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Hey, my production company made this! Thanks for posting. The movie will be released this year on VOD.

Until Edward Bernays effectively created 'Public Relations' based on concepts from his uncle, Sigmund Freud, marketing was based on people's actual needs. Bernays changed everything and marketing evolved into emotion and fantasy-illusion based and thus the world has been changed. Now marketing is based on emotion and desire, and not actual need for daily living or survival. The Universe Loves Drama, so combined with the emotional-fantasy-based social reality we now live in, explains the current behavior of social interaction, especially in social media. It's enough of a challenge for logical thinkers to effectively communicate with emotional thinkers (and neither side being able to communicate with the other). It becomes a deeper communication challenge with the added fantasy layer, which affects everyone at some level (including me: for example I too used to believe in the 'Full Frame' look until I studied the math and performed my own tests). What we really 'know' changes with time and it's important to remember that. Another interesting social element is that most of the people discussing cameras, and all gear for that matter, spend far less time creating with the tools than focusing on the tools themselves. The tools become a form of entertainment in and of themselves: playing with them, doing 'tests', debating online, discussing deficiencies in the current model(s) and yearning for the new model(s), buying and selling, etc. And for perhaps the vast majority, not actually creating any content other than writing, discussing, and debating the tools in social media. This is not a judgement, rather an observation of another form of creating and fellowship of like-minded enthusiasts: people who focus on the tools themselves for entertainment vs. using the tools to create content, for entertainment or for a living. Every now and then someone will post, "get out and shoot people!", but that's not why most of the people are on these forums. The GH5 of course is a major improvement and is an excellent content-creation tool. Is it a baby ARRI? Who knows, let's see some side-by-side tests as were done with Canon 5D3 RAW, which with 14-bit Canon color is indeed like a baby Alexa as shown by various tests done over the years.

Well, first of all, it's Shane Hurlbut, not Shaun. Second of all... he also mentioned that you should 'shoot with the camera and determine for yourself if it fits into your workflow', as we find ourselves in an 'exciting age and place in digital capture, where every camera that is developed does have a place in the industry'. After all, we all have different wants and needs, there's no absolute right or wrong. It all depends on the person you ask and the project it is for. Admittedly he regarding the GH4 he mentions 'what came out of the box did not live up to my expectations'. Yet, a year or so later he goes out on a quest to find the best lenses to match the GH4 in a three part elaborate series and finds the Voigtländer 25mm f/0.95 on which he comments 'F2.5 on this 25mm is amazing. This looks stunning. If I were to do a movie with this camera, I would be shooting on this glass'. Which is a much fairer approach... problem solving, rather than just giving up after one try. Plus, of course you're going to like RAW out of a BMPCC or perhaps 5DmkIII better (I wish there was a GH5 that did ProRes/DNG RAW, even if 1080p only too). But you gotta realize what that entails (size, features, workflow) and what the camera is and isn't. Anyways. We're all grown ups with a certain level of common sense. I bet we can all figure out what would work for ourselves. Again, there's no absolute right or wrong, there's something that works for you that doesn't really work for others and the other way around. Such is life.

The GH5 being used to shoot 'serious movies' isn't so inconceivable to me. The 10 bit 4:2:2 4K make it a good option for very low budget films that are hoping to eventually get picked up by platforms that are seeking out or require 4K content. Yeah, it's no Alexa, but it's $2000. On that note, if you know what you're doing, pretty much any recent camera can be used to make decent theatrical content these days. This was shot on two GH4s:

He's genuinely excited about the value of these Lumix cameras. Just as he is excited about Metabones Speedboosters, Contax Zeiss lenses and other lenses such as the Nikon 'Bourne' zooms or low contrast Tokina RMC optics. Instead of just being openly excited about these things, he had the chance to get involved in some degree. Doesn't mean he sold his soul to the highest bidder and agreed to bring us the Lumix gospel regardless of what it stands for. He's still advocating the same genuine opinion and recommendations he's already had before, so nothing has effectively changed except for perhaps a little influence in pointing the company further in the right direction? I friggin' respect the guy, he's great, skilled and knowledgeable! __ Regarding the V-LOG Key... when upgrading the GH4 to the GH5, you do need a new one, right? Or is it 1x per model type? Does anyone know if there will be a kit with new 12-35mm f/2.8 II zoom? I expected so, but, haven't seen it listed anywhere, also no like DMC-GH5A product designator for it?

The Grand Tour is on Amazon Prime and features GH4s already. Of course because you can cram it in just about anywhere, but still. If anything. It's the other way around. Take the whole YouTube vlogger crowd. They don't know and care about getting to know settings and principles of filmmaking, they just want to hit record and go. That's the reason Canon isn't actually quite dead yet. Vloggers pick up a G7X (Mark II), 80D or god forbid, the EOS-M5 Creator Kit and they know they're: getting pleasing colors right of the bat and know autofocus doesn't hunts around, but smoothly transitions (it doesn't however always lock on, mind you). They dump the footage on the computer and rather than taking flat footage and correcting and grading it, maybe the most they'll do is throw on a curve with some post sharpening and start editing the timeline. Professionals shooting a RED/ARRI/etc don't rely on camera's autofocus systems. You'd rather have someone pulling focus either directly or remotely. AF is a sign of convenience, not of professionalism.

What's your point? I see people excited about great value for money and a great niche tool that fits their needs and workflow, with both its limitations and advantages when it comes to other competing cameras. Frankly, I don't care what some fiction cinematographer says about mirrorless -- if I was shooting narrative features, of course I wouldn't be using GH4/5/whatever. Neither I would use 5D.. Hurlbut sounded biased from the get go too with all this "out of the box" nonsense, which is a typical consumer attitude (5D doesn't have Magic Lantern "out of the box" either). Besides, as far as I recall Hurlbut did another test of VLOG where he sounded much more positive.

I tried on my G7 with my VA, and after the bad experience I tried with the same units from a colleague, also changing HDMI cable. When recorded on the VA the G7 had a strong noise pattern. Not on the Atomos. But I cannot afford the Atomos, so I'm recording on SD and I'm very happy with the G7 (the only drawback is that you cannot use HDMI for monitoring, you can only record, while with GH4 you can do it). Anyway I'm a big fan of Lumix quality, even if I love the BlackMagic ProRes from Micro Cinema Camera, which I sold for the unpractical (for me) workflow. For the way I work, GH4 (which I sold in order to buy the GH5), G7 etc... are the best way and I love them. I think that shooting with @andy lee settings you have the freedom to do pretty much what you want in post. I tried to match G7 files with BlackMagic Micro (straight from the card) files in 5 minutes . I just can imagine what you can do with the new GH5 and a solid V-Log! p.s.: Andy, what about GH5's 24p ProRes files playback/preview without transcoding? I tried Luke Neumann's files and I cannot played them in preview. Thank you!

Yeah, it's really no use to fanboy over any brand, just use what works best. If someone claims something and you cannot relate or can even de-bunk it... then well, there you go. That said, Panasonic just kills it in terms of features, usability, reliability and affordability, that even Sony can't touch. I'm open to a good APS-C mirrorless system, but I've yet to find one that's as attractive as the Panasonic and Olympus eco systems where you just everything you'd want in a camera and system, including native 'n compact lens options and adaptability in combination with sensor stabilization and other body functionality that's a dream (vari-angle (frontfacing) touchscreen, dual cardslot, both mic-in and headphone ports, dual cardslot, weathersealing incl. freezeproof, highly reduced rolling shutter effect, etc). Yeah, you can blame the sensor... not enough dynamic range... improved but not super flexible high ISO noise performance... but as has been said before... not each scene has to have tons of dynamic range and you can and should light your scenes. It's hardly any different with an actual cinema camera like one from Blackmagic (which does have that insane DR and color advantage however).

Just been with Nick Dirftwood playing around with a GH5 this morning and the IBIS is very very impressive even just in your hand with no rig ..... I do like this feature a lot especially on a shoulder rig for hand held shots , it does get rid of micro jitter and torn frames which I hate on hand held footage , and the rolling shutter is minimal - this is also great news for panning shots they don't lean over!! At last I can do great pans on a hand held rig. You can also upload your own LUTs into the camera , a very useful feature to have. 10 bit 422 looks superb ,we are getting into Alexa type quality looking footage now , the detail and clean blacks are there . I do think this camera is a game changer for Indy film makers . Panasonic are sending me one to use on the next film I'm about to start shooting, so I will share footage so you can see how good it is .PS on a Panny native lens you can programme in focus points on the rear screen and it will pull focus between those two points very useful feature to have . you can actually programme in 3 focus points in all. We all as indie film makers have to thank Nick Driftwood for working closely with Panasonic to get these great new film making tweeks implemented on the GH5 .

And just as he said this, "hate from fanboys against criticism", he proved there are also those that are out to knock the GH5 every step of the way. I see it on multiple forums. So it clearly cuts both ways. There will always be those that will refuse to admit that a newly released camera could possibly be better than their current 'pride & joy'. This 'protective' behavior is not seen just with cameras, but in many other areas of electronics, particularly high end video displays.

Usually yes, but sometimes I'd like to shoot FHD with my A6300 because the extreme rolling shutter in UHD will limit what I could do. It's just that the FHD is so bad (not quite sharp, has moire and aliasing) that you can't really intercut it with downsampled UHD, people notice (even the non-geeks).

More GH5 revealed!

Nice test, i guess A is the BM Love the bmmcc, shoot with it most of the time, but the handling sucks! Thats why i have an eye on the gh5.

I'm using eoshd's profile lately whenever I'm using a sony but I made an exception in this case because I was afraid it could lead to unforeseen issues with the blacklight. Shot with a 50mm lensbaby which turned out to be a great combo to add to the blacklight setup. Shot in 6 hours, ultra-low budget music video. It's a very simple concept but I hope you'll have a good time watching in it. Shot in Dominican Republic.

@funkyou86 Nice explanation...But facts and knowledge don't count any more. Feeding the naive people's phantasy with claims like "the GH5 is the ARRI for enthusiasts" is much better and you get more likes. Irrational fanboyism seems to be the new religion... The famous German philosopher Hannah Arendt said once: Panas marketing and social media guys did with the GH5 hype an excellent job and acquired hundreds of sales representatives - aka "independent enthusiasts / reviewers" - (mostly) for free. This reminds me of the paid Canon video posting in DPReview some weeks ago, a guy who claimed to sell his RED for a Canon 80D...Of course... :-)))) Conclusion: Feed people's phantasy and they will give you their money and their soul! (+1 for Panas marketing devision - Guys you did an excellent job!)

I sold my 5inch Video Assist after ecording both GH4 and G7 on it. The files from GH4 were not really better then internal, the G7's were a lot worst. I tried on a second unity, same results. Not the same thing on an Atomos... so I sold it... (just my personal experience, nothing scientific).

You can buy the GH4 vlog code and it will work with the GH5, you cannot however reused a code on the gh5 that has already been used on a GH4

Metabones just wrote me that they have a GH5 since last week and will develop a new firmware for the XL, nice one.

You know, for the most part I have always used AWB with Panasonic. It didn't work quite as well as with a Canon or a Nikon, but a whole lot better than it does with a Sony.

Really! I am seriously concerned with the posting of a purely subjective statement like this from someone who is a "PANASONIC AMBASSADOR" [caps from the guy's own avatar]. Other statements from this source are also of similar quality. This is pure PR, complete with hyperbole. I am not saying it is not true, but that this is the type of stuff that demeans this forum. I appreciate that the conflict of interest is at least visible. On the substance - no other camera available at around the GH5 price enables one to shoot "serious movies."? Alexa quality? In fact this statement led to look at his others, and there are post after post of "game changer" and other PR phrases. I am NOT suggesting any censoring, just an expression of distaste. We all can get enthusiastic, and revel in others' enthusiasm, but not from someone who is not receiving gifts from manufacturers. I do appreciate that the GH5 has important features that put pressure on competitors, and so I welcome its introduction. But I think the small sensor (MFT) will ultimately doom this type of camera for "serious" moviemaking. That is subjective too, but not based on who is supplying me with equipment or paying my bills. It should be clear I am neither an ambassador, or a diplomat! :).

It's a different sensor, you just need to look at the megapixel count (16 vs 20) There is a difference between 8bit and 10bit of course. Cinema5D's 'precise testing' wasn't so precise and they took it offline. How's it under your rock by the way? Cozy?

This camera is a serious piece of movie making kit Panasonic have jumped leaps ahead of the competition with the GH5 , you can shoot serious movies to deliver to Netflix and Amazon Prime on this camera with out having to go to an Alexa or Red Epic/Dragon , it puts a lot of cinema camera features into the Gh5 at a superb price

Those Sam Kolder transitions, though. Everybody is doing 'em now these days, all them zooms and twirls. I mean, maybe it can be done tastefully, but this was just tacky as hell, no? Everytime a Casey Neistat rises, we get hordes of copycats that just do the same for the sake of being hip... but with poor execution.

A guy sponsored by Canon, and probably the only professional cinematographer who would choose to shoot with the C500 as an A cam over the Alexa on a Hollywood production. No relation between these two facts, of course... His claim that the 5D will always trounce the GH4 no matter the setting was and still is completely ridiculous. I believe that he was genuine in his dislike of the GH4 footage, but his stance there is super subjective, to put it lightly. For the record, he came around on the GH4 when V-Log L was released and said it created very nice skin tones in 10 bit.

I can't get mine till at least August otherwise I'd already have one...but then I saw enough for what I need early on...and a lot of videos regarding other features don't affect my decision one way or another...I will say though, that it takes me a while to "learn" about a camera...and I don't judge anything seriously from somebody posting something from a camera they've had for only a few days...with incomplete FW...all I need to see initially is the potential for my needs...as I come from a production design background, an important aspect of an image one admires, produced by an Alexa or a Red or a Sony F35, is that every aspect of that image has been designed to produce that lovely look...nothing has been left to chance...I simply can't dismiss this camera for myself, based on what I've seen online...of course all our needs are different

Probably because the only light was his work light and the arc from the welder?...really bothered by the blown out highlights though!!! (sorry...could not resist!)

great work. I think you forgot to post your setting in the thread titled "Your ideal NX1 Settings" lol. There is alot of high DR shots in there that were handled really well.

I agree here. I'm paring the PL15/1.7 with the P42.5/1.7 or O75/1.8 for indoor use and the P2.8 zooms for outdoor day events where I can't really open up past 2.8 with NDs anyway. I also use the Voigtlander 17.5 and 42.5 f/0.95 pair if the venue is really dim and I cannot use lights and I have time for manual focus. Otherwise it is M+AF-S with the auto-focus lenses which I find quite handy to get around the lower-resolution GX80 EVF. (Still debating trading in the Voigtlanders for the PL12/1.4 and PL42.5/1.2 for lower light). The other day I went to shoot some sports and filled a peak design backpack with two GX80, P35-100/2.8, O9-18 wide zoom, PL15/1.7, PL100-400 (that didn't really need), plus audio equipment, chargers, laptop, external drives, tripod, monopod, clothes, etc. Just amazed that all that including two decent 4k cameras and lenses that can cover 18-800mm (in full frame terms) could fit in a carry on. Despite the siren songs from Sony or Fuji, the small bodies, lenses, and IBIS are what keep me with micro 4/3. Also, using 4k cropping or the 1080p ETC modes, you can get away with a much lesser zoom. I didn't need the 100-400 as I could rely on the 35-100 to get me to 200mm @ f/2.8.

Don't know about other countries but I don't believe the GH5 will be available in any kit form in the US...as per a conversation with B&H last week....maybe after they sell 200, 000 of them in New York alone Panny will change that?

Maybe it's fan-tasy, but it's not fantasy. It's just different perspectives. Alternative facts, you could say. *chuckles* If you look at this camera as a unit for a production, it's just well suited. The approach and manner in the way it can be used. That it is exactly an ARRI, with same features and quality, just smaller and cheaper... that is not the case. But it can approach parts of that better than other cameras can at the same (price) level.

4 hours ago, Miklos Nemeth said: "As in the original article A. Reid writes "Don’t expect much in the way from AF in video mode. Dual Pixel AF it is not." This is definitely a show-stopper in 2017 for many of us. Sony/Canon has the technology for three years now, and it works brilliantly. No way I am going back to "stone age" just because Panasonic is not willing to embrace usable video AF. This is not a professional camera, guys, the GH5 is just enthusiast/consumer gear. No usable video AF, no magnification while recording? What the hell Panasonic is thinking. Definitely, I'll give it a try, but I am not really willing to pay 2000EUR for no AF videocamera, no way." Well I think stating the camera has 'no usable video AF' and it's a 'no AF videocamera' is a whole lot of hyperbole. Why do I say that? I've used a G85 for a while now and its AF is at least a step below the GH5's and yet it's quite usable. Is it as good as the A7Rii or A6300 I've used? No. Is it usable? Most definitely. As with most other aspects of a camera, you need to learn a feature's strengths & weaknesses. The AF is no different.

Lovely piece of work - the visuals perfectly complement the music, in my opinion. Cracking grade also and nice use of the Lens baby.

Bluetooth audio would be a good feature on future cameras because it would eliminate the need for the crappy 3.5mm audio jack and another cable coming out of your camera Monitoring on wireless headphones would be a pleasure There are some seriously good ones out there as well including the Sony MDR 1000X at $400 so sound quality would not be an issue, at all.

There is no option to bake LUT into the footage - for now. But hopefully if enough people ask for it, there will be. I've asked around and this is something some of the Lumix ambassadors were also talking with Panasonic. As far as I know for now, all you can do is to convert a LUT to Varicam .vlt and use it, the function is called V-log L View Assist and it only works in V-log L and although it would be very interesting if Panasonic could open that option for other picture profiles, I doubt they will. But the ability to select, preview and bake a LUT in-camera would be very useful and welcomed.

Yes, that old NTSC still looks great because those projects were co-lit by a colleague of mine that's really good at doing such. Also, most of it was magic hour shooting. Which is why, in my anecdotal experience, resolution and dynamic range ain't the main thing. It's wonderful to have, but when you got solid craftspeople on set doing a great job, any decent camera should look wonderful. Consider Arri. Everyone loves the Alexa, right? Footage looks awesome, etc. Well, why wouldn't it? Pros are using it. People that access the upper echelon of cameras tend to be people that are already pretty good at what they're doing. It looks great because it's shot great. In the up coming months we're going to see a bunch of mediocre footage from the GH5. (along with some crazily impressive stuff too) The weak footage won't be because it's a bad camera, but because it's affordable enough to be in the hands of people with rudimentary skills making mistakes and bad choices.

The best thing that's come out of 4K on consumer cameras is finally being able to make sharp and detailed 1080p.

Wasn't that the feeling about the GH4 until the A7S came out?

I opted for ordering the Leica 12-60....I only own 3 Panny lenses and 20 something legacy lenses (yes I have problems when it comes to buying lenses) and opted to replace the 14-140 which I use for traveling or Sunday in the country kind of shooting...I opted for the 20 mm extra reach of the Panny Leica over the speed as I find the longer reach handy when my 5 year old is running around...for interiors the 20 mm 1.7 is so small, it's like carrying around an extra lens cap?...anyway....my other motivation for the 12-60 was the rack focus on the GH5 which I can see as a wonderful feature for narrative or commercial work!

The Nila Arina appears to be one stop brighter, and it is doubtful that the Arina has the highest output of all LED filmmaking lights. Nila was one of the very first high-power LED brands, so they have years of experience in designing for the film industry. There are weatherproof versions of the Nila fixtures. I would also check out Mole and other major brands.

Somebody kicks this guy off the forum please!

There is always going to be an improved camera further down the pike. If you ask me, Panasonic have come out with yet more wife material but that won't stop Sony unleashing a strumpet that will seduce many. It won't be as reliable as the GH5 but will definitely turn heads and get people salivating.

Agreed. I hope they do implement each and every item we mentioned. That camera would be the Holy Grail for many of us. Well, at least until the next Holy Grail. Right now, I am looking forward to using the GH5 on my next feature, and honestly, I will be content for quite some time. Keeping up with the Cinematic Joneses is both expensive and time consuming. I get more accomplished when I am not researching the next big thing.

this camera is a game changer , I was shown the prototype GH5 last June in a meeting with Panasonic and the spec was amazing , ( I have had to keep very quite since then) the GH5 is everything we have all wanted in a Pansonic Camera , now its finally coming out its going to revolutionise Indy Film making like no other camera has . I expect to see this on alot of Indy movies over the next few years , it will be my main camera for movies now.

http://mirrorlesscomparison.com/micro-four-thirds-lenses/pana-leica-12-60mm-f2-8-4-0-vs-olympus-m-zuiko-12-40mm-f2-8/ I got 12-40mm at end because : manual clutch focus, unlike 12mm 2.0's stepping focus this one is smooth, good for follow focusing, and constant F2.8 is needed for indoor. Also oly 12-40mm @ 12mm is a bit wider than 12-60 @ 12

hey guys, please let me share with you my last project shot on nx1 entirely. I have spent a month in Africa and this is what i got left of it, hope you'll enjoy it. Any comment is more than welcome :

A collection of commercial & branded content over the last three years. A huge thank you to everyone involved and making this possible. naivestudio.co.uk Created by Naive - Jonathan Edwards Director / DP / Editor Filmed on the Sony A7SII Lenses: Zeiss Loxia 35mm f2 / 50mm f2 / Batis 85mm f1.8 Rig: Movcam A7SII cage 4K / 1920 x 1080 HD / 16:9 / 120fps / 24fps

Thank you for creating these Andrew, I love them! This was shot last weekend on the 1DX mark ii with the Cinema2 profile: