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Love it. FT4 rating... That's like changing your relationship status on FB, so you know it's legit. No crop in 4K. http://www.43rumors.com/ft4-first-panasonic-gh5-spec-4k-422-10-bits-internal-recording/

Finally we have 10-bit 4:2:2 internally, this is a huge step, since others will stat to do the same, the age of 8-crapy-bit is over!!!!!!

Add that to the petition...

Here's a list of great things about the 5D Mark IV... Read the full article to see the list

Great news. That's really all that I would've asked for in the GH4 along with a LUT REC709 preview for V -Log.

Ha! Not quite as simple as all that, but then again...maybe it should be. ;-) Funny thing is, I still use my 5D for a lot of interviews. Full frame with a 50mm lens wide open. Hard to beat that FOV and shallow DOF for a talking head shot.

I think Dwayne Johnson is going to surprise people in the coming years. When he was first trying to breakout, we saw he was interested in being part of riskier, more art-house productions. And after struggling to be taken seriously (and trudging through the likes of The Tooth Fairy and Escape from Witch Mountain), I'd be willing to bet he's going to use the clout he has now to stretch and participate in some more thoughtful/compelling/cutting edge cinema. I doesn't hurt that he's a genuinely good person too, and deserves his success. I put he and Keanu Reeves in the same category: they've both built up so much goodwill in the industry and with their fans that (despite any perceived limit on their acting chops) that they are bulletproof to critics.

If 10bit 4K internal comes in the GH5 (as we are now expecting) then Panasonic has won the game of camera wars for this round. Panasonic was first mirrorless/DSLR with 10bit external before anybody else, now it looks like Panasonic will be first with 10bit internal before anyone else had even caught up and offered 10bit external aside from Panasonic!!

That looks amazing, but now we are dreaming at a 1500$ cameras having better spec than their cinema line.

In the past, Panasonic's cameras have always featured playback compatibility with their TVs. Their current HDR UHD TVs feature native H.265/HEVC and VP9 decoding at 10 bits. I am not aware of 10 bit H.264 decoding support in these TVs. So there's a good possibility this camera will actually record in HEVC and even have a built in HDR profile (HDR10?) in addition to Log profile for those of us who will grade the images offline. I could be wrong, but it just doesn't seem to make logical sense to shoot in a codec that won't be playback-compatible with their HDR capable TVs, especially considering product lifecycles can run as long as 3 years for a GH. Why hang on to H.264 for another 2-3 years?

I predict a blockbuster of a camera. I'd love to see a battery grip that unlocks other features (higher fps), unlike the YAGHYAGHYAGHYAGH. I also hope to see an improvement in dynamic range. If this all stacks up, I'll be a customer for sure.

Not that I mind, just saying. I actually don't get the big deal about minuscule crop factors. An extra .14x crop factor just means you have to take .14 steps back... Problem solved.

It's gonna have dual SD slots I'm sure. Agree on the LUT preview. This would be a killer feature.

The problem is that video people tied themselves into Canon based on the notion that Canon would start adding video features and make video centric DSLRs... Unfortuntly, there was zero evidence of this happening... So they kinda have themselves to blame.

Sign me up If they can get the 10bit 4:2:2 working nicely with P-Log, it will be the game changer we have all craved.

Wow, went to bed and the next morning the thread got like doubled in size, how can that be? Ahh, yet another crop factor / calc-to-death discussion. Please do yourself a favor and dont start any stupid petition that will never become true. Did you read this topic here?

Not quite. You haven't accounted for the huge difference between front and rear anamorphics, both of which have different focal lengths in the horizontal and vertical directions. I posted the explanation here back in June:

I see it as a wider social phenomenon And 30 year olds into Star Wars... grow up! I think it's a case of arrested development... When the masses just want to watch comic book movies... instead of more adult stuff... it is truly a sign of the times isn't it? Overprotective parenting and a lack of challenges in the modern world = onesie wearing pansies incapable of depth "Trump for president!"

Hogwash. The GX85 has IBIS in 4K, no extra crop when using IBIS, and no 30 minute limit. And it is much smaller than the GH4. It does not overheat, ever. In fact, Panasonic engineers have revealed that one of the reasons the GX85 is so heavy given its size is that there is a massive heatsink inside.

The latest stats for world wide sales figures recently put the French coming second to the USA - apparently they do massive business in Asia. It kiinda made me feel like the world hadn't gone completely made. Unfortuneately, the UK still laps up the American Bullshit films like there is no tomorrow & there isn't a great amount of diversity. I rarely go to the cinema anymore, as most of the films that I want to watch either just don't come to my city or are gone in a flash. I'm left watching most things on Blu-Ray, which isn't all that bad - can drink, go to the toilet, just do what I want really... When I lived in France, there were local council funded cinemas that would show films no one else would - got to see all of Wong Kar-Wei's films in a lovely refurbished old fashioned cinema that projected prestine prints (yep, no digital nonsense all celluloid). The problem with the 70s was that they were given too much freedom, made great films, but spent a load of cash in the process for very little [immediate] return - they are the ones that fucked American cinema in the ass.....! Now we're left with this pile of horse shit industry that couldn't give a rat's ass about making good films, just ones that they can rip off the idiots with - shame, a real shame.

i think it will be technically difficult task given the clearance between the sensor and the mount. If you go more narrower, the Speedbooster will protrude and hit the sensor. BMPCC 0.58X barely fits and you may also get soft corners and vignetting Yes it does, I shoot pictures and occasional 1080P video. Only issue i am having is with this setup is when a wide angle lens is used, the corners are slightly softer ( out of focus) if you focused in the middle of the frame. No issue with 35mm and up. 4K Crop on GH4 is actually 2.3 not 2.2. The plus side is 2 stops light gain, FF coverage and the FF Bokeh.

Yep, it could be the encoding but looks like a jerky 24p plus high frame rate. I can just describe it as smooth-screencapture-smooth-screencapture-smooth-screencapture.

This is a great thread. Cinema changed in the 90s. The era of international box office. Tentpoles. Then the marvel franchise. The dumbing down of films for the sake of larger global transcultural appeal. And it works. People watch the latest superman reboot again and again. The only major studio that took risks....pixar....now has become a merchandise company thanks to disney buying it. Vote w your wallets. Say no to tent pole!

But does the 0.58X Speed Booster work with the 2x crop instead of 2.2x?

I'm glad Panasonic is taking their time with the GH5 and I'd rather pay a little bit more ($2000-$2500) to get a revolutionary camera than a simple GH4 evolution. Also it avoids Sony jump-stepping them. The "high assurance" rumors would make a great camera. Icing on the video cake would be 4:4:4 / raw out, VFR out, better VFR quality, seriously improved DR. If they don't have a pro-model anywhere near this price range there are a lot of features they could include for a great all-around camera without cannibalizing their Pro market. Please nail this one to the wall Panny!

wouldn't it be amazing if panasonic worked together with metabones to make a 0.55x speedbooster so that they could hit the full frame audience

Do you know about photographers... aka still shooters? ? Anyway... buzzing for the gh5.... seems absolutely perfect for my needs... bring it on.

Why would it? If you think about it, 10-bit means less compression than 8-bit, sure the bit rate is higher but I don't think there would be any overheating issue, even more if you consider that the GH4 is the coolest 4K camera out there. Processing is more important than bit rate, H.265 might be more processing intensive if they choose it, but 8-bit or 10-bit shouldn't change much. Sony's issue is not just processing, it's the form factor. The NEX cameras overheated in 1080p! I had two of them and they both had overheating issue, the form factor is simply too small, Sony knows it, they just choose to ignore that and preserve the claim of the smallest and most compact FF cameras. Bottom line, there is nothing really that would indicate that it would be just 1080p because of overheating.

I am guessing the price would be more in the ballpark of $2500, if it has 4k 4-2-2, and 5-point IBIS (and most likely a lot more tricks up its sleeve). Edit: $2000 not $2500. We shouldn't give Panny any such crazy ideas ;-)

I'm not a BM guy, so maybe I am wrong, but the product desc. says that even the 4K video assist feeds the SD cards. Hard to say what will be Panasonics move, I guess there will be two slots for SD cards, but let's wait for the confirmation of the quality of 4K video. Andrew, what do you think, is it possible that the GH5 4K will be anything else than 10bit 4:2:2?

If the GH5 is as loaded as speculated, I bet its closer to $2000.

Not enough times for some people, judging by the way they are STILL going on about this again and again. Here's how Philip Bloom has started responding to this "just use a cinema EOS / insert video camera name here" bullshit - "thats such a boring, dull, oft repeated, lazy. apologist and close minded comment! Smaller cameras like this are incredibly important...gimbal work and documentary work for example PLUS the whole joy of 5Dmk2 when it came out was FULL FRAME. There are NO full frame video cameras. I should have this reply on copy and paste." Ever since I started EOSHD people have been saying "just use a camcorder" blah blah blah it's a stills camera not a video camera It totally misses the point!

The 35-70 2.8 AF was a top-line pro Nikkor back in the day and they're reasonable and have an aperture ring. Just have to watch the veiling flare on those, use a good hood and make sure your copy doesn't have haze internally. I shot several music videos with that lens. Pro-build, all metal, 2.8 all the way through. I really liked it for stylish music vids - I could use the top flag on my matte box to dial in (or out) flare from visible lights, had a cool look. Replace with the 28-70 2.8 though.

This is great news finally 10bit rec it be nice to have slowmo lets say 240fps in 1080p since its 2016(gredytalk) nice 4k downsampled from 6 ibis that works with metabones i can alredy imagine this baby with my sigma art collections ☺️ Panny TAKE MY MONEY!!!

Well, for you then it would be good if Panasonic would offer a 10-bit 1080p then, you won't gain as much using a 10-bit 4K to 1080p as you do with 8-bit 420 files.

Way too expensive for a fully manual "slider". I'd also be weary of Edelkrone. I've owned the SliderPlus, Pro, Action and Wizard. Their products are often flawed, especially when it comes to the tolerance of moving parts (which is critical).

It will be a clever solution to adopt H.265 for 10-bit, I'm not sure they would roll down the option for all video formats but if they can do that at least for the internal 10-bit that's enough to not need a higher bit rate card. But that's quite an advancement for Panasonic, I wonder if they will really do that. Does Panasonic have their own HEVC 10-bit codec?

No crop in 4K, except when using 5-Axis IBIS.

Panasonic is moving closer to sending Canon's 5D Cameras to the grave. Niiiiiiiiiiiiiiiiiiiiiiice ...

I think you're misreading what I mean by "Archiving". Sure, original card is in there, and the edit files. And the 1080 and 4K prores versions of everything, the after effects files and renders, the stills, the audio, the protools folder with audio sweetens or repairs or edits or music, all the client notes, storyboards, and edits, the bid, the revises to the bid, the script and revisions, reference images, edits from first pass to final, and Flash or Carrara animations and their associated image sequence folders... I mean, the whole freakin' job, with the entire folder structure preserved. 100-200GB folders are the norm, but I just archived a 1.2 terrabyte job (6 or 7 shoot days, primarily interviews and b-roll, and tons of graphics). I had several brand new 1TB drives, tried like hell to prune that folder down. I generally archive when my 4TB RAID gets over half full, if possible. As I mentioned earlier, this can be 5-10 hours of copying and file managing. Doesn't shut the computer down, just makes it slower, so I try to do it overnight or on a weekend... except I seem to work a lot of weekends... I just convert everything to ProRes from the start though, render everything from AE as prores (unless I need an alpha channel) and generally do image sequences from other programs and convert those to prores if needed. It takes very little time (I usually do it while I'm checking cameras and gear back in) but saves me a lot of hassle down the road. Disk space is cheap.

Reading Andrew's article - it seemed to suggest the sensor is APS-C/Super 35 - or did he mean "with the speedbooster". It would be really REALLY cool if Panasonic had a doubled-the-bitrate H265 option in there. H265 turned out to be a great feature in the NX, once the world caught up.

"Full frame" is a photographic standard so it measures 3:2 in terms of aspect ratio. So surely it is more correct to say "4K on the 5D Mark IV is a 1.74x crop of full frame" "Full frame" is not a 16:9 box. OK we can measure only horizontally and that is 1.64x crop But what about UHD 3840px? That would change the crop again and most people deliver in 16:9 So effectively the 5D Mark IV crop factor is more often than not 1.74x. Anyway no matter what I think.... I hope we can we get a clearer consensus on how the crop factor calculations break down - Reading the thread so far and various contributor math - DCI 4K measured diagonally from the 3:2 photographic area it is 1.74x crop DCI 4K measured diagonally from the 16:9 video area of full frame is 1.64x crop DCI 4K (4096 pixels wide) is a horizontal crop factor of 1.64x So what is the UHD 4K crop if your delivery needs to be in the usual aspect ratio and not the 17:9 of DCI 4K? Back around 1.74x measured horizontally? And what is the industry standard way of measuring video crop factors - the ones stated by manufacturers themselves - is it horizontally or diagonally? And do they take into account the full sensor 3:2 or 4:3 aspect ratio if measuring diagonally or just the 16:9 portion? And as for the lenses - EF-S mount lenses WILL NOT work on the 5D Mark IV as the rear glass intrudes too far into the mount... Although I hear on some lenses like the 10-22mm you can pop off the plastic shield at the back and it might work - no mirror hit? And so Tokina 11-16mm F2.8 is best wide for 4K and you would need to swap lenses when you go back into FF stills mode

Rode's an Aussie company, so no reason why you shouldn't get the best customer service I had a Videomic Pro that had its battery door broken off and they replaced it for free! In terms of the product quality, I find their gear is generally punching above its weight in terms of price-to-performance ratio. Are there better mics out there? Yes. Are there better mics for the price? That's a harder one to answer, and you'll be hard pressed to find better value especially when you consider their customer service.

Dude, I love your mission statement from the frontpage's 'about'-section: That kinda continues in a philosophy that 'nobody should be blocked from participating in a community where they can learn and showcase their talent as a cinematographer or filmmaker due to a difference in opinion, skill level or approach to filmmaking'. You've also allowed and welcomed everyone who was willing to add somekind of positive contribution to the site. I remember even one guy losing his cool and asked to please be banned already, yet you didn't seem to really see the point in that, but did as he asked and told him to come back should he have a change of heart (which he did). That's what I like about this place, just somewhere where free spirits can come together and share knowledge and opinions, without everyone having to follow strict directions and having to be on the same page. DPReview is a very practical site, but I wouldn't really want to 'hang out' there, sorta speak. I like opinions. I like your blog (I might not agree with everything you always say, but then again, why have an opinionated blog and open forum if there's nothing to discuss) or YouTube channels like TheCameraStoreTV with Jordan and Chris or DigitalREV with Kai and Lok. Because, unboxings and going through the specs is something everyone can do. I can't stand CNET reviews. I need someone to get down to the nitty gritty and not sugarcoat things. What is it really all about? What do you think? I don't go over to other sites much, other than the rumor channels, because they don't understand fun, creativity and community that much. I feel pretty much at home here. You've created a nice atmosphere for people to speak their minds freely. I thank you for it and hope it continues on like that.

I am just a guy with an independent voice in the world of camera reviews without hundreds of cozy ties to people from the manufacturers, without ads splattered all over the screen, without sponsors on my every video, yet still I find EOSHD mired in a world of cut throat rivalry. Only very occasionally like in the beginning with DPReview have I been given a leg up in this industry and even then it only takes one person like Barney to massacre that relationship too. The other blogs like NoFilmSchool, Cinema5D and NewsShooter spend 10's maybe even 100's of thousands of dollars trying to punt my homebrew EOSHD site into oblivion and I just find the whole thing utterly distasteful. Rather than offering a new talent an opportunity they instead I am treated like just another commercial rival to be beaten. In the end it is up to you guys to choose. The managed platform of platitudes and advertorial, or the honest opinions and educational books of an artist/filmmaker. May the best guy win.

Try to get the constant f3.5 version, it's is ahead of the other Nikon 35-70 lenses in ways including distortion.

Just buy 'n try. It's not like it's going to lose its value should you decide it's not your thing and put it up for sale again. Two fun 35-70mm I always keep an eye out for are from Angenieux and Leica. But you might need to wait a century for a real bargain to cross paths... I think the Nikon will do fine though, it's good value. The 24-105mm is a practical lens, mostly for stills, but I understand you'd want to spice it up a bit, so really go and explore your options... you might even want to think about replacing the Canon with the same range Sigma... that might change things up enough for you as well.

Had it at one point and it was good, but ultimately replaced it with the Olympus 35-70mm f/3.6, which may be sharper and doesn't rotate when focused.