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Is the shot near the end supposed to be blue? Because if it is, you need calibrate your monitor, it's leaning toward magenta in most of your shots here. So of course I decided to take my own crack at the footage, goal to see how interesting I could make the footage if it was just given to me. Selective sharpening, retiming, and reframing are used. Did not enjoy that low shot so I didn't bother with it. 10-Bit - Very impressed with great range and edit flexibility. 8-Bit - Disappointed, clear banding on skin tones.

Got a proper chance to play about with the files... Thanks for the upload.... There is a clear difference with the 10bit/4:2:2 and 8bit/4:2:0 files. The 10 bit can be quite heavily pushed about. Really impressed.

You can use the 17-55mm f2.8 with a speedbooster if you remove the plastic baffle on the back of the lens, which sticks into the mount and will hit the front element in the speedbooster. If you do a bit of googling you will find more info on this. I would recommend getting a .71x booster over the XL .64x version. Less danger of vignetting and more future-proof, as the GH5 uses the whole sensor width for all video modes. Canon 17-55 f2.8 vs. Sigma 18-35 f1.8 is something you have to decide for yourself. If you need IS or the larger range, the Canon is your choice, but you will need a proper Metabones booster, as that has electronics to power the lens for aperture control and IS. If speed is your primary concern go for the Sigma. If you get a Nikon mount Sigma you can use a "dumb" booster and that saves some money. Don't waste your money on any generic booster other than a Mitakon/Zhongyi Lens Turbo II. The cheaper ones have awful flare problems, or are soft.

Mine arrived yesterday, body only, so any lens advice would be more than welcomed.... I know, Iknow, I should have asked more questions.

Hi all, I shot this in Jordan a month or so ago with a Sony A7sii and a Zhiyun crane. I used two lenses, the Sony 28mm f2 and the Canon Fd 50mm f1.4. We also had permission from the Jordanian gov to use a Phantom 4 while we were there. Would love to answer any questions and if you would like to follow along on Fb and on youtube that would be great, thanks! youtube.com/channel/UCw0J_iNkme1qf2Q1nucVxJA facebook.com/joshuamorinfilm Edit: it's showing up a bit weird. Here is the link: https://www.facebook.com/matadornetwork/videos/10154847045404394/

GH5 NEW FEATURES! (I have asked most of them for years, thanks Panasonic) -auto iso in M with EV comp and with auto iso range setting. -min shutter speed limit. -iso100 for video! -folder and file custom naming -the whole camera status save/load option to SD card (ability to share settings between GH5s)

The cheap stabilizers like the Glidecam, etc can give smooth shots but take a long time to balance the camera. Something like that works better for cinema-type shooting where every shot is planned and the extra time to set things up is built into the day. The other disadvantage of those type of stabilizers is they really wear out your wrists and are annoying to use for more than a few shots. Monopods are good for stability, not so good for freedom of motion. If you imagine yourself following a character around or doing any sort of run-and-gun then these aren't a great solution. The are great if your style is to get lots of different static frames in a day and you'd like to improvise. But if your talent tends to move a bunch, or you don't know exactly what to expect then the monopod will not always be the right tool. Gimbals obviously give great stability and the newer ones are easier to balance. Ergonomically, they do wear out your wrists and lower back because all the weight is in front of you. And unless you also want to invest in remote follow focus, then you'll have to plan your shots to always be at single focal lengths. Not a huge concern depending on what you shoot, but a limitation nonetheless. The "holding the strap around my neck" technique works well for a couple shots, but doesn't feel good for a whole day of work. Your wrists and arms eventually tire out, and the image starts to get shaky. If you plan on getting a shoulder rig, the key thing is to make sure it has enough weight behind the actual shoulder. A lot of the cheaper ones have a shoulder pad but require you to hold the camera up in front of you which, wait for it... wears out your wrists and lower back. If you're shooting the whole day you'll tire out and the images will start to get shaky. A properly balanced shoulder rig, with counterweights behind the shoulder, though heavier, will yield smoother shots and won't tire out your arms as much. Shoulder rigs also have the advantage of leaving your hands relatively free to make focus adjustments, and giving you a wider range of motion. The trade-off is that you don't get magical steadicam-like shots. You get handheld. Good handheld. Here's a piece that was shot with a Canon DSLR, and almost completely on a shoulder rig. There are a few super shaky shots in the nighttime intro that were without the rig, but pretty much everything else except the two tripod shots was with the rig. It's not steadicam, but it's smooth enough to tell the story. And you can tell from the "right there" improvisational feeling of everything that I wouldn't have been able to get most of those shots any other way:

I have loved all the GH series I have owned (going back to the GH-1). I fail to understand the lack of including V-Log at this price point and place in time on the GH-5, esp considering the clunky process of mail ordering an unlock code on paper. The price point now officially markets to Indie / Prosumer crowd. Not super happy about the firmware path either- but at least there's a plan. Why can't it just work full specs out of the box? I'm also disappointed to see there isn't a redesign of the YAGH or expressed compatibility with it. The XLR cube accessory looks like an even worse design to me. Plugging and Unplugging XLR's- how long before the hot shoe starts to show signs of stress? At least the YAGH is solid and gives you BNC's too. Panny gets so many things right and then misses the mark in other ways. Hopefully they are paying more attention now. Funny, the day of the official GH-5 Specs announcement, I just saw a bunch of used GH-4's pop up on Los Angeles Craigslist. I'm NOT expecting to sell mine any time soon. Still gets a lot of use... and as Hammond says in the video- prob keep as a backup. I had my EOS HD hacked GH-2 until this summer when I sold to younger filmmaker. Thanks again ANDREW for all that you have done to support this quirky platform. - MJ

Color grading is supposed to be an art-form... not an equation. Grade to suite your story. To that point, everything that is done in the creation is there to support the story. From color grading, camera angles/movement, lens selection, background music, lighting, costume to selection of location and talent. All of it. Story telling is not science it is art. When your choices fail to support the story, that is when you fail as a filmmaker. I can say while many choose to grade these scenes as light hearted, and technically correct (read boring) I as did other choose to see them as a canvas to make something much more stylized (read interesting). I would be curious to see other attempts at grading these scenes for different genres: "SciFi", "Horror", "Drama". Because believe me they can't all look exactly the same.

Found it easily on german appstore. You have to read this and scroll down, then you will be relocated to your local appstore.

Yeah I had to transcode and downscale to 1080p Prores. It was a quick conversion with EditReady.

Drop the footage in media encoder and convert them to Cineform or DNxHR

Colors and detail both look great, well actually too great in a sense. It defiantly looks like a big improvement. I can always make a highly detail shoot look like 8m film, but sure can't do that the other way around!

Wont work. Guess I have to call support tomorrow.

I also recommend the NX1 for the reasons above.

I have seen your video before. I really liked it, and I believe NX could be right for you style. NX1 is great with the 16-50S 2-2.8f, I have great results with Ronin AF with the 16-50pz lens (the cheap kit one), I haven't use the S for gimbal yet, but I am expecting much better AF. 28megapixls BSI, it also has DIS+dual IS with the lens, but it works great ONLY with very limited action, too much things going on, and behaves very erratically; very small H265 files (you mentioned that you are not going to have any hard drives with you, a few 64GB cards can last for the whole trip). Time lapses, hacked/moded firmware with extra features. NO crop in any mode (unlike other APS-C and smaller sensored cameras), and best slow motion for any cheap camera at the moment. Great EVF, OLED screen, ok audio pre amps (better than Canon at least). No overheating problems, ever. You can add a NX500 for a back up or B camera, with the amazing 10mm 3.5f fish eye is a super small combo for some "wow" shots also. In DxO measurements NX500 is at the top with 7200 as the best ASP-C sensors. With these 2 cameras, and a few lenses you are set. I don't know what lenses you need, but you can have 10-200mm (307mm equiv) APS-C native lenses options. 10mm 3.5f fish eye, 12-24 4-5.6f, 16-50 2-2.8f, 16-50pz 3.5-5.6f, 18-55 3.5-5.6f, 20-50 3.5-5.6, pancakes { 16mm 2.4f/ 20mm 2.8f/ 30mm 2f/ 45 1.8f}, 60 2.8f macro, 85 1.4f, 50-150 2.8f, 50-200 4-5.6f

The NX1 has great 120 with very low rolling shutter. The auto focus works OK with the Samsung 45mm. The NX1 is pretty tall/large compared to the a6500 if you are trying to fly on a gimbal. I would strongly consider the GH5, though AF performance is not quantified as far as I am aware.

D500 and a6500 Two cameras. Both shoot good video and stills.

If you don't mind manual focus then the SLR Magics and Voigtlanders are nice. I picked up a 12mm 1.6t SLR Magic and a Voitlander 25mm 0.95 secondhand and they seem to fit and compliment the philosophy of m43. They are small but solid. I have come from Canon and I wanted a system that weighs less and takes up less room.

The 42.5 1.2? That looks an amazing lens but then it is £1049. I will see how I get on with M43 for a few months I think but it certainly is desirable! Thanks - do you know if I remove the rubber back from the 17-55 if it can still be used on the Canon body? If not does it go back on ok? If so I will probably stick with the 17-55 over the Sigma 18-35 especially since you gain a stop. Thanks for the advice on which speedbooster - seems the .71 version is the best bet. Nice work Thanks also for the advice, I am thinking that I would like at least one fast native lens and the 25.17 is pretty cheap. I think I will start there and see how I get on.

remember right now the current alpha series cameras still don't output 10bit throught the HDMI only 8bit.. but that may change in the future if they decide not to pull a "canon"(by protecting their cinemaline)

"GH5 becomes the first Panasonic to allow the use of Auto ISO in manual exposure mode. It also maintains exposure compensation when doing so. This is true for both stills and video....you can now set the minimum shutter speed threshold before the camera raises ISO" https://***URL removed***/reviews/movie-maven-panasonic-lumix-dc-gh5-first-impressions-review/3

@jase you may find more of a difference when shooting your head in a higher DR scene. For example, with you stood parallel to a window so that one side of your head is lit by the light coming through it. And the camera facing you straight on.

@Goose If you can get the 25mm f1.7 very cheap (100-150 usd) I would get that over the Leica if price is a concern. If you like the 12-32mm and 35-100mm you will probably like the 25mm. A kit with the GX80 and 12-32mm, 35-100mm, 25mm f/1.7 and 42,5mm f/1.7 for example would give you great image quality in a tiny package, + autofocus for stills. It all depends on how big you want your setup to be. Speedbosters are tempting but whenever I think about getting one with FF lenses I always come to the conclusion that native lenses are best for my needs, even if it sometimes means a higher price or lower/different image quality. This is shot with the 25mm Pana Leica and the GX85:

It is 8bit, true, and if you add speedbooster for 650euros, and battery grip to match a dSLR battery, and all the rest, and buy full frame lenses to put on the metabones, go buy a full frame already! If I was doing photography and I wanted the full frame look (noone buys m4/3 and then wants the "APS-C" look, have you ever heard that?!) then a D750 is a much better option, with millions of cheap used Nikon lenses around. As of the m4/3 size and weight mantra, Nikon D750 dimensions: 140.5x113x78 mm, 840grams and GH5 138.5 x 98.1 x 87.4 mm and 725gr. Add the Speedbooster, the battery grip, and you are exceeding a -not very small- classic dSLR body by much. The power of GH5 is in video, not in photos, even though the 6K burst mode is interesting (and probably the future), "The company eventually plans to release future models with 8K, 32-megapixel capture in time for the 2020 Tokyo Olympics.", that will be really interesting, and it fits perfectly their 3 years product circle that the industry tends to, and also give m4/3 the kiss of life, until then, APS-C could have reach 3-4 stops better high ISO though, and more than 32Megapixels natively, NX is 28 for 3 years now..

Yes I get it, but what I mean is that instead of using almost 1024 values, it is limited to only 600ish. In 10 bit files, it is ok i guess (even though non optimal), but in 8 bit files it becomes only 160ish values. So using Vlog in 4k 60p may lead to severe banding. In comparison here are two waveforms from a7s 4k slog2 footage. The second is the same as the first one with superwhite pulled down. Third is GH5. As you can see, sony files use roughly IRE from 10 to 109, so approximately 230ish values in 8 bit. It 10 bit it would be 950ish values which would give better tonality than GH5 Vlog files. That is why I find it quite disapointing (tell me if I'm wrong with my reasoning!)

To be honest. If she wants to go tiny, certain micro four thirds options would be better suited. However, it sounds like she's been convinced by some online reviews that Sony cameras are where it's at. Instead of just buying a Sony mirrorless, get her to try them out in a shop properly. Get a feel for the controls, shoot raw photos, shoot videos. Preferably do it side by side with some Canikon and perhaps Panasonic models - so she knows how they compare. What others have said here about the colors of Sony is true. It just isn't where Canon or Nikon is. With my old Sony NEX-5R I could take great shots. But the colors never were possible to tweak as good as the Nikon shots with Lightroom only. Personally I'm not happy if getting good color means having to work with masks in Photoshop... I'm afraid that this is something she'd only notice after a few months going from Canikon to Sony unless she does serious tests in a shop.

I'll start with this, because it's the most important aspect of your request. Your late 2013 iMac is not considered vintage. Until July I had a 2009 MP (vintage) and it did exactly the same things my late 2015 (no newer model exists) 5k iMac does. Was just laggy with non-optimized 4k. There are two things you shouldn't confuse: performance and the general ability to playback files. The latter may have to do with being up-to-date software-wise. That your Mac accepts ProRes 10-bit means nothing. Every Mac since 2006 plays them, my old office iMac does it. OSX (now called MacOS) monitors 10-bit as such since only recently (before, it was rendered in 10-bit, but monitored in 8-bit, you had to use 3d-party-hardware to feed a 10-bit monitor). You'd need at least El Capitan. Better update to Sierra and 10.3.1. Make a clean install, don't install Perian or old plugins. You are right, you need to preview footage before import! FCP X uses every trick one can think of to better your performance. You can edit 4k on an entry level MB with weak CPU and GPU by allowing those tricks. One of these tricks is optimized media. It is space-consuming (your iMac has Thunderbolt? Get external TB drives! If you only have TB1, you could by a used Pegasus raid with 8 or more TB for below 500 bucks) but not time-consuming at all. I know because I've been doing it for years. As long as you have a preview of the original codec, the transcoding runs in the background, you just notice that an hour or so later the skimmer speed improves. You can also use proxy. They have a quarter resolution (UHD becomes FHD) - a no-brainer if you don't monitor in 4k or if your export goal was FHD. And the 'workflow' is just a toggle between show proxy and show original. There is no catch. No problems have ever been reported (aside from having forgotten to switch to original/optimized prior to export, but that's not FCP X's fault). As I've written a few pages earlier, my i7 4GHz 4GB iMac plays all files. But they are short and just a few. And frame skipping occurs (one of the said tricks to not stop playback, but no realtime in the strict sense). If I had to edit a project with hundreds of GH5 clips, I would immediately check the optimized media box or proxy. If I had limited space (I haven't: buy more!), I'd preview the clips and only copy those I needed. So don't be stubborn.

Seems a bit, well, noisy even at base. Or is that bass?

Hey Merce! Happy New Year! Heck, It´s too late to be in bed early:) But had to answer this quickly. Heck nono, that lens does not well with AF neither in video nor in photo Beautiful image quality, stellar, one of the very best mft lenses out there. But mechanically it is lacking and in AF even more, AF in video much, much more. Have been thinking about selling that lens for year now. But image quality in a compact pocket size is keeping from doing so. I paired it with my new GX80 for doing some filming during a trip. Always shaky footage when trying to focus manually:) By the way, I think GX80 is best coupled with a light rig for filming, baseplate, rods and handles are enough, very basic. Good night for now:) cheers Hey. I recommend a low price 0.71 (standard) focal reducer from China for around 100 USD/EU. I got a FD version, because the Canon 28mm, and 50mm 1.4 are very cheap and of very good quality. The 28mm can be shot wide open at 2.8, coupled with the 50mm at 2.8 you got a great combo with light sensitivty for F2.0 when speedboosted. My favorite lens is the speedboosted 28mm from Canon. Gives you the same framing as the 20mm, mercer was talking about. cheers

I don't think V-log records less "shades" than the other profiles, probably more like that everything(what the sensor is able to capture) is being compressed between 20 and 80IRE

D750?

I have to say I'm very happy I decided to dump the xc10. I simply could not achieve anything like this.

Hardly meaningless.... 10bit 4:2:2 log is capable of capturing the full DR of a sensor, if implemented right.

What are you talking about? Light is only influenced by aperture, shutter angle and ND. ISO is otherwise known as gain and is an amplification factor between analog sensor response and A/D converter.

That would explain it. Panasonic think I am a girl! Maybe I need to shoot my parkour and dogs before EOSHD can get a pre-production unit. Remember when they gave me a GH3... and a GH4... and invited me to feedback sessions... This time - nada. Maybe it was the Panasonic CM1 smartphone review?!

Thanks for being sexist and ignoring Marika.

Fredrik, that is perfect and it looks great! Thanks, man!!! I watched the handheld one first and thought... yeah that's perfectly usable and then the FCPX stabilized version is as if it was shot on a tripod. It looks like I'll definitely be able to go handheld. And yeah, it's my first camera of '17. Now I just need to pick up the Pocket cam next month and I'll be done!!! Hopefully. Lol.

Every tech advance we've seen through the last 8 years has pushed the m43 crowd to a point where it will never be happy. I say this because we continue to see comments about price, too much of a video-E look, jello / jitter, IBIS looks off, and so on. Still some how these things wind up back ordered for months beyond release, you guys must be buying them. If a manufacturer ever made the "perfect" camera, whatever that would be??? people would still complain about the price in the end. No camera manufacturer could ever deliver such, because it would be different for every user... wants/needs are subjective, Panasonic cant deliver that. I've seen the "just give me this or that in a camera" post since 2010, and the more they advance, the more people continue to demand, while waiting for the next new camera announcement. The industry still considers these GH cameras consumer market items, and based on that alone, Panasonic has provided a lot throughout the years. You still have to understand Panasonic is a business just like Canon, and they all will move as such.

I wish someone would make a resolve/film editor guide to hackintosh that's super super simple to follow and tell you exactly the parts you need. Tonymac is too complicated for me!

One thing that is never brought up is Easyrig's, great to keep a "handheld" look but keep more control of the camera. They are being used more and more on set and are great on long shoots.

I think I'm gonna try doing more handheld this year or camera movement in general! Gonna try to do more with the strap for sure. I've seen those pistol grips that might be worth a shot too? Probably gonna get a cheap shoulder rig or something at some point. I see no point in buying a gimbal at the moment when my camera doesn't do autofocus great anyways.

Like Andrew, I am a fan of blacks being black. That's how this piece was deliberately graded (in the link) I detest the LOG grades people seem to be doing these days. I haven't found that the camera is short any detail in blacks more than others of similar specs. Perhaps you're not liking their flat curve, and it sure could be bent a little more. But I think a very loggy image with an 8 bit codec doesn't work either when you try to put contrast back in. It's a fine line trying to stretch DR over 8 bits. Not many do it, but the Oly cameras also have their great curve editor so you can make your own flatter profile. Give it a try ! INterested if anyone has ? It's what I used to do before the FLAT profile. Sometimes it's good, but I find it's diminishing returns to try and put a nice look back onto the image. And yes, the EM5 Mark II is meant to be their "video" oriented model. But it does have a different sensor family. Personally for stills I very much prefer the EM1 Mark 2 and the video is a very decent improvement over the EM5 mark 2 for many practical reasons. 4K helps a lot too. Look at how far they've come within 2 models of suddenly waking up and taking video seriously. I have been active with Olympus and they really are listening and want to improve their video capabilities. They're never going to make a fully video oriented model, as photos and optics (and actually mostly endoscopes) are their core business but, I've been pleasantly surprised at how a they've come, and that's from sitting on the inside somewhat of product development. And they know what semi professional, serious enthusiast users want from video now...it's up to them to see what they can add, but they've always been true innovators. It's why I've always liked them. I've been shooting Olympus digital still since the E1 (Kodak CCD sensor back then) They don't get enough credit really when you look at what they've done. They have always been genuinely innovative. They created the ultrasonic sensor clean, they were the first to do live view, their cameras and lenses have always been smaller, lighter, robust and weatherproof. They just haven't been paying attention to video till recently. Now they've woken up. What's fascinating about Olympus is that the imaging division is a small part of their business however, it's R&D is what drives their innovation in their cash cow, the endoscope market, in which they currently have a stranglehold of something like 70% of all that business. So the R&D in the camera division means their medical imaging division stays so far ahead of everyone else. I'm a few weeks away from releasing some studio test footage. I'll do some Alexa side by sides and we'll see how that goes....:-) JB Disclaimer - I've shot Olympus cameras for years, but I'm now an Olympus Visionary and have travelled and met with the wonderful people at Olympus Japan for the purposes of bringing better video features to these cameras :-)

Those were the good times back when we were in med school, stealing xray film and chemicals to take 8x10" nudes, eating fetus to become stronger, having fun with the resident nurses, and kodachrome, oh god, kodachrome you still remember that one time...

I got 2 GX85's for a specific project, so I can attest to the brand loyalty thing. I've used Panasonic cameras for a long time and brand comfort makes the choice to buy-in to a new camera for this gig a bit easier. Plus, the dang things are ridiculously cheap. That said, I still think the 5-axis in the Oly EM5II is just a touch better than what Panasonic is offering; industry leading. However, there's a caveat: that's only when using non-OIS lenses. If you have a Pany OIS lens paired with the Panasonic sensor stabilizer, it's really good. I'm also really loathe to turn away from the ergos of my EM5II. I'm surprised that I connected so much to the EM5II, to be honest, but I do love how it just works. If only Oly had better motion picture IQ...

You forgot a very very important point: Autofocus. Panasonic really lacks a good AF and if we could have a similar AF as A6300 that would be really awesome. Just because of this I will hesitate between 5d4 and GH5