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Hiya. Im an noob to video but really impressed by the quality of the G80. Had it for a couple of weeks now. Heres a sample, hope you like it! https://youtu.be/xjh2dhCHZug Still lots to learn but really enjoying using this camera.

I am slowly getting round to finishing my mammoth XC10 review.... expect it this week!

Hey guys. Wanted to share a recent project I directed for a company here in Nashville called Ramsey Solutions. They teach people how to handle their money and get out of debt. We did a series of videos for their personalities for Christmas campaigns. Below are some BTS shots and screen grabs from the shoot. Here is a link to the peice: Password: 1234 We shot on the Arri Amira and used Cooke S4i primes. I graded the project with Color Finale in FCPX. The green screen stuff was poorly shot and we used a C100 so the shots of Rachel are pretty muddy. We had a pretty minor budget but the project turned out pretty cool! LMK what you think and if you have any questions. And yes I was rocking a dirty stache at the time

www.jukedeck.com Pretty wild stuff.

I discovered this as well. It's a big deal for my work, but luckily, there's a (mildly annoying) workaround! https://www.youtube.com/watch?v=0evKZXohM7o&t=774s I'll add one thing that isn't in the video. It's best to have a dummy job first in the queue in media encoder, because you have to stop the queue since it starts automatically. If it stops on a proxy file, then premiere won't be able to find it and you'll have to manually re-attach it. Having a random other render queued first ensures that none of your proxy renders get cut off mid-render.

I really like the results--better than any I've ever got from standard Sony color. And the LUTS in his LUT package are the best I've ever used. Here's the out of the camera footage, and at the end a clip of his S-log 2 ungraded, and then graded with one of his LUTS. I was happier with this footage than anything I ever got on an FS100, FS700, and FS5.

Anyone that have bought that cam here or have the intention to buy it? I know it's far from beeing a cinema cam or anything like that but it would be such a great daily shot grabber / vlog cam / b cam to my a7s. Cheers!

Yep - DPAF is definitely the main selling point for me regarding vlogging. That combine with touchscreen autofocus and iphone monitoring/focus puller. Will be able to strap it barely anywhere and get the shot I want Soft is good, I have the a7s and a shogun if I need sharp 4k footage anyway I will probably get it with the 28mm macro first Everything is possible - might not be a piece of cake but it's possible. Like i've said, I don't need 100% match either

Sorry, should have added I don't have an a7s so I don't know if it's possible. Yeah Canon video is soft, but in some ways that's why I kinda like it. Vintage lenses add some nice character. Good color... Idk... I'm probably just feeling nostalgic.

On paper I like this camera a lot because of the DPAF and ability to use EF lenses but it uses the same sensor as the 80d with a slightly upgraded engine, so your best bet on image quality is to look at 80d stuff. The video is too soft for me.

Awesome, thanks for the heads up. Going to switch if the mentioning the audio track thing doesn't work immediately. Going to try uploading a H.265 video now. If that works I will pee in my pants lol. edit: BINGO! H.265 uploads allowed. The only issue is viewer numbers. Will have to have a think about that. Might be worth using VP9 and the mentioning the audio track owners instead, because Youtube gets way more viewers. Will give it a try for the VOD. "YouTube has over a billion users–almost a third of all people on the Internet–and every day, people watch hundreds of millions of hours of YouTube videos" "Vimeo’s 170 million monthly viewers amount to less than 20 percent of YouTube’s 1 billion-plus monthly viewership"

They have been supporting this quite awhile now. I do not believe they support 4k@60 though! YouTube does, here is an example of a restored old NTSC source uploaded at 4k@60:

Actually most content is now allowed but monetized by the rights holder (except for Germany). If you upload a video with copyrighted media, most of the time the rights holders allow (but it is revocable at any time) the content but ads may appear and the channel owner cannot monetize the videos.

This might be great advice. I will check with Pond5 and AudioBlocks then start mentioning audio tracks and where we got them in the description. The fact they have never mentioned that to me makes me a little skeptical as AudioBlocks do the dispute for us, but it is certainly worth a try. The claimant is always different to the person and track name on the stock sites. Thank you As for the videos not having ads; Orangenz is right, I dispute them as they come in. There should be one or two at the moment including (edit: name removed for fear of Youtube ban), or maybe they dont always stick ads on straight away.

Sony Creative Music doesn't, Neumann Films doesn't. Saying "I couldn't see any ads" means you haven't read the OP. They dispute them and get them removed. If you haven't had this problem yourself then maybe you don't post anything on Youtube? The problem certainly dissuaded me from engaging with youtube much.

There's really just not enough video samples out there to say for sure, but I must admit I am intrigued by the M5 and regularly look for uploaded video samples. But again since it hasn't been released yet, there have been few samples uploaded. But I do think it could be a cool camera for the reasons you noted (unsure if it would make a good B-Cam to the a7s) And also I think it could be a great camera if you're looking to create visual work similar to Kendy Ty's t2i videos.

edit: account name removed because of Youtube's threats to ban accounts.

Avid's "proxy mode" when used with original resolution media is not proxy mode by the normal definition. They are simply using lower-res intermediate render files. You can do that in FCPX by dropping 4k footage into a 1080p timeline. It makes some modest improvement but is not remotely as useful as true proxy mode. As Axel said, Adobe has long said Premiere is so fast you don't need to transcode -- even at 4k. In fact right now Adobe's Premiere overview video on their web site says that: https://helpx.adobe.com/premiere-pro/how-to/what-is-premiere-pro-cc.html?set=premiere-pro--get-started--overview "....allows editors to work with 4k and beyond, without time-consuming transcoding....never needing to render until you work is complete" I used Premiere for years and still use CC occasionally. The Mercury Rendering Engine was revolutionary and it worked great up to 1080p, but it's just not fast enough (without proxy) for native H264 4k on most reasonable machines. E.g, have a top-spec 2015 imac 27 with a Thunderbolt SSD drive array and it's not fast enough. You might build a custom Windows editing machine that would work, but that's not what Adobe meant in the above statement. It was inevitable Adobe would have to add proxy support, and it works really well. If any Premiere CC users have not tried this, please do so. FCPX is a lot faster on the same hardware but even FCPX is not fast enough to handle large amounts of H264 4k without proxy, at least on a top-spec iMac. So in both cases you often need to generate proxy files. FCPX generates them considerably faster than Premiere but that's not a big deal since it's typically an unattended batch operation.

That is a ludicrously fast readout!! How?!!

I remember this being a really good video on DIY LED panels. The material list is probably dated by now.... https://www.youtube.com/watch?v=qlMtakaa7u8

Love the flow!

Well that's interesting. It is as you say.

I tested at ISO 6400 and the noise was indeed better than the GH4, of finer grain and less of it.

They are too bright at close viewing distances to make for a comfortable computer monitor, and if you turn the brightness all the way down, contrast goes to hell. Also, TVs have a habit of electronic meddling on a per pixel basis, some might even have processing you can't turn off.

This is crazy : Almost global shutter

Cool Beans. Grats. Good thing it was not too windy that day!

That would be awesome!

One could argue that the GX80 is wrong camera for this as it doesn't shoot log or 10bit, but the fact is it gets "close enough" that, for the majority of us (pro and amateur videographers), it offers "enough" headroom in post... significantly better quality and creative options than smartphones, inexpensive enough to be accessible. I'll be sharing some tests tomorrow concerning specular highlights and optimal contrast settings.

The school I went for was definitely a great investment - So many different kind of projects in 3 years and so many type of jobs...we would touch pretty much every aspect of it. We went from the smallest production of 1-2 per crew to massive setup in a delivery truck full of road cases that we would set up 30 students together and switch job regularly. Operating a 60 foot long jib in a theater was probably the most stressfull one and cueing 6 cameras/topo/overlays for a live hockey game was such a rush - no time to piss / blink or any sort of distraction - the show MUST go on ! That cinealta combine with 444 sr recorder for green screen work or those 9 Flame station .... Such expensive tool in the hand of 20 years old kids --- keep calm every body ----

beautiful place and video! I was there a couple weeks ago.

Judging by the DPreview comparison tool, IQ with the EM1.2 is no better than the the rest of the current m43 world. Unless the GH5 has an entirely new sensor, it will be virtually identical to what we're seeing from the G/GX80/85's. Olympus' claims of a 1-stop improvement are clearly bunk.