Leaderboard

Is depressing reading on other places on the internet how quick the anti-MFT trolls are out, and of course their first red herring is "but it sucks at low light". This low light argument reminds me of the megapixel race, sure there was big benefits from going from 2 megapixels to 5 megapixels, 12 megapixels, but then at around 16 megapixels to 24 megapixels range... the arguments got a *lot* weaker. And for 99.9% of users we don't need 50 megapixels!Ditto low light, not being constrained by 50 ISO film is *AWESOME*, then getting to 200 ISO... great! And now we can do workable 800 and 1600 and even 3200 ISO! https://www.youtube.com/watch?v=hyeKIOV-EZw Let's assume GH5 carries on and is one stop better even than that? How is that not a very workable ability to handle? Do we NEED to have clean 100,00 ISO?? Nah, that is over the top in nearly all cases. I'd rather pass on the unnecessary over the top extreme high ISO capabilities and have instead the well polished and extensive range of features that the GH5 will have.

Still 12 pages just under tab 1, WTF is up with that. Also WB at page 10... whats on the first 9?

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body. Samsung could learn a thing or two from this practice!

First camera with revamped Sony menus. Looks more like a Canon menu system. Better grouping as well.

2-ch xlr input hotshoe

Yes, was just some black tape. I've had the 77mm mkii version for a fair while and no issues. Only used the 52mm mkii for a couple of days but seems every bit as good as the 77. Hard stops are a great feature. Supplied cap is also a bonus.

Live stream in 10min. Fun day today huh gang http://www.43rumors.com/watch-the-olympus-live-stream-now/

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities. I still amaze myself how much I like using the EM5II. They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way. Can't help it, just like how they've designed and built their gear.

this camera is superb , I've had to keep off the forum for a few months as a Panasonic Ambassador as I was not alowed to talk about it , But I tried the G80 3 months ago and was very very impressed especially with the Image stabalisation ! rolling shutter is also massivlly better its a huge leap forward and improvement , I'm shooting my whole next feature film with 6 of these new G80s they are that good . buy it!!

I know this is the Internet, but for those that watched the presentation, this is still a product in development and one that isn't final nor they had released the full final specs, so unless Panasonic says so, omission is far from the same as a sure thing that it won't have some feat. People need to be patience and wait for the full announcement, just be happy that the internal 10-bit 422 recording is true despite the odds, this camera is still a few months away from shipment. That said, it would be wise for Panasonic to at least address the IBIS, so people can either freak out or calm down. Don't Panic

Looks like the engineers STILL haven't figured out Auto ISO + Exposure Comp in manual mode video in all these new releases. GH5 maybe?

This is the first camera since the release of nx1 which sounds innovative and interesting to me.

Yes it does look like they have managed to fuck it up.

Only thought in my head for the next 50 minutes, "please be good, please be good, please be good...".

Yes, at cyberphoto.se No idea about other countries. That XLR-thing made it a bit more interesting. But now I can only think about the new MF Fuji and hoping it will be within a reasonable budget for me.

Livepics of Gh5 and the new lenses https://www.ephotozine.com/article/development-of-panasonic-gh5---3-new-lenses-announced--29922 Some more pics with battery grip and more http://www.photographyblog.com/news/panasonic_gh5_hands_on_photos/?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+photographyblog+PhotographyBLOG

https://www.bhphotovideo.com/c/product/1280825-REG/panasonic_dmc_gm85kbody_lumix_dmc_g85_mirrorless_micro.html $697, body only

10-bit is only available in camera up to 4K 30p. Perhaps 10-bit 60p for external recording?

http://www.43rumors.com/official-panasonic-gh5-press-release/ Panasonic Develops the World’s First*1 4K 60p/50p Video Recording Digital Single Lens Mirrorless Camera [DSLM] LUMIX GH5 Featuring ‘6K PHOTO’*2 Cologne, Germany (September 19, 2016) – Panasonic today announced that it is in development of a new Digital Single Lens Mirrorless (DSLM) Camera LUMIX GH5 that is capable of recording smooth, high-precision 4K 60p/50p and faithful 4:2:2 10-bit 4K video*3 for the first time in the world*1. It also features ‘6K PHOTO’*2 which extracts approx.18-megapixel still images from ultra-high-quality video with approx. 9 times the pixel count of Full-HD. The new LUMIX GH5 is scheduled for commercialization and introduction to the global market in early 2017. Panasonic has been committed to the development of innovative digital cameras under the theme “Create a New Photo Culture in the Digital Era.” The world’s first Digital Single Lens Mirrorless camera LUMIX DMC-G1 was introduced in 2008*4 and the subsequent DMC-GH1 achieved the world’s first Full HD video recording in 2009*5. In 2014, Panasonic introduced the DMC-GH4, which realized 4K 30p/25p video recording for the first time in the industry*6. At the same time, Panasonic proposed a new and unique method of photography called ‘4K PHOTO’ which allows users to capture fleeting photographic moments that even the eyes cannot catch, by using super-fast 4K resolution video frames at 30 fps that can be saved as high-quality photos. As a result, the DMC-GH4 is highly acclaimed for its exceptional hybrid performance in both photography and videography by a wide range of professional users worldwide – not only photographers but also cinematographers in the film production field, as well as emerging photo/video-hybrid creators. By advancing Panasonic technologies, such as digital signal processing and heat dissipation, and packing them into the compact, lightweight body of a Digital Single Lens Mirrorless camera, the LUMIX GH5 enables 4K 60p/50p and 4:2:2 10-bit 4K video recording*3, which has never before been achieved *1. With this unprecedented video recording performance, Panasonic aims to further capitalize on the strength that it has achieved in the film production industry. In the LUMIX GH5, the conventional ‘4K PHOTO’ function is dramatically advanced to form ‘6K PHOTO’*2 which lets the user cut a still image out of ultra-high-quality approx.18-megapixel video with approx. 9 times the pixel count than Full-HD. Taking advantage of its high-speed, long-time burst shooting capability, spur-of-the-moment shots can be saved in beautiful photos with higher resolution that complies with larger-sized printing by substantially increasing the resolution from approx.8-megapixel (4K PHOTO) to approx.18-megapixel (6K PHOTO*2). Furthermore, approx.8-megapixel 4K Photo images can be captured at a super-fast 60 fps.

I believe it also has a flip-out screen.

In 4k. He said it. And it showed on the Screen too

It is quite deceptive marketing if it's not for video, since they presented it as a step on the road to 8K video in 2020.

Please, whoever is at Photokina talking to panasonic reps: we desperately need (usable) cropmarks on the GH5. Camera has been out for 2.5 Years now and I'm still duct taping my display. Cropmarks for 2.35, 2.66 (with black/dark borders, not just lines), preferrably ability to upload custom cropmark images, Anamorphic desqueeze for 1.33, 1.5 and 2x, focus assist zoom during recording. Unfortunately Panasonic reps didn't pay any attention to a very detailed and easy update-list from the GH4 groups.

Is this the first time all the crazy rumours have turned out to be true?

18mp, 6K 30p, internal 10-bit 4:2:2 for 4K.

I spent a lot of time with this camera over the weekend, including shooting one small awards event with it. On Saturday I shot some tests and last night I did a load more in a controlled environment, alongside the Nikon D5500 I've uploaded all the raw videos to YouTube. Enjoy https://www.youtube.com/user/sebcastilho/playlists (Please excuse my voice) I'll be using this channel now to upload more tests I've done with this camera and others I've had in the past.

Just want to show you my solution to use faderND filter as polarising filter at the same time (cost: £8.95). It is very simple, but surprisingly hard to find such informations in the net. If you have faderND filter, it is (always?) made from 2 polarising filters. Like mine: When you use it, the problem is, that you rotate front polarizer and stop it on random angle, so you have no control over which polarization you accept (most importantly - which polarisation you completely cut off). So it is not only useless as Polariser, but sometimes it can cut off the reflections which shouldn't be cut. The solution is simple - buy a rotating spacer ring like mine (here put on a 43-52 step up ring for 52mm FaderND): I bought mine here (they have really cheap Europe shipping) - http://srb-photographic.co.uk/rotating-spacer-rings-1126-c.asp If you use step-up ring - put the spacer ring after step-up ring (if you put it before, you can introduce a lot of vignetting). How to use it?: Screw Rotating spacer ring and than your FaderND. When you set up all parameters, first rotate FaderND to proper ND level (you have to hold spacer ring not to rotate, because it is rotating much lighter (in my case)), and then rotate whole filter with your new spacer ring to adjust first polarizer angle (spacer ring rotates really light, so it is impossible [in my case] to change ND level by accident). To make it even simpler, I made a test (LCD monitor is polarised so it is very helpfull) and marked a vertical and horizontal position of front polarizer with lacquer dot (if it's on top, I know that it's close to vertical/horizontal polarization): It is really very fast and simple to use. Don't throw your money on additional polarizer (and don't add additional glass in front of your expensive lens) you have it already, but you wasn't using it. NOTE: Spacer ring adds some space before filter, so can make some vignetting if the filter is not big enough for your focal length.

The only thing you can do is ask what is acceptable to use (they'll normally have a list of cameras) & rent for this one job, if it pays or gets you more work then consider buying something to keep getting broadcast work. Also, ask if what you're using will be good enough. Having worked for the BBC, I know that broadcast standards are pretty high & it is more to do with how they have to deliver the footage. Therefore DSLR footage just isn't going to cut it in most instances, because they have to compress the footage into a deliverable format & in most cases it will fall apart - hence the 100Mbit/s min requirement. The special permission aspect is almost certainly to do with the fact that they'll have to spend extra time/money getting your DSLR footage up to scratch & they really don't like doing this - they'll see it as a waste of time & money, unless your piece is something that is going to get a lot of interest/viewers (ratings, it's all about ratings). Don't let something like renting out a camera for a job put you off - this is your break & treat it as such.

I take back what I said in my last post. I just did some side by sides with my Nikon D5500 on the Flat profile (which i've previously described as having as much DR as the C100 II) and the Fuji is actually as good or better. Attaching screencaps. Some extreme dynamic range tests. Here's the D5500 with Flat profile The Fuji at 1080p with ProNeg Standard profile, -2 shadows and highlights, -4 sharpness. +1 stop of exposure compared to the Nikon (because the Nikon is brighter at the same exposure settings) The Fuji at the same exposure settings as the Nikon: Now with contrast at -100 using the Lumetri panel in Premiere Pro: These were all at 1080p. At 4k there is even more headroom and the colours tend to be noticeably nicer.

Another D750 fan here. Fabulous stills camera with very capable autofocus and amazing DR. I was musing the other day that it is a better camera than the pro D3s I had a few years ago that was something like 3/4 times the price. As a video camera loads to love as well. Clean, attractive image that is easy to work with. 60p looks good. Handling and battery life both excellent. Something else that people seem to rarely comment on is that price wise it is a total bargain.

Luca I am starting to consider buying one. Since I also shoot with a canon 6D, I would like it to be compatible with canon lenses like the cheap 50/1.8. In order to do so, it would need it to be a smart booster for aperture and idealy AF control. How much longer do you think it would take to develope the smart version, and how much will it add to the price? I am planing a longer trip in december, will it be ready till then? Thanks

I'd like to add DPAF better skin tones (it should nail the skin tones each time rather than manual adjustments to WB even after white card white balancing). 5k....I guess I would but that puts a damper on things, and I'd demand more features. I really hope they are specific with the announcement today which is a lot to demand for a pre-announcement. Not something like "revolutionary features with the new chip! then list all the specs that we don't need"

$500.00 is a good price if the unit is in good working order. Please make sure it has the latest firmware (HP provides an upgrade tool) otherwise LTFS won't work on OSX. Marco

Canon has great colors no doubt but isn't that what Log + grading is about? A7S2 is still a beast for offering FF full readout 4K, zebra, peaking, log & IBIS.. 5D3 image is soft as hell 1080p and judders like crazy as soon as you pan. I still use mine as B-cam to my C100 PDAF but would seriously consider ditching it for an A7S2 if stills weren't important to me..

Since you know what you're doing you won't have any issue with a bump up in camera gear. I still think you'd be okay with what you're doing as is, but I suppose it depends on the situation you have to navigate with your particular TV station. Getting your footage up-to-scratch probably isn't an issue for you at all. Having a great camera is nice, no doubt. If you're good, you should own or rent a great camera. Doing so if fun and awesome --but to think automatically that something is unworthy because of the tech of how it's acquired? I just don't buy into that. Everything is relative. FWIW, I have a colleague that's been shooting an emmy award winning sports program for 5 years on 8-bit Canon DSLR's. (some of their cameras are as low-brow as the T2i) They broadcast their show all over the TeeVee airwaves. Source camera has never been a problem.

Point the camera on white lcd screen (like Eoshd forum :)) and rotate polarizer to see black screen on camera (deepest black in the middle of the screen). It's good to confirm polarization on some reflective surface, couse I'm not sure if all lcd screens are polarized vertically/horizontally. So you have first red dot. Second will be just 90° from first one (or you can rotate screen or camera 90° and again find black screen). vertical or horizontal (not sure which is which) are your starting points to clean water reflections (see through), hide wet/polished horizontal surfaces reflections or the same for vertical surfaces - like hide/show somebodys reflection in windows.. Any reflective horizontal/vertical surface (walls, floors, water, buildings..) will generate in most situations vertically or horizontally polarized light, so these are most used filter polarizer positions to hide or let through these reflections.

Raw files. SAM_0039.SRW SAM_0040.SRW

Nothing shot on the 1dc would be identifiably unique. It's just a camera. What is far more recognizable is style of lighting or grading.

I think they are both great cameras, with their own unique looks. With MKiii you get ML Raw and it's simply gorgeous. With the 1Dc you get Canon LOG, equally gorgeous IMO, just different. Of those options, if you can afford it, I would go with the 1Dc... when paired with the right glass, the image is on a different level. There's just nothing else like it at that price point. But, in all honesty, if I had $4000 to spend, I would probably get a C100 mkii before either of them... DPAF, 60p, small file size, Canon LOG, XLR professional quality audio... a truly professional level video camera. You may be able to find a used C100 mkii and a used A7Sii if you're really interested in the Sony.

If you are thinking of going with the c100ii, unless you need the 60p and DPAF, I would consider just buying a used c100 mk1 from eBay. You can usually find them for $2000, I actually saw one go for $1600 a couple weeks ago. I saw a mark ii go for around $2500. The rental cost would be a quarter of that. So unless you are definitely using Canon EF glass for the DPAF and you need the 60p, the mk 1 may be more than enough and some people prefer the image from the mk 1 better.

Hey Brian, how much opportunity cost are we talking here? I'm not going to back down from my 10k offer though I suspect that wouldn't exactly cover things, just a feeling, lol. On the other hand it would be a bit irritating to pay it out and then find out it wasn't so hard after all (possibly, I'll have fun taking a shot either way). I'm referring to the electronics of course though rather than the lenses. Also, a question about that for you, is something like an Arduino Nano micro controller really fast enough to handle the spi at native speeds? I'm going to prototype with one in either case, but if it's not then I may move to FPGA later if the Nano is functional and just sluggish. Luca, I would prefer to be one of those supporters, but I guess I'll have to wait for those first shots from others if you're not feeling up to posting two raws, same lens, same framing (tripod), same focus, same aperture. I know you have video samples, but since I'm not much of one for video that's just not my evaluative area.

It is ironic that networks require this since the technical quality they deliver is often so poor. Note this frame grab of NBC footage from the Olympics. It is smeared, blurry, full of artifacts. Their excuse would probably be "it's not us, it's Comcast". However transmission of network content is a signal chain that's only as strong as the weakest link. If they permit gross degradation of image quality at any point in the chain, then being persnickety about technical matters at other points is simply lost in the noise. It implies they don't really care about image quality. The technical quality of NBC Olympic content delivered to end users was so bad that the below footage from 1894 was actually better. Imagine that -- some of the first film footage ever shot, and it's better than what NBC delivered. Despite having supercomputers on a chip, satellites in space, and optical fiber spanning the globe, the delivered quality was worse than an old piece of film.

50 pages is a lot to look back through, but I don't remember seeing any settings posted here for a while. After a lot of testing, I've arrived at Natural -3 -5 -5 -3, Highlights / Shadows -2 / +2 for video. iDynamic and iResolution off. Opinions? I reckon I'm getting better skin tones that with my Sony A7R II. This is a great camera. The biggest problems are the (very) poor EVF and LCD and the lack of audio input. Unexpectedly (I was a guest) I ended up having to shoot stills for a wedding with the GX80 yesterday. The quality of the images blows me away and being able to use a tiny MFT body is very liberating.

Looking good! Didnt know slr magic also makes a 52mm variant. Only heard good things about it - are you satisfied with it? Any quirks?

Enjoying this cam a lot now after getting used to it over the last couple of days. Bought the 15/1.7 & SLR Magic 52mm Vari ND. Nice combo. Amazing little lens.

I don't think anyone is surprised. Anyone, whether pro or beginner, will produce better looking color with the Canon. Here's a couple stills from a recent project. Not exactly beauty lighting like above, but the first interview I lit with 1x1 panel through a 5/1 and a handheld battery LED for backlight. The second is natural light. Super quick setup, works for doc work. I would imagine ARRIs through some diffusion in a studio setting will produce skin like the ones above. I'm actually editing some F5 footage right now. The C300 looks better in worse lighting. You have to try harder to get a better image with the sony cameras, whether that be in lighting/color correct etc. The canon nails it.

Quite fast, I think a bit faster than the 25/1.4 too. The 20/1.7 was one of the first m4/3 lenses that I owned (with the Olympus 45/1.8). I loved that little 20mm lens except I lost a lot of shots due to missed autofocus (mind you of my kids that don't stop moving). It was pretty good for manual focus with video and I liked the angle of view and had nice rendering.

I just got the 15/1.7 and it is a great little lens. I think that it might replace my 25/1.4 for indoor shooting lens as it is easier to get environmental pictures and video of my kids without having to be way back.

Or just go with a Blackmagic Pocket (+Speedbooster) if the portability is crucial to you.

Sony have always done this. Look up Betamax Vs VHS. They always design proprietary media for the same reasons. Notice all Sony cameras use proprietary media. Canon don't allow their mount to be used. But the patent for EF mount rannout around the time you started seeing other cameras in EF mount...2012 :-) You'll notice BM don't say that they support EF-S because that's technically still protected. Canon still don't share EF protocols which is why you see issues with support for iris and IS on some lenses. JB