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Ok couldn't help but post my grade too... I'm not trying to start a competition and certainly open to criticism myself but some of the grades posted of this so far might not be showing it in the best light (except the grade from @Geoff CB which is gorgeous - I'm not that good!). As a GH4 user this was just a dream to grade in Premiere Pro CC with Lumetri colour, I loaded a LUT called AlexaV3_K1S1_LogC2Video_DCIP3_EE and then did some simple tweaking to highlights, shadows, contrast, saturation and minor adjustment to curves. I really pushed the saturation which might be too much for some peoples liking and usually mine too but it helped to naturally warm up the image a bit with some of the more subtle warmth in the skin tones that was otherwise hidden. After grading GH4 footage for years this is going to ruin me forever! I might be upgrading to a Terra instead o a GH5! (though having both as some have mentioned would be quite complimentary for different uses). The background wall is naturally quite purple so if I were to go further I would be trying to reduce that as it gives the overall picture and foreground a magenta feel by association even though it's not.

It means it's now APS-C. !

70D and 80D are used for vlogging because they provide the excellent Canon Dual Pixel AF which is important for one-man shows, especially daily vlogs. Panasonic GX85, Olympus E-M5.2 provide better image quality and stabilization but do net get the AF-job done. The CDAF implementations are simply not reliable enough. You do not see the focus hunting in the small flip-out screen during recording. Of course there is obvious stuff, where the camera focusses on the background an is not willig to change but the problem are the small, nearly unnoticeable glitches, when the face tracking loses the face for a fraction of a second. Once back at the NLE you realize that it looks awful but today's episode needs to be pushed out ... Vlogging is a growing business, pobably understimated by poeple that are not used to it. A lot of money is involved when the number of followers get over one million and while content is still king the quality level is quite high.

Great work here guys! If you guys are after the 16-50s, I just wanted to point out that it looks like samsungparts still has some of them. If you guys remember that dpreview thread with all the lenses being available for cheap from the samsung parts site, some of those deals are still available. The 16-50s is $800 new. There is no lens hood included, though it can be ordered separately for like $16 if i remember. This is how I got my 16-50 when this was first brought to light. Here's the link if anyone wants it http://www.samsungparts.com/Products/Parts_and_Accessories/PID-AD97-23876A.aspx Seemingly sketchy site, but I've bought multiple lenses from them and have had good experiences.

Is anyone shooting on their GX85 and have some videos to show? I finally got a workflow that I am very happy with. It may not be the most interesting video for you guys but please have a look and tell me how what you think about the colors? It was shot in standard 0, -5, -5, 0 with only natural light and reflectors. The edit was done in FCPX using Color Finale.

Im currently testing some new settings to get different types of look, will share later I think this camera shines when you put the 16-50S on it, I've had the 18-35mm Sigma and I dont think its as good as the Samsung lens. I do love the 35mm f1.4 though.

@Hanriverprod Hey mate used the Rokinon/Samyang 35,50 & 85mm T1.5 prime lenses with Metabones Speedbooster XL 0.64x adaptor. Natural Picture Profile Noise Reduction -5 Sharpness -3 Contrast -3 Saturation 0 No colour grading or luts applied, picture straight out of camera.

... who uses a gorillapod and has the 80D with side flipped out screen and wears sunglasses to hide the fact he's checking the framing on the right of the camera. The M5 already borrows some of its look from the Canon G5X. They should've implemented the same display solution. Or atleast have given it the same as found on the G7XII. But there are clear reasons vloggers consider Canon. Quick shooting. Quick turnarounds. AF is the smoothest out there, color is the nicest out of the box, tons of compatible lenses and accessories native to the system (and quite adaptable (more so than the Nikon mount)). 1080p keeps editing not that demanding and allows for quick rendering and uploads. It the least effort with acceptable results. But the M5 falls short I think...

Isn't v-blogging the type of video where you talk to your audience in front of a camera that is fixed (because there is nobody else to operate it)?

That sums up exactly where I'm at @Cinegain ... wanting to step up to something in between a GH4/5 and an Alexa/Ursa/Terra that shoots raw 4K+ at high frame rates and I would think Panasonic if anyone could fill that gap perfectly. More expensive alternative I guess is to have GH5 for smaller jobs and get a Kinefinity Terra, perhaps they know for many that will still be the case and they're not losing customers anyway. By the way here's an interesting comment from Veydra on why they stopped their anamorphic lens project... does that point to a multi aspect sensor on the GH5?

Man KIDZ.... Your sense of style just gets better and better. I haven;t been around here much lately because my NX1 is just WORKIN'. Ya know what I mean? I put in Andrew's whole LUG-LUT settings and post routine, and it's just been GREAT. So nothing to report. But RICARDO... Boom! You've really tapped into an interesting recipe here. I've put in your settings and shot a few things and I agree - very nice. A different feel than the EOS Log-LUT thing, but I like them both. Once I've shot a bit more with Ricardo's set and got to know it better - then I'll have two distinct looks out of the NX1. I think the NX1 screams with the Sigma ART lenses, but boy I'd still love to have that 16-50S lens to really finish the deal. And I was RIGHT! Back when the camera got knocked out of production, I KNEW the prices for those "S" lenses were not going to come down.... Oh well...at least you DO get what you pay for with them. ~Cheers all!

These kind of videos are... useless. A nice fellow, but he just rehash what we read on the net and did not even bother going to Photokina (not that expensive), as a real journalist should do, and talk to the people from Panasonic there to get all the details and bring something that was not yet said or confirmed. Waist of time, just click bait. He could even had taken his own videos and photos of the beast instead of relying on other's work... Sorry if I sound rude, but I have (now sold) ran a modest tech website in English and French from Japan on Japanese tech and being on the go to cover press event or show like these where our first priority to get something that others were too lazy to get.

https://www.dropbox.com/sh/2e8ol7fwb0od20o/AACWr3GJ2EpKMThOs2NmjLnFa?dl=0 Downscaled from 6K Wide to 4K Wide, ProRes422HQ Footage is in KineLOG

Thanks Fredrik! Yes, then I am definitely leaning towards the G80/85.

I think it's the same video quality. If I could choose now I would definitely get the new G85 because of the ergonomics, bigger evf, mic jac, articulating screen, better battery life, optional battery grip, Cine D/V, etc. Especially if you don't need/want the GH5. But if size is important the image seems to be the same. I believe frame rates and bit rates are identical as well, but not 100 % sure. Informative video about the G85:

Switched from using Gamma DR to Gamma C. Here is a screenshot from some footage I'm working on now. Gamma C, -1 Saturation, -10 Sharpness, -3 Contrast, +10 MB level. Graded with IWLTDAP Seona LUT @ 45%. Used 15% Gorilla Grain, Fine.

test in field after work

The GX80/85 is a great camera, but look at the size of the glass on the LX100 compared to that of the kit lens on the GX80/85. That is one fast, super-sharp honking piece of Leica glass! I might get the LX100 just for the lens.

I use it for zoom and sharpness. It crops in on the middle which is the sharpest part of the image circle. Mostly with these bright primes at f/0.95 they're quite soft, especially in the corners, so you're more likely to use 'em at f/1.4-f/2 where they get noticeably better, unless it's a stylistic choice to go for the smooth dreamy look. Another thing is zooms. There are some great f/2.8 zooms out there that you can boost (making 'em more sensitive than the Panasonic and Olympus f/2.8 options (that can't be boosted)). And the f/1.8 Sigma is a delight of course! Super useful for the range and sensitivity. Metabones XL makes a lot of glass out there get around the Hollywood f/2 mark. It allows adaptation of all sorts of glass with all kind of price tags. Maybe like me you use a Nikon body for stills as well, which makes your lenses serve double duty. EF mount is a little nicer in terms of mounting flexibility (Nikon is prone to have some issues with certain mounts concerning infinity focus, which requires additional glass correction elements, of which the adapters degrade image quality pretty significantly I would say)... however, I have no native EF lenses and do not require the electronics which makes the EF SB XL the more expensive option. And it's nice to just mount a Nikon lens directly without additional adapters... so I went with the MB SP XL for Nikon and for EF have a Mitakon Lens Turbo II, which doesn't quite have the same reduction, but it's tremendous value nontheless.

It's a good idea.

Ah yes, good point. Too bad it doesn't have a mic input... the rx100 is a fantastic little cam.

Mic input. It's going to be a nice camera and I rather have 1080 50p than 4k 25p in case I need the slow motion, which is quite often. But that screen, that flip down freaking screen. Why can't we have tilty flippy screens everywhere?

Hello, happy owner of a Canon 7D Mark II here. Also, buyer of Andrew's picture profiles. Tried them the other day in the woods and got a very nice image after 1-click grading with FilmConvert. Easy as pie. I shot at 60p with my F2.8 17-55mm. Most of the shots were at 17mm and F5.6. My ISOs were pretty high. I specifically decided to record some clips in the Mexican woods because of the complex detail of the leaves, sticks, etc., and the strong contrast between shadows and well-lit spaces. In years past, I've visited the same woods with my former 6D and my Fuji X100. The Canon 7D Mark II takes considerable better video than both. Hope this helps.

By the time they release the GH5R who knows what the rest of the camera manufacturers would have presented. They should sell the GH5 without the nonsense penny pincher EU tax or cope up with it and let customers have it. At least sell the Vlog with the unlocking door as a light hack or whatever. I mean, phones don't have that limit, right?

Yeah, I'm with you on the Canon Colours. I have seen some good things done with the GH cameras & the GH5 will be interesting, but only if it lives up to the specs. The thing that bugs me most about the BM cameras is the colour, not really crazy about it. But because they spit out RAW/ProRes you can really go to town & actually get the look/colours that you want without your footage turning to mush - great for learning proper colour grading. I personally found using a DSLR really hard at first, simply because I had to learn a new way of filming - well, accepting the limitations of a shit codec with digital tech. BM Pocket placed me back into my comfort zone & it was a relief to use a camera that I understood/would do what I wanted it to - it was like turning back the clock. Go with what your gut says - there's no right or wrong, just what's best for you.

@Cinegain I see what you are saying and I agree that Panasonic should have a camera that sits over the GH-line. Only problem with that is I think it have to be S35 sensor and they don't have any lenses for that, yet. They could off course do what JVC did though. It seems to me that Panasonic is doing a major overhaul with their cameras from the bottom the top. First it was better low light (G7), then the stabilization (GX85), then the (G80) with a better ergonomics (battery grip, mic jac, dual IS 2 etc) and finally the GH5 which is going to amazing no matter what they do with it. 4K 60p, IBIS, probably at least 120p 1080, 10 bit 4:2:2, V-Log etc. They have to compete with Oly as well now so I don't think there will be no holding back this time. It sounds like a camera I could have for years to come. Panny are really "fixing" all the things people have complained about. Anyways, it could very well be that they are releasing a camera above the GH line if they see a market for it. That would be amazing but not for me at the moment. I think the GH-series is the perfect compromise as hybrid shooter and I really miss the ergonomics of the GH4 which I replaced with the GX85 waiting for the GH5. Also the new Leica zooms look nice. Will probably trade in my 12-35mm and 35-100mm for the 8-18mm and 12-60mm. I really like the look of the Pana Leica's and my kit next year will probably be the GH5 with PL 15mm, 25mm, 42,5mm and the two zooms, and maybe the 12mm and 50-200mm somewhere down the line.

I use both. 1080 when I want slow motion or IBIS and 4K the rest of the time. Unless for some reason I want to save card space. But as I said before the 4K image offers what the C100 doesn't. My current project involves a lot of landscapes so I'm using the XC10 a lot in 4K and time lapse. I avoid shooting deep DOF with the C100 because it can't match the XC10 4K there. If light isn't good I avoid using the XC10 as it can't match the C100. But in terms of colour, dynamic range, etc the cameras are very similar in all modes.

soryy but that was a couple years ago, now its all about walking around with g7x's and 70d's on gorilla pods and um, this guy

Very nice video. I have been experimenting with the GX85 for weddings. I usually use a canon C100 which is fantastic but heavy! My problem with the Panasonic is that it falls apart quickly after 1600 ( I have Panasonic 1.7 lenses) and it is sometimes hard to maintain exposure and colours from shot to shot. I saw that you low light stuff looked pretty good with the G7 but did you use extra lighting in the dance and when they cut the cake?

Seems like the new Olympus might be ideal for vlogging no? With the IBIS and flip out screen and improved video quality.

I think if vlogging is your focus, you need a flippy screen to see what's in frame. The M5 does not have that. Just get the 80D instead. Edit: oh it has a down-flipping screen apparently. I would prefer a sideways though. Can't even put it on a surface/tripod and monitor at the same time?

Couldn't disagree more strongly. Features like image stabilization, miniaturized ergonomics, low light ability, autofocus, and ability to shoot under mixed and poor light are far more important to a blogger than to someone on a controlled set where they have a gaffer, AC, etc. to take care of it. I haven't used the M5, but the feature set sounds good for vloggers.

Last two are at f/2. Maybe. But 16:9 for video should be a little bit better. Two more f/2 here, shown different focus point.

Nice post Cinegain! Yeah I too was hoping for a better form factor on the GH5. Surely they know not many still photo people buy GH cameras?? So why keep it the same way! I would pay more for a better body, I think lot of us would. Maybe not 3 grand, but 2 thousand ish sure. For 1900 bucks surely you can make a better form factor. This video stuff is taking off like a rocket right now. And Panny has been a leader for the lower end. Seems to me other than the JVC LS300 you stated, nothing really exciting is there. Panny listen up and fill that void LoL! But I guess this stuff is changing so fast they have no clue which way to go. The GH series has been a cash cow for them. Hard to give it up I guess.

It's a vlog. Just about anything will do.

The BMD Micro CC was marketed with global shutter... in the end... they couldn't deliver on that promise and pulled it from the (seemingly finalized) specs (which made me order it). I was rather bummed when I found it was going to ship without the feature, which goes to show I'd rather have them release specs that they know they'll do, rather than making a prediction as a hard statement and then hopefully manage to pull it off somehow. Also... Craft Cinema Camera... But yeah, I do get that they had to say something at Photokina. I was expecting them to! We all want to know: is it in the making? When should we expect it to hit the market and what can it roughly do? I do think it's going to be a significant step-up in the way the m43 crowd shoots video! Like the hacked GH2 and GH4 were! In between the GH4R and (paid) firmware upgrade... and the G7 and GX80... I think we're going to be in for a treat. But you've got to be realistic. The GH5 is going to be the most productive and allround video tool in the DSLR and mirrorless market and have the best bang for buck. Yet sensorwise... it's not going to rival fullframe. Then again, that's only logical. Light gathering ability for each pixel is just not the greatest. But you know... isn't that the case with actual movie cameras either? If you look at Blackmagic and Kinefinity for example... you're expected to light your scenes and manage. Shooting ISO6400 is just not something you would/could go and do. That doesn't make fullframe options less interesting, especially for the run-n-gun type who shoots a night scene with just the camera on little to no budget... because then you can't deny the benefits of its flexibility. You can put it in any lighting scenario and it will cope with the conditions (to a certain degree). If that's the most important thing to you, look no further and get one of the Sony A7 series cameras (with their own issues; really comes down to the game of: pick your poison). I think it will be another one and a half year perhaps (2017?) before we see the new tech (organic photoconductive film (OPF CMOS) sensor with global shutter) hitting the market. That you may rightfully call a 'gamechanger'. But we're not there yet. It's a step up, as said, with V-LOG L and an anamorphic mode as firmware upgrades... with the GX80 sensor performance and stabilization however... we've seen that we can expect the GH5 to be a significant up from the GH4. And that is just how you need to see it. Still gives you struggle for wide focal length lenses. Isn't magically going to see in the dark with no noise or create crazy shallow depth of field by itself. But it is great value for the money and it certainly will be a treat to use stand alone as well as rigged up. Secretly I was hoping for something between the GH-line and the Varicam, because getting a cinema tool step up from the GH4 and end up between 2999~9999 you'd be looking at the Sony FS5/FS7 (or something older 2nd hand), Blackmagic URSA Mini/Production Cinema Camera, Canon C100/300/500, Kinefinity Terra, (2nd hand RED package perhaps). In other words... a lot of people learn with the GH-line and when it's time to step up, their native lenses are probably useless and they have to look at different brands. If I were Panasonic, I would want people to stay in my eco system (and keep their money coming my way), hence create something Kinefinity/Blackmagic style that keeps in mind users coming from a GH4. Something like a true successor to the AG-AF100 but adhering to the modern standards and expections as well as being more compact and affordable. I mean, at around 3000 USD you buy a body only A7SII or A7RII. Can you imagine the things Panasonic would give you for that kind of money?! Something like JVC did (somewhat out of the blue) with the LS300... but done the Panasonic way with the GH heritage. Unfortunately the GH5 won't be that. I thought... ok, the G80 is now roughly the ultimate hybrid camera for stills and video. Maybe they make the GH5 really premium and focussed on video like that. But from what it seems, this is another ultimate hybrid camera... instead of what I was hoping, something in between the GH-line and Varicam (or as I've called it before 'the VC5' (a more serious cinelike approach to the stills hybrid GH5)). Doesn't make me less excited for the GH5 though. Might tick all the boxes anyways (with features that are now well implemented, ditching the YAGH-brick for a more viable solution and still being nice to use as-is, as well as being discrete on the streets and affordable to purchase).

A quick and dirty test of my Canon EOS-M10 and Andrew Reid's Custom LOG. Since this camera is Canon's most basic interchangeable lens camera, I cannot guarantee that others' experiences with other Canon cameras and EOSHD-LOG would be similar or different, or better or worse. So, basically, this is my quick test with my modest equipment and skills. Your mileage may vary... Equipment Used: Canon EOS-M10 Canon FL 35mm f/3.5 Magnus 2XM-2000V Video Monopod EOSHD-LOG Picture Profile Impulz LOG Kodak Elite Chrome 200 FPE LUT

Yes, ISO and WB are set or "baked-in" to a certain degree, as seen in Canon's white paper: Of course, WB can be easily manipulated in the RMF files in post as with any RAW format. As for ISO, like the Panasonic Varicam, the C500 employs analog gain control (as Policar already mentioned on page one of the thread). Combined with its noise performance, this allows for outstanding low-light abilities for a cinema camera. I'm not here to defend Canon's, Sony's, RED's or any other manufacturer's definition of "RAW." I would only point out that Canon's Cinema RAW offers some unique features: Compared with conventional approaches, this image processing chain results in improvements and advantages in the following areas relevant to the four color data streams: color separation, demosaicing, resolution, and anti-aliasing. This is why some have noted that the C500's 4K resolves a very high level of detail per pixel (something that is also true of the C300 II). Moreover, like ARRIRAW, Canon Cinema RAW reaches an insanely high data rate. In fact, a Canon RMF file delivers more data per frame (over 11 MB) than almost any other 4K RAW format with the exception of ARRIRAW in open gate, which matches Canon’s data rate of 11 MB per frame, but at a lower resolution than 4K. For these reasons, and despite fixing ISO at the time of shooting, Canon RAW is a formidable format that was apparently designed as the antithesis to Redcode, which has relatively low data rates, no analog gain, poor ISO/noise performance, and high compression in the green color channels. In this way, you can think of Canon RAW as diametrically opposed to Redcode. The latter has its own advantages of course in terms of reducing storage and unlocking 5K, 6K and 8K recording in a very portable camera package and easily manageable RAW format for editing. Nevertheless, I would say that RED has a lot more to answer for than Canon when it comes to defining its format as "RAW," considering how much sensor data is discarded in Redcode compression.

Got a huge smile on my face right now - 45mins battery time, well they kept that quiet! Exactly the same on the Pocket....but you can actually pick it up & go without spending a fortune on the extras that are needed to make it useable. There's a guy over at Cinematography.com that shared quite a few tips to get the best out of your battery life on the Pocket, not all of them logical but they work: turn down the screen brightness etc...and the strangest was, Do Not turn it off between takes, as that drains more of the battery. So much BS spoken about the Pocket & once you actually Learn (yes, I know, it's a dirty word nowadays, but it's an important aspect of life) how to use it properly, it is so much easier to use than a DSLR (cause your image worries are gone). Ease of Use vs. Fucking Awesome Image - well I know what i'll pick everytime.....

The Micro is definitely better, but I just don't like the ergonomics... I really, really don't like the ergonomics. Now the 5d Mkiii ML Raw is as good or better than the Micro. And the benefit with that camera is, you can take the ML card out and use the regular Canon with Reid-Log if you're looking for a quicker workflow. I also don't have the G7 anymore, I sold it when I bought the Micro. Then I bought an XC10 and a GX85, but I am selling the Micro and the GX85 and will replace them with either an 80D or maybe a C100ii. Oh yeah I also have an eos-m10, which is what I am currently using Reid-Log with. As far as my G7 settings... I used Noam Kroll's settings but with Natural instead of CineLikeD.

Sold both of mine. Don't get me wrong, I like 4K but resolution isn't everything. The 7D Mark II's were a gift, I wouldn't have purchased them. I was looking at maybe a 1DC or a C100 at the time but couldn't refuse the gift. Plus, I was thinking Magic Lantern might come soon and breathe life into the 7D2.

It shocks me a person would sell a GH4 and BMMCC to raise money for a Canon DSLR. As a GH4 together with a BMMCC already covers so much, is a great versatile pairing.

Highly doubt it. 43rumors said there would be no 4K crop in a post that got everything else right.

I just bought it and what I can say... I tried for some minutes it on my father's Canon 6D and it is just AWESOME! I went far to ISO 3200 without problems! I tried only C-Log, Cinema 4 and Scarlet, in the next days I will try all the other profiles. For the moment: - C-Log is awesome, great DR no problem with shadows as I have with V-Log L recorded internally on the GH4. It's really a GIFT for any Canon user! You have to buy if you need a log profile! I'm going to try close to BlackMagic Micro Camera as soon as possible just to see differences and similarities. - Cinema 4 is a "neutral" with better colors and a slightly better DR. Great! I really like it for a 90% ready look. - Scarlet is a Fuji Velvia-like profile, with raised blacks, hyper saturated look (red blinks to my eyes) and less DR in order to have a great contrast. I think that just C-Log could cost at least more then V-Log L (it works wonders at 8 bit, instead with GH4 you have to record externally 10 bit to appreciate it), you have a lot of other great profiles, so don't wait that Andrew changes mind and buy it now! Thank you Andrew! And Canon has to thank you, because I'm really thinking to buy again a Canon just to use your profiles!

I would say that by not mentioning it in the launch indicates that there is a better chance of not having it then having it. Im not saying they wont put it in. I am just saying IMO its more like 85% chance no IBIS and 15% IBIS.

Dude... Its a movie and in movies there are flashes, ammo lasts forever and you can shoot point blank from the hip on full auto. I'm no astronaut but I'm sure the Millennium Falcon wouldn't be able to make the Kessel Run in less than twelve parsecs either

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field.

Samsung nx100 + NX/EF SB + CANON 50MM 1.8 II I CAN DO IT!

Here's another, using the same in-camera settings but different lenses this time. NO COLOUR GRADING. My camera settings listed in the video description....

Best thing I have ever done selling my Nikon D750 and prime lenses and getting the G7 with Metabones Speedbooster XL! Such a killer combo, thanks for the great review @Andrew Reid I'm new to videography this is my first video and stoked with the performance of this little cam