Leaderboard

Funny how some of you guys have something to cry about when they're giving you a camera that's doing everything other video cameras are doing at thousands of dollars less.

in motion...

"6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio" UM! That's what an anamorphic mode is - 4:3 Someone let our dear friends at Cinema5D know.

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips yesterday and today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

I am wondering what the "unknnown" is...EF?! @kinoseed @Otto Actually, we were talking for getting a crop in NX1, NOT get rid of the crop in NX500. If you have a crop option in NX1 is like having 2 primes with one. Also, there is a variable scanning option in LS300 sensor, so from the 4K full sensor read out, you can zoom in (for full HD only ofcourse) and it is quite impressive, I have tested with Zeiss and Leica and the results are impressive, is like having a few small Leica zooms! Now with the GH5 out we have to up our game! Some times like these I regret quitting programming for work!

I'm not pre-ordering because it doesn't have the Auto Hollywood Mode, in which I'm guaranteed to be a Hollywood cinematographer. I don't want to buy lights and go to all that effort just to get a usable picture at night time. ;-D In all seriousness, the camera seems like a no-brainer. I had and loved the GH3. But I'll be waiting for these firmware updates and some user experiences / knowledge before placing an order. I made that mistake with the RX10 II (which didn't work out for me at all). I also need to break in my A6500 first!

Jonpais, its nothing to do with cameras, just psychology… some people just waste their lives unsatisfied.

When compared to FF video (16x9 cut of a 24X36mm sensor), the GH5 with the XL booster would be a 1.33x crop, and with the Ultra booster it'd be 1.47x. Remember that the XL is less uniform in sharpness across the frame- it is a little sharper than the Ultra in the middle, but softer outside of that. The Ultra is more consistent. Also remember that with the sensor moving due to IBIS, you end up effectively using a larger image circle than without IBIS. So even if IBIS only moves the sensor a mm in each direction, your 13x19mm sensor now needs an image circle that can cover 15x21mm. So APS-C lenses with small image circles, like the Sigma 18-35mm f1.8, which barely cover the sensor with the XL booster, may now go soft or dark in the corners as IBIS shifts the sensor. Or worse yet, you may have the actual edge of the image circle show up as black corners. This is why I think it's safer to go with the Ultra booster for the GH5.

There is also the GX850 noone is talking about! Perfect entry lever little cam, with G85(or GX) and GH5 you have a complete set for everything. My set right now, is NX1/NX500/NX3000, Panasonic is the only company that offers choices for similar uses.

Not really. If anything, they've provided us with options like no other. They're all somewhat close, yet different. (GH2, GX7, GH3,) GH4, G7, GX80, GX8, G80, GH5. Which other brand does that? The NX1 and NX500 were rather different. The A5100 has no successor, the A6300 was followed up by its direct successor the A6500. X-T2 is the first real endavour of Fujifilm is this direction. Think the gap between the G80 and GH5 sorta makes sense. There's a lot of people who want a flagship camera but do not necessarily need all the advanced video features of the GH-line. Well, that's exactly what the G80 already is, a hybrid flagship. They didn't leave out a mic-in and Cinelike profiles like on the GX80, there's some clear difference in positioning and price. The GH5 takes up a lot of research development and it sorta benefits from having some of the features 'tested'/getting implemented first on the more entry level models. All these things we ask of it to do... it costs money. Sure, like V-LOG L you could opt for a model that lets you unlock all the individual strengths it has. Maybe you don't need V-LOG L, or an anamorphic mode or slow motion and then you buy the camera for 1499 and have to pay for the individual upgrades. But before you do that kind of market survey to estimate where you'd be grossing out, you might as well make the camera that does it all and sell it for the price it needs to be. Where I do see a gap in the market... something like the BMPCC. A handheld, portable cinema shooter that does RAW DNG/ProRes. Because if you want to shoot like an ARRI/RED/BMD/Kinefinity/Sony, cinema style... or the Varicam even... the proper cameras are either too bulky or unreachable for us peasants. The BMPCC really changed that. Especially when it was on sale for 475 EUR (I remember everybody was like 'oh! Must mean a v2.0 will be released soon, I'll wait for that one!). So... speaking of a gap... if either Blackmagic Design or Panasonic would step it up with a RAW DNG/ProRes shooter at say 2499... That would be sick! The Craft cinema camera comes to mind. That was a good concept. Then again, that was about the only thing it was. xD If you add everything to a full BM46 or Kinefinity Terra, it's not that cheap either. Craft had worked out all the modules together would be $2,894. That would be quite a nice level up from a GH camera. Hope someone will offer something like it. Not a crazy fan of the BMD Production Camera, but that's about the only thing in the ballpark.

Quite a surprising move. I didn't expect this! --- Kodak Brings Back a Classic with EKTACHROME Film Las Vegas, NV, Thursday, January 05, 2017 To the delight of film enthusiasts across the globe, Eastman Kodak Company today announced plans to bring back one of its most iconic film stocks. Over the next 12 months, Kodak will be working to reformulate and manufacture KODAK EKTACHROME Film for both motion picture and still photography applications. Initial availability is expected in the fourth quarter of 2017. Full press release at: http://photorumors.com/2017/01/05/kodak-to-brings-back-ektachrome-film/

Thanks for posting these clips. They're fun to play with.

I think all the top of the line mirrorless/video cameras (of which the GH4 was surely one of those!) can now produce very fine images, as Tom Antos made that point recently in his 4K camera test for end of 2016: Thus while moving image quality forward is indeed important, what matters even more is improving the existing functionality of the current camera and not having any stupid problems with them (hello Sony a6300... or hello Canon 5D mk4!!!). Which adding: 4K slow motion, 4K 30p 10bit 422, waveforms, vectorscopes, better EVF, full size HDMI, better XLR accessory, and much much more.... is what the GH5 does *right*!! :-)

I don't think the video released yet is an indication of all of the possible IQ advantages this camera will give. If you need 4k/60p for fast action, you can't really do that with the GH4 or any other camera. Also, the IBIS may be a difference maker to some, and some would say this will make a difference in video quality. The oversampled 4K (full sensor) will likely yield the sharpest video yet out of MFT. Not to mention the grading advantages of 4:2:2 video. It's tough to argue that wouldn't make a difference in IQ. Also, as previously mentioned, you can do 5K video (using the 6K photo mode) with 1:1 pixels, which will likely yield sharper video than the GH4 can produce, with minimal moire or other artifacts. And it's also full sensor. This is entirely independent of the 6K anamorphic mode that's coming in the future. So, there are definitely two ways to shoot beyond 4k, and either of those modes would give you an additional capability to add further stabilization in post, and still output 4k video.

I just wanted to chime in with a more detailed explanation of the 6K photo mode, which can also be used for 5K video (with 1:1 pixels). There is unequivocally no upscaling or downscaling in this mode. And if you shoot 5K video in this mode, you have extra pixels on the vertical to allow you to decide precisely where you want to crop out the 5K video. And you can also use the extra pixels to do some image stabilization in post, and still retain 5K video quality. https://***URL removed***/forums/post/58907335 https://***URL removed***/forums/post/58907720 https://***URL removed***/forums/post/58644769 https://***URL removed***/forums/post/58646338 https://***URL removed***/forums/post/58646032 https://***URL removed***/forums/post/58650895 https://***URL removed***/forums/post/58817553

Take Cinema5D's reviews of Panasonic with a pinch of salt. They have been salting in praises of the Sony Cameras and have a disdain for Panasonic's Cameras. They didn't even review the G7, the GX85 and so many other ILCs, whereas they used the Sony 5100 and so many others. Also they calling the DJI Inspire 2 Arri Alexa rivalling is also ludicrous. Probably it was an easy way to get a few free DJI Inspire 2 Drones.

HA! Panasonic cameras have never had overheating issues :-D You don't spell Panasonic's name "S-o-n-y" or "C-a-n-o-n"! ;-)

My money is on the GH5 being better than a Canon 5D mk3 in lowlight. People for ages loved the lowlight capabilities of the Canon 5D mk3 and raved on about how important a so called "full frame" sensor is for that "lowlight ability". And the Panasonic GH5 will exceed that. It is the natural result of the forward march of technological progress. Hopefully time will tell that Panasonic & Olympus made the smart move, with technology catching up to "full frame" level performance then everyone who wants a compact or lightweight system will go with Micro Four Thirds. While those who want the "ultimate" will go with digital medium format instead such as Pentax 645Z or the new FujiFilm mirrorless medium format camera. (Especially as the relentless forward march of progress while within a few short years make digital medium format cheaper and cheaper, until even semi serious hobbyists will find it affordable at a stretch)

For me, bit depth matters much more than resolution. JB I can't even remember it. Go shoot and tell us what you think. JB

Hi. Make sure you have the latest firmware. BM often incrementally tweak things "look wise" along the way without being great at documenting it. If you're shooting RAW, the same applies with Resolve. Go for the latest rev. JB

Shot an interview this morning 1080/12 bit. Man the 12 bit out of that camera is just lovely.

No offense to the other Panasonic ambassadors but someone at Panasonic was very smart to get Luke involved.

Kinda confusing to keep track of 2 GH5 threads. Not sure why they weren't just merged.

Thanks dude! Loving how V Log holds up.

On the H.265 and HEVC topic and 400Mbps: I was assuming that 400Mbps All-I is H.264 but there is nowhere saying which codec is it and when I asked Nick Driftwood on a Live they did on Facebook, he said like the 400Mbps codec was actually H.265 and it would be equivalent to a 800Mbps in GH4 since HEVC has about half the size of AVC. I'm not sure if he made a mistake but that what he said. That's something I wrote about some time ago and that it would be interesting to have H.265 All-I version for the GH5, so if it's true and the GH5 is providing both H.264 and H.265 codecs, that's very interesting and quite future oriented approach.

You have to watch the interview at newsshooter for that. If you watch the interview, you will see that this can be done. Did you miss the 400mbps that is coming in summer ? Its going to be close to the quality of either ProResHQ or DNxHR. On the contrary, I am glad that they removed it. Camera looks better, and on board flash gives poor results anyways. Its only useful with Nikon bodies that can act as a wireless trigger.

The reason for the delay is they are going to use the new H265 codec!!! Here is from newsshooter:

Yeah, you're 100% right. I think we sometimes forget to take into account just how much our lens choices affect the perception of how any given sensor performs. I'm not completely writing off the GH5. I'll definitely revisit my consideration when the Anamorphic firmware updates are realized later this year.

Thanks. We and they certainly have enough lead time!

I'm lucky to report that i have no problem to play all of the files without a glitch. (Premiere CC 2017) Both windows and mac. On windows computer the graphics card is a gtx1080 and on mac a gtx780ti. Both computers run the latest version of adobe premiere. On the other side DaVinci won't recognise the 10bit files.

Finally here is the proof. I took the E-M1 Mk II sensor and superimposed it on top of the GH5. Marked the Oly sensor with red line for extra clarity. GH5 sensor is 1,42:1 ratio. Same as the old GH2. However, it's only utilized in C4K mode according to Driftwood.

Hi Zak, thanks for the reply. I tried to open them with VLC but I get some grey background with bits of noise. Sound seems to play fine, sounds like wind. I think Luke transcoded them into some codec my Mac doesn't support, as I never had any problems opening files from my GH4. I'm already happy with the files I could open. Cheers.

https://github.com/ottokiksmaler/nx500_nx1_modding/tree/master/nx-on-wake https://github.com/ottokiksmaler/nx500_nx1_modding/tree/master/video-bitrate-mods/nx-patch https://www.facebook.com/NXKS2/

That's not what he said. He said that in order for Dual IS to work, you need to use Lumix lenses. IBIS will still work with everything else. It's like my GX80, it won't do Dual IS with an Olympus 12-100 but i'm sure getting really stable footage with my Olympus 25.

if the BMPCC speedbooster fits, like it does on the GH4 for those brave enough to try it, that'll get you to a 1.10x crop.

Apology to everyone including John Brawley - The Ursa Mini 4.6k from reviews is looking amazing . They seemed to fix the various problems. I'm going to do a skintone test on thursday with the sony f65 and red epic mx and canon c300 ii.

Clayton returns!! I had a feeling he was going places in the industry .

This month has been terrible for shipments. I had some parts still in customs for almost a month, only yesterday they passed through customs! Pictures by @carlic

I think a Super 16 mm crop mode (around 3x) yielding approximately 5ms read-out speed (same as film) would be a good addition as a firmware update and it could possible as the full sensor read-out speed is claimed to be 15ms. Please Panasonic do that.

Quality is mind-boggling. V-LOG looking a lot less noisy. Do you have anything shot on Standard though?

I just put in a pre-order with the Leica 12-60mm. Here in Norway the price for the camera is 22500 NOK (2635 USD) and 28000 NOK (3275 USD) with the lens. The lens alone cost 10500 NOK and only 5500 NOK in the bundle. I should be able to get at least 4000 NOK for the 12-35mm, so I can compare them and keep the one I like the most. I'm guessing it will be the Leica because I have primes for low-light and the gap between f/2.8 f4.0 isn't that big. Let the waiting begin, or should I say continue

a few pictures today, https://www.flickr.com/gp/146257384@N08/b7Vf5y

thanks man - sorry again about the whole previous thread. I am a fool. It is good - but is it gooder than the ursa mini? Tomorrow all will be revealed.

Made a quick test today with a Sony RX100mV and some picture profiles.

Looking like the perfect run and gun, travel light, documentary camera.

I agree, RAW is not the easy road... if you enjoy color grading it has some nice benefits though. I enjoy the luxury of slow turn-around on most of my projects, so it's workable. Putting the absurd consumption of hard-drive space aside, if you take the RAW straight into DaVinci Resolve it plays smooth and works well. Once inside the editor, I can't tell the difference between RAW and a MP4 as far as playback is concerned... and my computer isn't that fast. I'm running the old 8-core amd and a somewhat modern radeon graphics card. Camera gear aside... framing your shots and lighting are certainly the most important for good looking shots. Also, audio is more than half the battle. I worry more about audio quality than anything else. --- On a separate note, after tinkering and testing, my NX1 seems to record stably at the 190 bit rate. Again, that's on manual with vintage M42 lenses, so no auto-focus/image stabilization, etc. --- Lastly, I'm working on the next Carry Trainer episode now. The NX1 footage with my Super Takumar 24mm F/3.5 lens looks impressive right out of camera so far. I'll have more on that soon...

I bought the Pocket again last month because nothing else would cut it. It just has such a pleasing, rich image to it, with great color.

Irrelevant to this discussion, but I've noticed from recent comments that you really dislike raised blacks?

Looks good, you're absolutely right, it is an amazing camera with the true cinema camera touch. Too bad the Micro Cinema Camera wasn't quite the replacement for it. Though, the BMPCC could really use that Mosaic Engineering VAF, IR cut filter, image stabilization, vari-angle touchscreen and better battery life. I hope they get to read this and take it into account for their new year's resolutions. Imagine something like that in the G85 body. Gold!

Cool info thanks. The most interesting thing I've shot and posted on YouTube has had about 60 views in the past 20 months, when do you think I can expect a comfotable income?