Actually most of the settings are still there after reinstall the OS if we do it right, saved a lot of time, and I don't need time machine any more. I don't do upgrades anymore because it's actually quite buggy most of the time. Instead I just do a clean install. I normally spend about two hours for the install of everything and it's very easy with the above trick. Once per year for a Mac, doesn't sound too crazy, and it actually saved me quite some time from sorting out all the upgrade bugs. And sure the OS is blazing fast as it's a clean install, no matter it's Mac or Windows.

These kinds of questions are dependent on many factors. It would be easy to do some tests and find out. Get the same clip in prores, AVCHD, etc, play with it, stack some effects, and you'll know how it "feels" - and also time your final renders and so on for harder data.

Drag&drop works perfectly, as ever!

no that's not true. It "supports" the same way it did in the last version. You can import the clip in, but it doesn't import the audio at all, which blows.

We probably have developed an optical memory. It's like a shot with a Tilt-Shift lens that looks like a miniature.

Back in the day, I had a Pentax K5 and it had IBIS. You could hear it during operation, but somehow the camera suppressed it a little in its mono mic. From what we know about the sound on the gx80/85, it sounds like distant running water... a whirling sort of sound. I don't think we'll really know until it comes out. Maybe, they'll put some software to suppress that frequency in the camera. Panasonic might make us choose between shaky and silent or stable and noisy. Wait and see.

1. I agree, Panasonic did a shitty thing by saving on the tiny expenditure of a mic socket, and to save the GX7 line. 2. The IBIS is noisy. Though, TBO, not any more, or less, that the one on the Olympus' either. I dunno how silent it is on the Sonys. Though, I feel, for good audio, one always still needs an (or a few) external mic(s). Also, I wonder of the shoe mount is active or passive, and whether Panasonic can fix the missing mic socket issue, by allowing 3. Actually, most Panasonic cameras fix moire and other things in-camera, and they do it pretty well. I am guessing that either this is a non-Panasonic lens, or the the user didn't switch between Panasonic and non-Panasonic lenses, in camera. But, it is pretty bad. The Fringing is very weird looking. Almost like Iridescent of some sort. It almost looks like her jacket is a 2-tone jacket. It's not a good thing to have to fix photos for things like purple fringing in post. It almost has that strange iridescence look. I think we should inform Panasonic on all social media, and keep telling them what we want in the GX80/ GX85/ GX7ii.

Yes, something rather "cheeky" in her look, to use a British expression. So far, the only concerns I've had about this camera are: 1) Lack of Microphone (just use external recorder) 2) IBIS potentially ruins audio (again, just use external recorder) 3) Potentially, the lack off AA filter could lead to more moiré. I'm just not sure on how this will translate into video and exactly how much Panasonic modified their Venus engine to manage it. Pixel-peep on this photo of a pre-production release to see what I mean (look at the subject's right arm): https://www.magezinepublishing.com/equipment/images/equipment/Lumix-GX80-6097/highres/Panasonic-Lumix-GX80-Detail-P1050537_1459799772.jpg I took the photo into Lightroom and fixed it easily. I just hope the Venus engine can do the same in processing.

The video is actually very impressive. And his daughter knows her daddy is filming her and is in full form (with her cute facial expressions and head turns) in the video.

Their 25 and 50 are excellent as well. In fact, every side by side I've seen has shown the 25 to be a hair sharper than the voigt, and with smoother bokeh. I was also turned off the voigts by the 42.5's occasionally harsh bokeh. It's charming to some, but not really my style.

Yup, my thoughts exactly... The GX85 on an L-Bracket with a small recorder and a rode mic.

I'm a fan of the SLR Magic primes, myself, but the Voigtlanders are boss too. Nice work, kidzrevil.

Shooting on a RX100 IV 1. Settings in camera: Take any PP and set Gamma to Cine1 and Color Mode to Pro. Use a Kelvin-based Whitebalance since Sonys like to go off as often reported here. I found myself having two profiles on the RX100, one with 100p & 5600k Kelvin for daylight usage and one with 25p & 3300k Kelvin for lowlight / tungsten. Configure the lensring so that you can focus with it, use the akward handle on top for zooming. Oh and btw, set the zoom speed to fast, it is the only way for not having akward movements. If you dont need 100/120p and you are willing to sacrifice a bit of FoV then set the stabilisation to Intelligent Active (not available in 4k nor in 100/120p) - amazing stabilisation, not GX80 level but very close. I also love to use a Tiffen Ultra Contrast 3 filter on that lens, but then you have to be very careful in daylight. 2. Postprocessing: I admit that I love FilmConvert and use it quite frequently. It has a dedicated RX100 IV profile that matches the above mentioned settings. Simply apply the profile, adjust shadows & highlights to your likings - with the profile the shadows are normally arround 20IRE, in my opinion one can pull them quite often a bit down without loosing detail there to get more contrast. I rarely touch the mids and sometimes adjust the highlights. When shooting with the profile, faces can be a bit reddish, but FilmConvert evens that out. For the RX100 I like the KD P400 Ptra stock without any grain. Sometimes using the exposure switch gives also a nice touch to the image. Example:

It is really a tempting camera.. This with the Voigtläner 25 or, for the brave amongst us: pairing it with a BMPCC speedbooster and putting the Voigtländer Ultron on it... sigh, GAS.

Man!!! That looks great. Sharp as shit. And the grade. Really good stuff. The perfect amount of contrast and DR in the blacks.

DNxHD/DNxHR no question about it. Cineform YUV 10bit also works great. Prores is currently unsupported and should be abandoned as soon as possible.

thanks man! now im gonna get my nx500 :D

Well put! Yes they do it very well in real life, as opposed to brilliant on the spec sheet and poor in practice.

Thank you. I was just using a Chrome extension before which was too limited, or the one where you do a screenshot then paste it in Paint. This is much better and I have now set it to open with CTRL + ALT + 4 so that it is as easy as with OS X. I think I can live without seeing the pixel size. Awesome thanks. This is so easy to use. Think I am going to be able to fully disconnect from my Mac now, which I will be delighted to do. Thanks but I want to get away from Apple, I really despise them despite loving the experience of using a Macbook or iMac. It has given me the idea to look for something similar for Windows though. Adobe wouldn't let me add Photoshop onto my CC subscription as I signed up abroad, I think my current subscription may double in cost as I am back in the UK now, which would make Photoshop twice the price. Something like this would be more cost effective as I rarely use Photoshop type tools anyway- just for creating occasional graphics once every 2-3 months or so.

actually of all the modern offerings the loxia are definitely my favourites. If I had the cash I'd be all over them! The problem with modern lenses is that they all seem to be over contrasty meaning they don;t render things like skintones quite as nicely as older lenses IMO. TBH, it might be that correct use of diffusers and netting might make canon L series more appealing to my eye, but the fact remains is that the lenses have been used extensively in non cinematic environments to the point where they impart a non cinematic look. It's like the opposite of panavision lenses. if you take stills with a panavision c-series lens the still looks like a frame from a movie. when you shoot a movie with an L series lens it's like a series of still images taken by a newspaper photographer.

I will personally disagree. I've looked through all my a7sii footage and am not happy with it at all. Total shit sensor in my opinion and should only be used when needing low light. Gh4 is so easy and clients don't know the difference. Everything about gh4 makes more business sense. 1/3 of the cost. Longer battery life. Easier to grade. I'm DP for a possible feature length theatrical doc this year. Still in development. We will be shooting on C300 II but that's a different thing really because we have budget and it's being released in theaters. To own and operate your own camera I feel you should only get what you can afford. I'm a 26 year old newly wed with debt and a puppy. $1,200 camera vs a $3,000 camera that has a worse workflow and minor upgrades over a $1,200 isn't appealing to me in my situation. I need the most bang for buck. I'm still considering getting a used C100 mk1. Great work horse My opinion which has matured over the last 6 years in the industry is you own the camera that you can afford that get 90% of what you need done and done easily and well. You rent the rest

Ole trusty GH4. I can always count on her.

The GH4 appears to be sharper 4K vs. the A7S II. I used to prefer the GH4 colors for skintones vs. the A7S, however the A7S II with SGamut3.cine and Slog2 or Cine2 gamma has better skintones vs. the GH4 (Natural or Portrait). Post-sharpening the A7S II looks similar to the GH4. I recently did a test trying to get the GH4 (Portrait) to match the A7S II for skintones (SGamut3.cine and Slog2/Cine2)- couldn't do it in a reasonable amount of time (colors seemed limited, perhaps related to DR, like comparing near-B&W to color). The GH4 footage looked very nice and detailed, however the colors were very limited compared to the A7S II. Cranking up the saturation or vibrance didn't help. I use the ARRI Alexa SL profile Input LUT in Lumetri (PP CC) to get really nice skintones with the A7S II and SGamut3.cine+Slog2+16 Saturation (exposed 1.7 over). This combo is so nice for skintones, as good or better than 5D3 RAW, along with 4K, amazing DR, and tiny files. Doing a multicam shoot with the C300 II soon, it should match very well (static cameras; the A7S II has poor RS compared to the C300 II, and of course very poor AF compared to the C300 II's PDAF (A7R II's PDAF is much better than the A7S II's)). I wanted to use the GH4 for another camera angle, next I'll try the old A7S or FS700. Without doing comparisons, the GH4 is a nice compact 4K camera, especially for outdoor, well-lit shots. With the Voigtlander 25mm F.95, it's not too shabby in lower light shots.

I would take a bet that no one will notice. Nearly ever film gets projected at 2K resolution anyway.

My take on a travel camera is one that you don't have to baby or worry about, it just does its job and gets out of the way. GH4 fits the perfectly. I have left it out overnight in the rain with the 12-35 doing a timelapse and it was fine. And this was a slightly abused, used camera before I bought it. Video quality is great, you get 1.5hrs on a 64gb card (and not u3 cards, cheap u1 cards work fine). Battery will last probably three times that of continuous recording. Plus a usable slow mo! As for photo quality being a con, I totally disagree. I think we are at a point where you can use virtually any camera for photos and it will do a good job. GH4 especially with Pana lenses has decent tracking AF and perfect single AF. Raws are versatile, there are lots of small lenses too. It's what I would take if I could only have one body.

As similiar as they look like, I found them pretty different. If you need shallow(er) DoF, then skip the RX100 and go for the LX100. If you however need better slowmo and an even more smaller package, take the RX100. Codec-wise, I found them pretty similiar for the 4K option, 1080p is better on the RX100.

Last week I used my RX100 IV to test the best stabilization mode offered by that and although that one is limited to 1080p 50p, I think it does a pretty amazing job. Not as good as the GX80 obviously, but still I was very suprised. Unfortunately I dont have any clips to share since my Vimeo quota has been reached until next wednesday

That camera basically exists. It's called the Kinemini 4K.

Lol you guys talk about thickness of the image like wine conocers talk about their drink. Please stop. You cant possibly make judgements lile this from a compressed web video. You need the raw footage in your hands and know about how it was lit, shot etc. Most people who use cameras like the gh4 arent setting up huge diffusers to soften 1k watt lights or even the sun. Thats really where the difference lays when you see footage from a 10k camera and from a 1k camera

Yeah, GH4 + VlogL + 10bit external is great in my opinion. If you're shooting any of the other color profiles it probably doesn't make much sense to go 10 bit.

Lomo Oct18 primes with a PL adapter. If you can deal with the usability issues they can be excellent, sharp across the frame and zero breathing. I picked up a set of 6 ranging from 28mm to 135mm for $700 and use a single adapter for all of them which was $350. Adapters can be had for about $100 but they alter the way the focus works and the front of the lens ends up spinning while focusing. Not going to find anything cheaper than that.

I've traveled around the world and back. As long as you have a competent camera, you'll be fine. I'm not ashamed of any of the footage I captured via SD, neophyte HD, mature HD, or UHD. Although I will say, on some shots it would have been nice to have more DR, since controlling the lighting was never an option. From my experience, I'd say a good long lens can be a cool tool to have every once in awhile. Otherwise, shorter and standard focal lengths are fine. The smaller and assuming the camera, I've found, is the best bet as it lets you move around people without being too ostentatious. Also, who's to say it's "once in a lifetime?"

Sony A7Rii / Sony A7S Neutral creative style, sharpening dialled down to -3, contrast dialled down to -3, saturation boosted +1 Auto White Balance with 2 points downwards (towards magenta) on the wb adjustment. (important to allow awb enough time to adjust before hitting record) 0.0EV on the camera ev meter (multi mode exposure meter). No matter what the scene is the highlights are always recoverable. Premiere cc - use only 32bit effects. import footage into 4k timeline (even if footage is lower than 4k) - scale up if required apply ProcAmp - brightness -8, contrast +16, saturation +25 - allows easier visibility for curves adjustment below:- RGB Curves - start on red. lower or raise midtones until happy with overall hue. adjust highlights and shadows to compensate for over warm darks/highlights. move to green and adjust, move to blue and adjust. Apply unsharp mask (1.4px) while viewing at 100%. adjust until it starts looking graggy. back off to half the amount it took to get graggy. apply and overlay of film grain or monochromatic noise (higher res than the footage). adjust so it matches the prominence of the footage noise in the shadows, but finer due to the higher resolution than the actual footage. - tweek contrast/brightness of noise with procamp until it sits on the footage without affecting perceived contrast or shadow levels. Nest everything. then apply unsharp mask at 1px as before - this glues the grain and the footage together and creates the perception that the actual footage was aqcuired at a higher res than it is. it also provides fine detail for vimeo and youtube to bite into and retain during their compression export at 2560x1440 or 4k at a very high bitrate, 2pass, h264. 100mbs target, 200mbs max - as high as I can before reaching maximum upload limit. upload to vimeo. delete big file knowing I can retrieve the original from vimeo at a later date if required. drag project files into external drive for future, freeing up SSD system drive..