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Time to spend some quality time with the Panasonic GH5. The wait is over and 3 years after the GH4 we have the highly anticipated new camera. In some ways an evolution but mostly, I'm glad to say a revolution. Read the full article

No lock-ups with the adapter yet but please wait and see. Very early days! The AF is good in stills mode with the adapter but nowhere near as good as with the Panasonic and Olympus lenses, which are lightning fast. The anamorphic mode on the GH5 is a resolution feast... Seriously nice. I will be putting my anamorphic lenses on it, and with a 2x lens if you kept the vertical resolution as high as it comes off the card and did the de-squeeze by stretching 2x horizontally you end up with a 10K frame

I think dynamic range has more value than seeing out a window. Makes for smoother and more pleasant transitions between light and dark, even if you don't need to see the detail on either of those ends. That and color and motion cadence are what seperates the good from the great cameras, in my view.

Just got mine from CVP! If you would like to have some downloadable test footages, let me know and I'll try to make it happen during the weekend.

So in 2014, me and two friends set out to shoot a short with my new BMPCC and for me to learn how to use it through practice. I ended up with 350GB footage, but then put the project on the shelf. I had a 4 page script dabbled down for the shoot and less than 24h to shoot. Last year I finally decided to put together an assembly cut and wanted to share it here. I learned through the assembly cut that I clearly didn't get enough coverage and some of the scenes just look terrible in terms of my setup and (obviously) because of the time limit. Okay to the point, I thought it might be fun to salvage what could be saved so have uploaded the assembly here: https://drive.google.com/file/d/0B4RzH3eFvfE8c21WZEdjTWtTN0U/view?usp=sharing I was thinking, you who wants to, can download and look and maybe give me some pointers what work and what doesn't. You can def think out of the box and rechange the basic idea of the script and delete scenes you think could go etc. Even pull it into your NLE and move things around. I did record audio separately that I haven't even touched yet cause I felt so let down with what I had gotten footage wise. But it's still on a drive in case this turns out to be a fun collab with y'all so yeah, audio in this cut is from the BMPCC. Hope you'll think this will be fun! Can't wait to hear what some of you think, even if it's only a short comment or what you feel you have the time to share. Thanks!

No point rushing the footage in the first 7 hours of me owning the camera guys... c'mon.

Thank you both for such kind words. I still feel like this is still a little above my head at the moment, but you have def made me feel like I should take my time to sit down and really clean and tighten this up! Still, any collaboration is greatly welcomed here! (looking at that last scene where camera goes out of the screen haha). And that it reminds you of House of the Devil really made my day, I LOVE that movie! Well, meta and meta, haha, in the script it sounded so easy, but it is part of the ending. Don't want to spoil it without one of those spoiler things but I don't know how to hide my text on this forum.

If you have access to a GH4, I would love to see several shots of a subject matter in front of a window, in order to gauge the dynamic range improvements of the GH5. Ideally at an optimal lower ISO, and maybe a few higher ISO shots. Thanks!

OK, I've done a basic little test. Its tricky to do it exactly equivalent because of lens variances etc and my range of X mount lenses is limited compared to my Nikons but anyway. The test 'scene' was a bedroom with a tiny fragment of outside light, an empty clear mineral water bottle stood on a beige duvet cover with a plain light coloured wall behind. So it was low light and not much for the AF to grab hold of as the more distinct contrast points were the creases on the duvet cover! The illumination level at the bottle was 2 lux according to my Sekonic. Exposure for the cameras was ISO 12800, f3.2, 1/50th. On the D500 I used a Nikon AF-S 24-70mm f2.8G ED FX and on the XT-2 the closest thing I've got to that which is the XF18-55 f2.8-4. Not doing the Fuji any favours really by putting a mid-range kit lens against one of Nikon's holy trinity but I'm guessing you'd sooner have a less than ideal case scenario anyway. Also, I've used the Nikon 24-70 for years in every permutation of light and environment you can imagine so I'm comfortable with using it as the benchmark in this instance. The test was to manually set lenses to infinity (so they had to do some work), switch AF on and then swing around to the bottle in centre frame and fire. The results were that there wasn't a massive amount of difference to be honest. Both of them locked in as short a period of time as to leave me comfortable that if I was ever in a scenario where I had to shoot an empty water bottle in a virtually dark room that I wouldn't miss a second of the action. Neither of them hunted particularly. The majority of the time you could hear the motors had only gone in one direction without overshooting and coming back. Very occasionally they'd go back again but they both did it and never more than one overshoot. Where the Fuji scored big though of course is with the EVF you could actually see what it was you were shooting whereas of course with the OVF of the D500 you're virtually blind in that scenario. Changing lenses out on the Fuji to the 35mm f1.4 and the 50-230 f5.6 was a different issue though. The 35mm was the worse of the two and would almost always overshoot at least once whereas the 50-230 would generally just do it once. So, all in all, even with the right lens, its marginally slower than the D500 and even with the wrong lens it will get you there without too many overshoots if you happen to find yourself shooting in conditions where, to be fair, you might want to re-think whether its a video camera you need or a thermal imaging one. How this test would have gone if the water bottle had decided to get up and run around and which one would track the better I don't know. But from the actual real jobs I've been doing with the XT-2 the past couple of weeks, I wouldn't be massively concerned about that either.

Shot 10bit Internal handheld on Panny-Leica 12-60...at least I already have the lens Hardly a review though...just wanted to post the clip.

I did some vlogging stuff with a G7 on a trip earlier this week and I have to say that it performed really well and the articulating screen and iPad/iphone remote controlling of it was a real boon. I actually wanted to take the GX80 for the stabilisation (I could've lived without the articulating screen because of the ipad/iphone remote) but the lack of a mic input made it dead in the water. I'm now, of course, spending loads of time stabilising everything in FCPX which is a real pain in the arse and certainly detracts from the immediacy of what I was trying to do. Clearly, the best solution for me would be to have the G7 with the GX80 stabilisation. So that'll be the $80 over budget G80/85

What a source of information!! Plenty of examples and exercises. Thats what i was looking for.

What the fuck? You never get statements like that? I tell you what I never get mate. I never get people who don't read exactly what has been written, especially when all of the differences were clearly qualified, before they toddle off to Grandma's with an egg sucking tutorial. I should go and shoot a basketball game or indoor/night sport?? Hahaha Did you see the part where it said I couldn't use it for my day job? Did you see my other post literally two posts earlier about the 50-140 ?!? The one that contained the ISO5000 1/2000th f2.8 photograph that I'd taken 3000 metres up in the Sierra Nevadas at -5 degrees at the FIS World Championships? My day job is a professional editorial sports photographer so, rest assured, I'm fairly au fait with the whole light/aperture/shutter speed thingy and because I shoot in all weathers and all environments I'm also acutely aware of why things that can perform under all those circumstances and withstand that punishment cost a few quid more. What I'm also acutely aware of is that not everyone needs that and not everyone can afford it either so I thought I'd do a quick comparison because I had both to hand so that people who needed some reach could see what could be had for a much smaller outlay if they could live with the compromises that I'd clearly listed. I was going to do another one today about a couple of lenses on different formats but fuck that. For reasons best known to themselves, they've hidden the Format option away. Menu>Spanner Thing>User Setting>Format Alternatively, press the Trash button on the back of the camera for 3 seconds and then whilst still pressing it also press in the rear rotary command dial on the back of the camera

I am using https://www.bhphotovideo.com/c/product/1275616-REG/sandisk_sdsdxxg_128g_ancin_extremepro_sdhc_128gb.html I am waiting until later in the year with the firmware updates before purchasing the new V60 cards - allow the manufacturers to test them properly. Just found it on page 186 of manual. Take any LUT with the .VLT extension, make sure the name is 8 characters or less, and pop it in the root directory of card 1. There are 4 slots available plus the Vlog_709 is already in camera, so a total of 5 luts can be stored (4+1 permanent). Creative video (M) - vlog assist - Can only play with that menu if vlog is both activated and turned on. And it works! It shows an extra marker on screen indicating the color is for monitoring. The LUT can be sent out the HDMI (monitoring or recording) but not recorded in camera. Matt try to keep responses to questions, tips, answers in this thread.

I wouldn't worry Juxx, looks like Luca is still busily at work, thank goodness.

Very easy in that rare case where it's relevant, to diminish the DR of the scene, using a couple of lights...as it is 11 to 12 stops are quite respectable Actually if you were shooting a Hollywood feature film the DR would be more than adequate, as you would have lights and Grips and Gaffers...but they would also insist that you shoot on an Alexa! ...and I agree with you about DR...

I was in Tokyo earlier in the year and I shot this over an afternoon. Most of it was shot on a D500 with the Sigma 17-50 f2.8, the bike shots were on a GoPro Hero 3 Black, and I recorded the interview on a Rode Lav hooked up to a Zoom H1. Amazingly the bike audio was all off the GoPro -- I'd recorded some engine sounds on the H1 as well but the GoPro sounded great so I saved myself the hassle of synching audio. Edited and Graded in Premiere Pro with the Impulz Kodak Ultramax LUT (which was great because they had a LUT made for Nikons AND GoPros) and I used their 2.5K Grain track as well. Overall it turned out pretty well. If I had more time I might've found a better way to grip the GoPro to try and dial out the camera shake, but I wanted it to look rough anyway and I grew to like it. I'm constantly surprised by how well GoPro footage can look if you use it in the right way. Kinda wished I'd had the Hero 5 with the Karma grip, might've been able to do some faux drone shots by putting the whole gimbal on a stick and holding it from the back of the bike as we went along. Hope you enjoy the film, love to hear your thoughts! ---- What drives you to do what you do? With SEVEN ESCOBAR Direction/DOP/Sound/Edit/Grade JOHN KUNG

Did your Panasonic GH5 arrive today? A complex beast isn't it! Read the full article

Looks much nicer than the back of C5D Seb's hand!

First of all, thanks for taking the time to do the comparison between the lenses and for posting the results here! This is what about the forum exists. Don't be discouraged or disappointed by the different point of view of other people. Some others do really appreciate what is kindly offering here. PS. Sorry for my terrible english, i hope you can get the point.

http://www.pts-trading.de/patona-premium-akku-f-panasonic-lumix-dmc-gh3-gh3a-gh4-dmw-blf19-p-4198.html

I think I understand your question. Are you asking if full frame 2.35 has a similar vertical FOV to APSC 16:9?

So DXO just released the zuiko pro 25mm F1.2 test. T-stop 1.8! Really? The same t-stop as lumix 25mm 1.4 (and better overall score for the Lumix). I tried the zuiko 25mm 1.2 for couple and was really impressed by the images, the low light perfomance + the very useful manual focusing ring. It's certainly better than the lumix 25mm 1.4, despite the Dxo score. But if the light transmission actually isn't any better for lowlight video, then i will go with the 30mm 1.4 sigma (t-stop 1.7) or the even cheaper lumix 1.7 (t-stop 2). Any idea what t-stop might the speedbooster XL + sigma art 35mm 1.4 combo provide? I want to buy one higher end prime for low light and so far i had my eyes on the zuiko pro 25mm. Not really interested in voigtlander or slr magic at the moment, because the image is a bit soft below f1.8. I'm also seriosly considering Leica DG Summilux 12mm f/1.4, love the look of the images. Now waitinig if the t/stop is any better than the zuiko 12mm F2.

Crop APS-C to 2.35:1 and you'll be very close. Full frame is a much bigger sensor. Doesn't matter much given lens equivalencies, though. There are f1.2 and f1.8 prime sets for Super35 you can't get for APS-C so a full frame look might be closer in some cases, not that most people are shooting wide open (generally f2.8-f5.6 from what I have experienced).

something to consider in future, Anamorphic Glass should be next on my list after my baby arrives fingers crossed shouldn't take long

Lead the charge onto the field, Commander Reid. We are all behind you, looking to see your first shots. I'll do some anamorphic shooting when I get my GH5 and can take some time.

"Unfortunately a little increase of price could be imposed." That was never a 99$ monitor, or whatever it was advertised in the beginning, and all the forums are full of people complaining about this company! To increase a price, that has been increased before without the customers really knowing, isn't the best way to trust a company, I wouldn't. In anyway, this is going to be one of the well know OEM monitor makers (Neway and Setec are making most of the cheap monitors, and medium priced, in the market anyway) that can be found on a different name from someone else, or bought straight from the factory in Alibaba, or whatever these platforms called.

Honestly, I have to agree with Webrunner... I wouldn't change much of this at all. I guess a better audio mix and a little tighter here or there, but all in all it's a very good short that should have been entered in horror festivals a couple years ago. The end twist is simple yet effective, but I am left wondering if there is any meta fiction in the short. Since you had Ida Stein as the director, is there any real life truth to that or is just part of the story? Or are you the female lead of The Lake House as well? There were also some nice simple choices that made the short feel more realistic. For instance, by having your female lead in her underwear was a nice touch. Horror is an experience that prays on the visceral side of the human condition. The audience needs to feel many emotions to truly feel the horror of the film and fear is not the only one. But anyway, really cool work and I really don't think you need anybody's help here, it just needs another pass on the cut and better sound... since you said you have those files, then you should be golden! Also, in the end as a filmmaker, this has inspired me to take a simple idea and make a film. And I thank you for that. Too often am I bogged down by production and gear that I forget a nice image from a simple camera is more than enough to tell a good story!!! Oh yeah... one more thing... one edit I would make is when Ida struggles to get away from her attacker and we see his mustached face, I instantly became less fearful of him than I did before I saw 70s porn killer. IMO. Sorry one more thing. I watched this on my phone, so I am basing any visual quality off of my iPhone screen... and I loved the look of it. It reminded me of Ty West's, "The House of the Devil."

Interesting article about what cameras were used to film stuff. Bad news for Panasonic users, only 1 Panny camera, and it was a GH4. https://www.premiumbeat.com/blog/2017-sxsw-most-popular-cameras/?utm_source=PremiumBeat+Updates&utm_campaign=521efdb82d-PB_Blog_Updates_03242017&utm_medium=email&utm_term=0_6293d3e233-521efdb82d-427650413

http://www.storytellerartist.com/documents/Perspective_Made_Easy.pdf I don't want to blab on too much more how I've been learning to draw and animate lately, but I stumbled on this book in the process and love it. It's a really easy read, and each chapter had several moments of "OHHH! Now I get it!" It's making me think about framing in a new way, as well as boosting my storyboarding skills like crazy. I'm almost positive it's okay that it's online for free because it's in the creative commons, but.. grain of salt. Worth a look. Happy filming!

Hey thanks a lot for sharing! Very cool.

As long as companies such as panasonic, canon and sony will try to protect their higher end cameras by not including RAW, I think the NX1 will have a say, because of its ergonomics, 6k sensor, speed, autofocus, and also its community !

There are a couple of ways, there is a free tool online called LUTcalc https://cameramanben.github.io/LUTCalc/LUTCalc/index.html Easy to use and understand but let me know if you struggle. The other way is to do this in davinci resolve.Simple apply an existing cube lut to some footage, and then in the colour editing screen you can right click on the clip and export the LUT to a .vlt file... any problems let me know!

Thanks for the info! I have already converted some of my most used LUTs from the .cube format to the required .vlt format to use on the GH5!. Just to confirm is the overlayed LUT still displayed when you are recording or only shown before hand?

Well since you have a Sony A7s I would assume you have lenses for it so why not buy a used Sony A6300? I have seen them for 800 bucks used once in awhile. Probably better than m4/3 with low light ability. Has 4k, really good autofocus, especially eye focus. 1080p sort of sucks on them, but if you shoot 4k and down sample they look great. And you would know the horrible menus they have, just like the A7s has. So that is a plus, sort of.

Well I would ask before you shoot, because I bet they would shoot You without asking!

I'm almost certain the Atomic Mole People had a lot to do with this.

Well I did watch the whole thing. Pressed for time right now, but I am impressed as heck. I don't see a lot I would change. Good twist on an old theme!

It actually seems to be in stock at Jessops and I just received an sms that my order is being delivered tomorrow :o That was quick! Never thought I'd receive GH5 before my GX85, haha.

I have the mc-11, SB ultra IV, sigma 18-35, 50-100 and a6500. Performance in movie mode is unacceptable for af-c. Also even though you can see the mc-11 18-35 combo work on YouTube, what they don't show is that the AF motor is constantly chugging even if everything is static. The SB combo is slightly better in that eventually the AF motor chugs less but it is still working almost all the time. I don't think the AF motors were designed for this and Im not willing to tempt fate and burn out the AF motors. Imo the only option that works well are native e mount lenses for af-c in movie mode. Even on the sony 18-105 the AF motor (very quiet, I have to put my ear right next to it) sounds like it is also always on but doesn't make any weird noises so I assume it is designed for af-c mode. Had I known about the AF motors constantly chugging and hunting on adapted lenses I would probably not have bought all this stuff and waited for a different option. For af-c I just stick to the Sony 10-18 and 18-105. Otherwise it's manual focus for me. My guess is that they should somehow change the adapters to read an average step direction over time for the AF motors instead of constantly moving back and forth even in static scenes. But I assume it's more complex than that to reverse engineer it. Also my canon 70-200 f2.8 and f4 don't seem to like the adapted combo very well and don't focus over half the time. I think the f4 is even worse since it's older and doesn't even focus in photo mode. I haven't used it in a while so I forgot exactly what issues these combos have.

Paid upgrade or not, lets see it as a step in to the right direction.

Are you sure you figured it out? Might want to check your watch for missing time

Hey guys, I'm looking for a hypergonar 16 in good condition - any of the 5 models, apart from the 6th one with the concentric rings. Let me know if you have anything... thanks!

@j-oc @Cinegain Thanks alot! Great start point .

Yeah, I love this presentation by Larry Jordan that also mentions Alexis Van Hurkman's book:

Just get your facts straight and you will be fine. - 5D3/D750 aren't 4K cameras, so no 4K monitor can help you there - The monitors we are talking about are NOT real 4K monitors, is this comprehendible enough for you? - Full frame focus with 1.4f lenses is almost impossible to focus right for more than 1 second - or less, even if you had a 65" TV worn on your head, it isn't about the monitor/screen/focus peaking, it is about physics. That is another huge conversation, about the 5Dii revolution, and the effects on moving image mentality and psychology, not for this topic. That's what I said, that's what you seemed missing completely, people with less knowledge are reading these forums, and they will try to find 4K monitors to use with their D750, or else they won't be able to pull focus with out a focus puller on 1.4f lenses, filming a soccer game. I did not call you anything, I just disagreed with your generalities and offered facts to your myths, while it is truth, people didn't use 4K monitors until a year ago, and still just a wee tiny portion of video makers have a true 4K monitor (something like a 0.4%) to help them with focus, do you disagree with that?

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

Reaching out to the community here... in a way. Have this video out today showcasing synthwave type music and would have liked more "POV night driving" than I have found under CC terms. If anyone should have some unused footage or got ideas to enhance my vision please contact me. I'm unable to shoot footage myself at the moment. In return for favours I'm more than happy to provide sound or soundtrack if desired. Thanks! :-)