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I don't begrudge anyone for getting paid, if someone is willing to write the check take it. Everyone here would take $60m to slough it through shit like Fast and Furious, anyone saying they wouldn't is flat out lying, because you would then have the freedom to do pretty much any project you want. Hats off to The Rock for becoming the most bankable star on the planet right now. Tentpole movies aren't bad because they're made by Americans, they're bad because the major movie studios are all owned by giant conglomerates like Disney, Sony and Viacom. All they care about is keeping shareholders happy, and safe movies with a built in audience does just that. As long as people eat up numb nut Star Wars crap and various cinematic universes, it's not going to change. Just look at the he slate of tentpoles over the next three years - an endless barrage of Marvel/DC/Transformers/Star Wars movies And remember, most of a blockbusters' gross comes from markets outside the U.S., cars blowing up and dudes in tights are easy to translate.

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.

Sony is protecting it's mirrorless line!

Just because I'm curious, I did a bit of digging into how much the total cost would be practically speaking. As we all know the body itself is merely the start of the costs! A common big big cost with these professional cameras is memory, Arri Alexa Classic uses SxS cards. Even the oldest SxS cards secondhand are "cheap" but very expensive if you're used to SD card pricing! And older SxS cards are no good in an Arri Alexa as they can't handle the full capabilities of the Arri Alexa Classic of 2K 4:3 ProRes 444: https://www.arri.com/fileadmin/media/arri.com/camera/Digital_Cameras/Camera_Comparison/SUP_11_Data_Rates_ALEXA_Classic_and_XT.pdf But you probably wouldn't be buying a 4:3 version, rather the 16:9 version which would tend to be cheaper. In that case, the data rate is lower, might be able to get away with the older SxS cards? (even I have a couple, came along for free with my Sony F3! However.... an Arri Alexa would need several more! As you'd be filling them up too fast) But it just the target rate listed in that PDF, and not the max rate. Thus these older SxS cards could not work if they get maxed out, but... this adapter for SxS cards using cheap SD cards (such as any of the many fast SD cards many of us have for our BMPCCs!) can do up to 480MB/s, which gives a bit more head room. https://www.bhphotovideo.com/c/product/786662-REG/Sonnet_SD_SXS_E34_SDHC_Adapter_for_SxS.html However... not much more head room! So if that isn't enough, can always get this instead: https://www.bhphotovideo.com/c/product/840666-REG/Sony_QDA_EX1_SC1_XQD_ExpressCard_Adapter.html Yes, it is XQD cards which are much more expensive than SD cards! But XQD cards are heaps heaps cheaper than SxS Pro cards!! :-D Plus XQD cards have came down in price a lot lately, and I expect XQD to drop even more in price as various more affordable cameras come to market that use XQD (FS5/D500/D5/etc). They're already more affordable than what we've paid for SD cards in the very recent past (I paid more for my BMPCC cards when I bought them): https://www.bhphotovideo.com/c/product/1261721-REG/sony_qdg128e_j_128gb_xqd_g_e_memory_card.html And you can be sure these XQD cards are way way faster than needed for 2K ProRes 444. They've been tested in the Sony F5/F55 (which also uses SxS cards, and needs very fast cards): http://www.hingsberg.com/index.php/2013/12/xqd-cards-for-sony-f5-f55/ Thus that is media "solved" in an affordable way! Thousands saved here. However the really big sticking point is lenses! Even "cheap" PL lenses can cost a fortune. And if one of us was to be mad enough to buy an Arri Alexa, we sadly might not have anything left over to buy PL lenses..... could we use our existing lenses? A Nikon F mount would be ideal in my eyes, and I've done some digging but failed to turn up anything There might maybe exist a very rare copy or two of Arri Alexas that have been modded (Panavised Alexas are the obvious more common example), but basically it seems not to be an option for us. Arri Amira & Mini do have common options for adapters to use Nikon F mount lenses and other options, but of course those are much *much* more recent cameras and would cost a lot more to buy either an Amira or Mini! So hmmmm.... what to do?? Seems any Arri Alexa purchase would require also getting a set of Sony CineAlta PL / XEEN / PL modded stills lenses (such as GL Optics) / SLR Magic PL / RED lenses on the "cheap" to use with the camera, which a working set could easily run up to another ten thousand give or take a few thousand either side. Either that or wait for an Amira or Mini to fall down in price far enough to become "affordable", which would be a very looooong wait indeed! Edit: hmmmm..... I stumbled across this, but any more info is sadly lacking! But just maybe maaaaybe.... does an aftermarket Nikon F mount for the Arri Alexa Classic exist that can be added on by the user?? https://web.archive.org/web/20120321192849/http://www.hotrodcameras.com/?p=3728 Then I found this: http://cinescopophilia.com/hot-rod-cameras-2012-roadmap-includes-nikoncine-alexa-mount/ But now the trail runs cold :-/ If this can be found then it would shave thousands and thousands of dollars off the total outlay cost for a DSLR shooter to step up and buy a secondhand Arri Alexa Classic! Edit 2: Hooray!!! Have found now THE ANSWER!! This mod exists: http://www.leitax.com/conversion/Cine/Alexa/index.html Can buy it here: http://www.leitax.com/Leica-lens-for-Cinema-cameras.html

We need Cropmarks, badly!! Or the function to upload custom Cropmark-Images. Please anybody who visits Panasonic Reps in this time before the GH5 release, help us get rid of duct-taping our display. It's so 2008. Cropmarks, anamorphic desqueeze, punch-in focus zoom during recording, sound during 96fps. I will visit Photokina myself and try to get hold of influencing Panasonic Reps, but we need a lot of people. Been writing mails and tweets and posts for the past 2 years.

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/

The video crop factors of the current 4K cameras, and an easy way to calculate crop factors... Read the full article

If Nikon can release a D750 successor that has no crop with its 4K then Nikon has a good shot at stealing away a healthy sized chunk of the market from Canon.

Crop Factor is based in the Image Circle, that's why the diagonal is used instead of the width. The diagonal is based on the video mode not stills mode (entire sensor), so it's a little more work to compute the Crop Factor. Your math is indeed simpler, unfortunately it will lead to confusion since it's not actually the Crop Factor. You could call it Width Ratio or similar to let people know it's not the image circle diameter ratio and not the actual Crop Factor.

What makes you think that? Its been two years since last series of GH was realesed i think Panny gona surprise us not with just 10bit but more they always listen to community and people have spoken ? 10bit lowlight improvement IBiS V-Log (maybe) lut preview too much to ask after two years? looking forward for Photokina press

it would also have EXTREMELY BAD low light performance.

Nope, EX1 doesn't have 10bit internal. It is a nice idea, and we (us low end guys) would appreciate that. But I doubt Panasonic would want to take the risk and maybe devale their brand by putting the high end "Varicam" label on a cheap stills camera. Exactly! I very very strongly doubt 0.5mm is sufficent space to make room for an MFT adapter. Of course they could have a different base mount than the FZ mount underneath, but I am skeptical there is too much room underneath that is sufficient to make room for an electronic MFT mount.

When I had the FS700 I used a Speedbooster which made it close to full frame. That's one of the things I loved about that camera. I would love for Blackmagic to make an E Mount Ursa Mini, even though we all know it won't happen.

It's always baffled me why Sony have never put the a7s sensor into a small video body... you'd think it would be really popular with NDs, XLRs and a nice codec

Any GH series should be MFT sized otherwise piss off too many photographers etc A mid range $7K ish to $10K ish should be S35 so can have a broad appeal. But an FS5/C100 competitor at the up to $5K ish price point could perhaps have MFT mount and even MFT sized sensor, as can have plenty of cross over with GH and other MFT bodies in terms of its appeal and target market. I am a bit uncertain if a swappable mount can have MFT as an option, wouldn't MFT be too thin?? As the base mount underneath needs a certain amount of thickness itself! Ummmm.... the DVX200 that Andrew was referring to, is a different camera to the HVX200! Totally agreed, Panasonic needs a camera in the midrange between mirrorless stills camera and a Varicam so people have a contious upgrade path to follow. This is a very very VERY powerful feature! For evidence of this you don't need to look far, just look at the many many ***MANY*** people who went: Canon T2i => 60D => 5Dmk2/mk3/6D => C100 => C300 A truly rediculously large LARGE number of people followed this exact upgrade path! (or similar) Canon must've made millions and millions from this upgrade path, which people followed as it is comfortable / easy / simple to do. And sadly people like that, they don't want to spend dozens / hundreds of hours on forums like EOSHD to consider models from other brands, when they feel they've got a simple straightforward upgrade ahead of them already to take. I think that might be a reference to the next camera.... which is the G80, that will have the same sensor as the GX85. However the GH5 is a bit further off into the future, so harder to predict its sensor. As for even if it does have the same sensor, will the crop be the same? Well that depends on more factors than just the sensor! It might be the sensor currently can handle it, but the processors with it can't. Thus they could upgrade the processing power but keep the old sensor, and be able to do 4K without a crop. Or the bottleneck might be the sensor itself after all..... we don't know.

Cant wait to see what you are referring to in my quote

I night not remember correctly but wasn't the GH4 100mbit in 4K and 200mbit in HD? That's why my first thought was 10bit HD. But again, just from memory and to lazy to google.

If the rumours turn out not to be true there's no reason to be too unhappy... Panasonic could for example bridge the gap in quality between the 8bit GH4 and the 8bit 1D C before going all out with a fancy 10bit codec. Better low light performance and a better less noisy LOG profile is a hope of mine A simplified selection of picture profiles each with a separate use would be good, like this - - A vivid punchy one with high colour saturation - A more standard muted one for light grading - A LOG profile - A flat profile for those who want to adjust the gamma curve in post without going all out with LOG and LUTs Just 4 or 5 would do it. Get rid of the fluff! Also let's see them go back to the wide aspect ratio 1.86x crop sensor, like the GH2, great for DCI 4K 4096 x 2160 1080p 120fps with no crop and no moire would be FANTASTIC All this is within the bounds of current technology, they just have to get it RIGHT!

Well there are some other pretty similar products actually. I got linked to this company's facebook page from some site just a few days ago, apparently this one is also motorized as well. Not sure on the cost though, but it looks pretty much identical: https://www.facebook.com/glidearm/

It almost seems like it has an in camera slow motion that you can enable while recording, but since you can't change the shutter speed to compensate for the frame rate change, a strange stutter appears. The colors are nice though.

Steven soderbergh gave an amazing lecture on this. That the film industry no longer has execs who care about making a good product.

I'll bet its 10bit in 1080 only. Heat would be a real issue for 4K 10 bit wouldn't it?

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.

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?

Is it me, or is the motion cadence on that demo reel absolutely horrible?

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.

The People's Eyebrow

The digital revolution is an incredible thing. The first globally cultural phenomenon. Bigger businesses can try as hard as they can to monetize it, but that sort of process demands way too "lowest-common-denominator" sort of stuff to be truly compelling. Normally, it's dry and boring "content" not actual writing. Lousy Corporate speak and intellectual junk food. Those of us that are more curious than normal folks will always require niche corners, like eoshd, to keep it real. There's plenty of room inside the Internet. Writing created by people that really do care about what they're saying will always have a place. Whe I first came here I spouted off my typical egalitarian camera rants and was quickly chastised by the head-honcho because of it, which I really appreciated. Finally, I thought, a place where someone has an opinion they really care about! Its not some unpaid intern just regurgitating a PR sheet from corporate marketing. I don't know, maybe these sorts of corners will have a harder time existing as newer generations get more sophistically exploited by content-providers. Perhaps not. After all, Humans have always tended to have alternatives to the mainstream. From philosophy to books to camera blogs.

DPreview is just a communal front porch leading to Amazon. Anything driving traffic away is probably viewed a threat, though for their own sake (i.e. maintaining the illusion of editorial integrity) you'd think they'd leave it up. Dumb move by DPreview.

Plenty of ways. Thousands of dollars spent on heavily search engine optimised clickbate material which pushes other more relevant and better written pieces off the front page of search results. SEO experts are expensive. A ton of cash on a team of writers and people to cover trade shows and criss cross the planet in business class interviewing reps. Flights to Japan to cozy up to the industry. Slowly but surely money drowns out the others who aren't in bed with the industry, their backers and sponsors. The editorial is changed. The internet is changed. I am not The Verge. I don't have unlimited staff and resources to keep EOSHD alive in the face of such hostile big-spending competition.

How do they spend money against you?!?!

I be interested to see your setup once machining is done. I shot this with my Inflight with three different taken lens. Two vintage and one modern. Was slightly off on my height calculation. I had it at 62% and it should 57%.