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Had an hour to run around, so did some more testing. All shot wide open, because why not:

Nikon 35-70mm f3.5 Macro works great for me. It zooms internally, so it sitting with the scope on rails work great. I'd have to check Focus, as I use this with a single focus solution. Shot this with this set up on a RED Dragon.

The implementation of 10bit is the major benefit as compared to 8bit. The codec, the processing, the data rate and sensor all play a factor - 10bit is not going to work at its full potential if these other factors are left behind. The FS7 is a great example of well implemented 10bit. Absolutely superior to the FS5 in 10bit internal. That said, with most watching video on smart devices - the "final" image quality of 10bit doesn't offer a huge, life-changing leap. I'm caring much less about specs and focusing on improving the content in the frame. Understanding light and composition is far more powerful in improving image quality. We're at that time now. The tools are awesome. Beyond enough.

yeah, the BMMCC has faint vertical lines in the shadows that I figured out how to remove in post. So I just keep it as a preset and throw it on anything I shoot with it now. I wish I had been able to clean up the GH4's smudgy blocking problems but nothing I tried worked. And for me, it just became one of those things that once I was aware of it, I could see it in everything. And truthfully, I kinda enjoy the challenge of figuring out ways to fix a camera's issues in post. I've got presets to remove purple fringing, chromatic aberration from my Kowa anamorphic lens, etc. As long as I can fix it, it's not really an issue for me, you know?

I know some people like messing around with footage from other cameras, so I figured I'd post a couple ungraded/graded clips from the D5500 in case anyone wants to mess around with the flat profile. Here are two more...

So far in all of this lively discussion the link below has been the best information on the GH5's potential. All these "lab" tests mean little to me compared to seeing footage used in a edited film. While I do conduct tests all the time to find a camera's limits and give me direction to its potential, nothing beats a shoot. Despite liking what I see in the link, I do wish I'd see more tests or sample footage would involve flesh and bone humans in front of the camera and a little camera movement rather than the usual Phillip Bloom style "moving stills" approach. I've nothing against that style of shooting but it seems to overwhelm the sample footage these days. We all don't make landscape films to easy listening tunes. I'd love to see some stories, docs, etc shot on this camera because at the end of the day, we don't shoot to make tests. Andrew, there was a Thai filmmaker you once featured that made an amazing short on perhaps a 5D (not sure) about a kick boxer I believe. I wish Panasonic would put the camera in his hands. That's the type of shooting that would tell me a lot about the camera - how flesh tone, movement, contrast, etc play into the drama. But I guess Panasonic (and Sony, and Canon, and....) rather give it to safe bets, blog presence or pretty ladies in Japanese gardens and other cinematic pablum.

Slashcam.de is a very trustful resource for anyone interested in videos. For years I use their unbiased knowledge in matter cameras and other stuff. There is an English version of their site, but all tests come first in German. See in their careful test that the 10 bit file works fine in comparison with the 8 bit (look at the forehead of the doll on the adjusted image - last one): https://www.slashcam.de/artikel/Test/Panasonic-GH5---8-Bit--10-Bit--4-2-2--V-Log-L---alles-OK----Die-GH5-in-der-10-Bit-Praxis.html#Die_G

Currently going through a hell of a time grading holiday footage. Be my guest taking a shot at a very easy scene to grade, and one that is giving me nightmares. Shot on the Sony A7S II with SLOG 2.

haha! I am sure they do! Nuh..they are not that sensitive, cameras do not broke that easily, you see in various forums that only a few complain about broken NXes, and usually the top dial somehow do not work properly. They seem very well implemented, plus there are quite a lot new ones from Korea. From various sources around the net (and your Fabebook as well) it seems like there are a lot more NX users than I though they were, just not enough obviously. As it seems, my NX1/NX500/NX3000+all the lenses I need (except the 50-150 I do not have) will keep me good company for a few more years. The things I mentioned above are the only concerns, but a breakthrough in any of these could keep the cameras relative for at least a couple more years (until 2020), do not even want to know what will happen if we can extract raw, somehow, out of these, people are buying 5DmarkII for their Magic Lantern capabilities! We will see, it is an interesting journey nevertheless, and thanks for all your effort, much obliged!

I very much agree. Whenever I see a photo or video that has visuals that I enjoy for one reason or the other, I try to figure out what part of the image that makes me like it. Is it the framing, is it the lighting, is it the colouring, is is the motion, or a combination of those? If I figure out what it is that I like, then I can likely imitate the look one way or the other as long as I know the limitations of my camera. If you learn how to replicate looks that you enjoy, then you won't need to listen to what other people define as "filmic", "cinematic" etc. Make it look the way you think it looks good yourself. You'll probably never satisfy everyone with whatever you make, but at least try to make it look the way you enjoy it yourself. Another important thing, is to experiment with the cameras you have. Try to push them to the limits, and even over the limit of the camera (like high iso noise, burning out highlights etc - learn where the limits are for when you find the camera acceptable and good enough). If you know what makes the image you want, and if you know the limitations of your cameras - then you better know what possibilities you have whenever you film. Not mattering what project you work on - you will have some kind of limitations. Time, money, camera choice, lens choice, light etc. I find it important to be able to realise what limitations I have in a project. If I know those, I better know what I can do to make the best choices and produce the best possible considering the limitations.

Cinema5D is sending some bad juju.

(GEAR PORN ALERT!) Could not help myself... Received this great new wooden handle from SmallRig today. Raw anamorphic aaton-style rack focusing all day now.

Perspective is such a curious thing....give me the same operators that make the FS700 sing for you on a rigged GH5, and to my eye and taste, the GH5 will blow it away...I intend to use it along with a Varicam LT, and I would NEVER consider the FS700 as Bcam to the Varicam...oh well...this way we're all happy with our choices And for those that think these cameras look like "video"...which of corse they are....below is the trailer for a feature shot on the GH2...for anybody who's never seen it...this is what you can do with a GH camera Off topic I know...but possibly relevant to those actually interested in the GH5 for narrative work.

Everyone has opinions and everyone has their degrees of being right and wrong. On morality, technicality, articulating things etc etc. It's great that you can proudly say that you didn't give in to the greed of money, and that, unlike most blogs and sites that deal with independent filmmaking and gear reviews, you aren't saleable and no amount of money or fame can compromise your viewpoints. I guess one of the reasons the whole Cinema5D article about the GH5 is blowing up into their face, is because their credibility is not even remotely acceptable right now. People have started wondering why they even review products, if they have such obvious brands they are more favourable or faithful towards. Also, if a reviewer, in general, has any level of credibility. What everyone likes about EOSHD, is that you're incorruptible. Something your peers of the blog variety cannot claim.

Here is my first 4K-based adventure with the GX80. I am suprised I didnt really miss the slow-mo at all. Although rendering takes ages on my Macbook Pro 2011 (3min video took 3:45h for rendering!), editing with proxy files works without any hickup. I am amazed by the quality and I think I will continue using 4K from now on. Lenses used: Sigma 18-35, but mostly the Panasonic 20mm. I already sold the Speedbooster XL and the Sigma, it is just too huge and even with the 4K crop one sees the vignette when the stabilization kicks in.

I like Johnnie Behiri's mini-docs a lot when he tests new camera's and I wish more sites that do reviews would follow his example instead of only talk about a camera, pixelpeep and use blown up framegrabs. Ideally it should be a combination of both, a detailed test like Gordon Laing at cameralabs does but geared towards videofunctionality only and then add a nicely shot short documentary. Until that happens our only choice is to look at as many reviews and uservideos, try to filter out the crap and try to make a informed decision before buying to eventually find out the camera has flaws that have not been mentioned by anyone so far.

Looks awesome. Nikon should make a $2000 cinema camera... so should Arri... ? But yes, I hope the rumored D7300 has super 35mm 4k and focus peaking... I am a buyer. I just love the Flat Profile. It won't take a lot of beating, but it's teaching me to be a little more conservative... which I need.

I don't know if it is the same thing, but a while back I found out a similar difference between Premiere, Resolve and FCPX:

Nikon should make a 4K camera with some better compression

Great video Jase! Happy to hear you like the 15mm. I always though it would be a great option for what you do. If I could just choose one lens for a trip it would be the 15mm hands down. Didn't think you would get the Panny since you got the Oly 17mm though. How to they compare?

Additional video from slashcam.de, GH5 internal V-Log 10bit versus 8bit

I actually did a shoot the other day and got almost the exact same shot of a girl on a D750 w/ Voigtlander 58mm 1.4 and a RZ67 w/ 110mm 2.8 and FP4, a minute or so apart. I'll dig them out and post later.

Here is some street videography taken in cinemascope with SLR Magic anamorphot 1.33x-40. As you can see rack focus works good and is easy to do. The combo with the prime lens is quite compact and lightweight. GH4 slow motion mode 1080p SLR Magic anamorphot 1.33x-40 on Pentax 40mm f2.8 at f4 Hoya ND filters music : Superpitcher "People" Lumetri (SL Bleu Intense (Universal)) + slight levels corrections Thanks to Andrew Chan from SLR Magic, Emmanuel, Tchie-Kung and Nina

EasyDCP is, as it says, the easiest way to export a DCP there is. Did that a couple of times with my own stuff, and didn't worry about the watermark. Just keep in mind that DCPs usually need to be 24 (not 23, 98...) fps, and that "2k" either refers to 16:9 - 1920 x 1080 (if an HD film runs in between 2048 clips, it will then have narrow black borders on all sides) and 2048 x 1152- or 17:9, 2048 x 1106 (standard cinema widescreen, as you can see similar to HD). Or of course Scope, 2048 X 848. However, EasyDCP is not free, the licence is like 1500 bucks last time I checked. OpenDCP (for instance) is free, and afaik it now accepts ProRes as input, but the audio needs special treatment. You should then read the FAQ. And test the DCP in (any) cinema in advance! EDIT: I consider it somewhat risky to have just one day left for your first DCP. It's about as complicated as authoring a DVD, and as many things can go wrong. So either you hurry to get it done on your own and test it, leave the task for someone who did it before or ask the cinema, if their projector likes Blurays or has a scaler (that means the projector accepts any laptop signal like a beamer would). Probably the standard with every newer server-projector-system because it allows to rent the cinema out to companies for keynotes and sth. like that.

Thanks for sharing, and the grades look nice, too.

Camera movements its a important point that people forget to mention. Clever use of a slider or a crane gives you instant film karma.

? the first one i made flew away

I second that...

If you frequently will be shooting outdoors, you might consider using rags that breathe, as ripstop nylon and sail cloth can turn your "6-by" (2mx2m frame) into a powerful sail/kite. When I used to build frames out of PVC, I would mostly use cheap, white bed sheets as a silk. Also, it might be good to use "grommets and ties" to attach the rags to the frame, as they are secure and easy to use, and they can be readily adapted to fly the rags in other ways, without the frame.

Many asked about how I focus. You are welcome! In this way I get maximum possible focus

That is funny, fuzzy. Normal. Right? Makes uber sense and fun to stick around here and even more keep contributing due to cool people ideas and vibes in this place. Thanks to Andrew who built this community and spirit and opportunity. So, Fuzzy, you´re spot on. And because of guys like you this forum is spot on. A great place to exchange and find inspiration. Thank you, Andrew!

Really had my fingers firmly crossed for this, but I'm seeing the same cyan/magenta blocking in this video that lead me to sell my GH4. Guess, I will stick with my Blackmagics until something better comes along.

And here's another one... If anyone wants to share any screengrabs from other cameras, or their corrected/grade versions of mine... that would be cool.

Thanks for sharing, very nice! The adapter clearly benefits from the smaller sensor as it looks pretty sharp all around, performs certainly better than in @Tito Ferradans's (otherwise excellent) fullframe example video.

If it's anything like other blackmagic products the person will have died of natural causes by the time it's delivered

Hi Andrew. Just want to say: don't stop. We need voices out here that are not those of corporate video makers. We need your voice.

My eye was particularly taken by his post about promising to cure relationship problems using black magic. On the basis of that, I've ordered an Ursa Mini Pro. I'll keep you posted on whether it does indeed stop the missus nagging me about doing more around the house.

Here's a video I shot with the GX80. The interview was shot with a Pentax Tokina 28mm f2.8. Exteriors were mostly shot with the kit 12-32mm kit lens. I was planning on using my old Pentax 28mm, 50mm and 135mm lenses with a newly bought Camdiox/Roxsen focal reducer, but found the middle of the image was cloudy. I ended up using the kit 12-32mm without an ND filter, so have a lot of overexposed footage. Edit - A small error near the end of the video. I'll need to reupload a fixed version.

EosHD is my favourite camera blog by far, and I enjoy Andrews reviews and insights. I like that he remains mainly focused on the smaller hybrid cameras and came back to these after a brief fling with the C300/FS5 empire, and that he gives some of the sleeper cameras some well deserved coverage like the E-M1, NX1 and Leica SL. I agree that Panasonic should have given him a prototype to test given his history - how many GH2/3/4's have been sold because of his blog when the others can't get over the sensor size -really all of m4/3 video owes Andrew a lot for highlighting its strengths. I imagine its hard to keep a blog like this going and the passion levels must wax and wane at times, which I suspect is the reason we see a lot more 'first impressions' nowadays rather than extended reviews. This maybe has lead to some of the negative first impressions like the XC10, E-M1ii, which to Andrews credit have been graciously corrected, but I imagine it might make a manufacturer a little anxious that their camera might get an emotive review. In any case, at least Andrews review are authentic and he has his own cash in the game. Anyway I hope Andrew keeps it up -it would be a real loss to the filmmaking community if this blog closed it doors. Where would I go, when I am procrastinating rather than working :-)

wow... how.. disappointing I wish they compared it with the 180Mbps HEVC of Nx500/Nx1 too

Yeah that was a pretty lame article over at C5D in my opinion. Having had an opportunity to spend a little time with the GH5, it is already the most technologically complete / best camera I have ever held in my hands for the type of work that I do. I've been a pro for the past 25 years and have lived through film, Hasselblads, Nikons, Canons, DSLRs, Cinema cameras, and more. Truth is you can do far more with this camera than meets the eye, and if you can't do it on the GH5 you need a new career choice. It's quite an amazing camera, and at the $2K price point it's a no brainer. Here is a little real world test of my own for anyone interested in focusing on how cool the camera is rather than technical specs and BS.

Commander Reid, following your dispatches all these years has been like visiting the front lines of the DSLR community where shooting truly magical cinematic images is within our grasp. You were the first one to show it was possible to mount vintage LOMO anamorphic lenses on a GH2 and how to hack the camera. That changed my world. I quit my day job, bought a GH2 from Andrew via Japan, and went out and made a feature film with LOMOs that is now coming out worldwide on March 20. Yep, that's a plug for the film, but it's also a testament to what Andrew has started and achieved here. You'll find him thanked in the credits. Can't wait to get my GH5 and get on with the next film.

I vote for @Aghori Tantrik Baba

Please don't stop the blog! You are the anti-snob and we need a healthy balance of the forces. ?

Do the experiment properly and you'll find that the perspective is the same. Surely you must have heard countless times before that perspective depends only on the subject distance. This is a truth that you shouldn't ignore. More precisely, perspective depends on the distance from the subject to the entrance pupil of the lens. For this reason, the entrance pupil is sometimes called the center of perspective. I suppose you could call it the "point of the wedge" in your language. FYI, technically, the entrance pupil is the image of the aperture stop as seen from the front of the lens. So, in your experiment, just put the entrance pupil of both the 24mm and 36mm lenses at 10 feet from the subject, and the perspective will be precisely the same. There are some easy techniques for finding the entrance pupil location with an accuracy of about +/-1mm that stitched panorama shooters use all the time - if you need help just ask. The subject-to-image plane distance is not what matters. Its the subject-to-entrance pupil distance that does. So, this notion that full frame will be "further inside of the wedge than in the APS-C format" is just another way of saying: "oops, I goofed, and didn't keep the subject distance constant".

Yes, I think so. Having AF is very convenient if you are on the run or simply cant really see the peaking on the screen / evf. Now with the Summilux 15, it seems i got the perfect allrounder - good fov, fast AF and a decent focus ring - all in a small package!

The saga so far has seen me order 3 different fabrics. A white ripstop parachute nylon (suggested by the estimable Phil Rhodes), a classic sailcloth and some 'bridal' tulle. Picked up a length of muslin while I was there! Frame-wise I was pricing stuff up and it works out that just buying a couple of Manfrotto Lastolite 2mx2m frames will be cheaper than trying to build my own. I'll keep the board posted as to my progress.

Metabones XL & Sigma 18-35.

First time I am doing a project in 4k: This cam continues to amaze me.