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Paul Leeming posted this example of extreme VLog ghosting at high ISO on the GH5 facebook page: Another user mentioned that Panasonic has said that if there is a demand to turn off NR completely, they will do it. Perhaps it's time to voice your concerns to Panasonic if ghosting like this is a problem for you. Personally, I would prefer to control the NR myself, and I'm sure many others would too.

http://www.magiclantern.fm/forum/index.php?topic=19300.0

Well, I've just finished a 17 minute documentary short. I shot 5 hours of ML 1080p for this. I had to buy an external hard drive to stick the original MLVs on as backup - around €80. And the log 4444 transcodes that I edited and graded from sit on my internal hard drive, taking up 400GB. These costs are not high. Obviously the costs will be higher for a longer project, but quite manageable. And the 3K sample I posted earlier is a roughly similar data rate, due to the 60% compression of the new lossless 14bit. However, the "elephant in the room" for me is this: ML users are familiar with this, but newcomers to ML may not realise that these advancements in resolution come at a cost: while you're shooting the LCD runs at about one frame every 2 seconds. This means that it's almost pointless to try to move the camera or to change focus while recording. The feedback is so slow that you're pretty much guessing and it's impossible to be precise. Will this ever change? Who knows? Everyone should read a1ex's updated first page post: https://www.magiclantern.fm/forum/index.php?topic=19300.0 The new modes are ideal if you're making work in the style of James Benning, though! (fantastic antidote to the hectic pace of contemporary media)

me neither im out of town for the weekend!!! WHAT THE HECK THIS IS ALL AMAZING I LOVE MAGIC LANTERN AND I LOVE ALL OF YOU

3K Cinemascope downsized to 2K DCP. I missed the focus a little, but the colours are awesome. This is Cinelog-C to Impulz Tetrachrome Arri lut.

Hi everyone, today i got luck and catched a helicopter take off. Tried to film it in Slowmotion, what do you think? It was really sunny outside so i turned the F-Stops way up to 16 but it ended up a bit to dark... https://youtu.be/fqNC9jKcgLU FHD 8 Bit VariableFameRate 180 ISO 200, F16, 180d Shutter, ManualFocus, HandHeld PictureProfile is Like709 with Knee adjustment, Graded in AE

I'm glad you enjoyed it!

OK, I'm back at home. Haven't had a chance to have a look at these yet. These are the first DNG in each of the sequences I shot today. There may be motion blur in some, as it was handheld, and some were through a car window. https://www.dropbox.com/sh/oqdeuipslwnvipq/AADPkIFTb-HCVPmdsZKz6AeEa?dl=0 All are 3168 x 1320. I used 5x crop with 14bit lossless. I see A1ex has posted a new build with all the new crop modes included. Haven't had a chance to play with those just yet. But these DNGs are continuous at 24p on a Komputerbay 256GB 1066x. They're not particularly pretty. But if you don't have a cam and wanna have a play - jump right in! EDIT: And if you're interested in checking out how Cinelog-C can contribute to a ML workflow, I've exported a 444 Cineform transcode of those very same DNGs in one file here: https://www.dropbox.com/s/0o8ugt0s9yrxk45/ML%203K.avi?dl=0 PS: Lens was a Tamron 24-70 @ 4 to 5.6 mostly.

The 4K 10 bit files that GH5 records internally cannot be read by some software such as Resolve. Also, the files are in an inter-frame codec so editing crawls to a halt in some software. The solution is to transcode from H.264 10 bit to an intraframe codec like Prores. Here is an ffmpeg command line that does that: ffmpeg -i "input.mp4" -c:v prores_ks -profile:v 2 -qscale:v 11 -vendor ap10 -pix_fmt yuv422p10le "output.mov" But you have to be very careful to use an ffmpeg version that was compiled for 10 bit support.

Wow, that LuT is a Big improvement color wise. Maybe you are a touch on the darker side, but better safe than sorry on that part. Well done. Glad you are able to take advantage of his LuT. That guy is a real asset on that site. He is a wiz kid I guess LoL. Really nice to see your neighborhood. DVXuser is a killer place for information. A lot of talented people on that site. And I have never seen a angry post on there. Pretty amazing for that alone.

I've liked clear zoom too on my Sony cameras, but the 1.4 extender function on the GH5 is 100% lossless. It's really like having an optically perfect tele-extender.

Just ordered mine. I was excited for just old school 1.13, 1.23 version... now this will be mind boggling.

That's right they did the same thing with the crop mode feature. I love how none of the usual blogs like c5d have run the story because they lack the capacity to figure things out... non-users will have a hard time believing this for a few days. Try the 3840 x 1600! 1.5x crop is much easier to work with than 2x crop on EF mount as you can use the Sigma 18-35mm F1.8 for wide angle duties. None of the higher resolution modes above 1080p do Canon live-view, so it will be a low frame rate B/w image. I will be reunited with my 5D Mark III on Thursday, until then hopefully we can answer these questions on the forum.

Why commit to working in a challenging and uncompromised aesthetic when you can do something just as good without making a difficult artistic choice: camera tests! Wonderful 4K raw-shot camera tests of the gardens, parks and city scapes near 'aspiring filmmakers' everywhere, coming soon to Vimeo.

Nope, I'm happy with my Blackmagic Pocket and Micro Also, not fond of ML RAW - the workflow is hell on Earth.

I am a Big Casey Neistat fan. I know, I am a old Turd. Why?? Well he can light a fire under peoples ass, he makes stuff happen, and that is a good thing, and, and I think this video I have linked might light a fire under my ass, and well some other peoples asses, is that a word??, well I enjoyed it, and I am old, if you are young, hell you ought to enjoy it even More!! It Makes me think, hell is it good because I am shooting it on a Arri Alexa, or is it good because I shot it on a Go Pro, strapped to my crotch, and it is a view no one has ever seen! Well maybe that is a gasp, BAD example! You get what i mean. Hell making movies or videos, what ever we want to call it is suppose to draw the audience into it. Cry, smile, laugh howl, cower, boo, you name it. Do they really give a rats ass if it was shot on a Sony F55 or a Panasonic GH1. WE need to just go out and make stuff happen, be it with a $10,000.00 camera or a 150 dollar one. I don't think the people that are going to look at it really care. These YouTubers are really where it is at right now. And they ain't going away. And they are NOT using Arri Alexia's!!

Shutter speed is too fast, IBIS is not switched on, and camera movments are too fast.

Do you remember the settings for the first video? What is your opinion of the pans in the first video? I think there are motion problems, I don't know why.

Look, this development is potentially huge. It's generally agreed that 5D3 MLRAW gives a wonderful image, especially in terms of colour, and comparisons with the Alexa are often made. While it may not have incredible dynamic range, it's still very respectable at around 11.5 stops. To date, 5D3 ML footage has fallen down in terms of its resolution. Because of pixel binning, the 1080p image suffers from a general softness and slight but noticeable aliasing. Its deficiencies are clear when compared with the downsampled-from-4K 1080 of the C100, for example, or even the in-camera 1080 of the GH5. Resolution for the sake of resolution is a fool's game. Recently, I was at a screening of the art collective AES+F. These guys' work is based on a slick aesthetic, in part commenting on the world of commercial advertising. The screen was huge. I was sitting in the middle of the theatre, and I was wearing glasses. There was a question and answer session at the end and somebody asked about 4K. AES+F replied that the work was in 4K, but had been presented in 2K because the projector was 2K, but it made zero difference to the appreciation of the piece. If the final image has enough resolution, it's incredibly difficult to separate 2K from 4K. The difference is there. But it doesn't matter. Back to Magic Lantern and the Alexa. It has been noted that the Alexa's 2.8k is ideal for a 2K or 1080p delivery as the downsampling counteracts the softness that is inherent to the debayering process. And this is exactly what we're seeing today with Magic Lantern for the 5D3. As I type, my camera is recording a 3072 x 1286 losslessly compressed 14bit RAW file to the card. It's a 1.5x downsize from this resolution to the DCP spec of 2048 x 858, eliminating softness and giving a sharp, clear image. And the camera has been running for 30 minutes continuously. Admittedly, I'm getting a greyscale preview with a low refresh rate, no sound, and a 1.8x crop of my full frame sensor. But if what A1ex is suggesting in his "April Fools" actually comes to fruition, these issues may no longer be issues. It's an exciting time to be an owner of a 5D3. Respect to Magic Lantern

I meant with the 1.13 or 1.23 ML version, not this update. I first found out about Hunter's LUT from this video... That video was actually the reason I decided to go 5D3 instead of GH5. And this is the video that was referenced in the description of the above video... It seems it's just a LUT specifically designed to get closer to an Alexa look and highlight rolloff. It seems the implementation of the LUT is just like a Resolve-ProRes4444 workflow. But he claims little if any color correction or grading is needed after the LUT. He also says he finds better shadow/highlight rolloff when exposing to the center or slightly to the left with -1 stop. He admits it's not great for shadow noise, so it cannot work in every shooting scenario but his tests show better skin tones and saturation with this method.

I stopped recording after 11 minutes. It's safe to say it's continuous. So yes, there is a Santa Claus if Santa Claus = continuous 24p compressed RAW at 3168 x 1320 (max vertical resolution without going wider than 2.4:1). Here's a DNG: https://www.dropbox.com/s/8trg0exly76nx9a/m01-1531_000000.dng?dl=0 Santa Claus is yet to bring correct preview framing while recording or sound. Let's hope it doesn't take until April 1st 2018.

Perhaps! OR perhaps it's an ultra-sophisticated April Fools where the people calling April Fools are being fooled. As in, "Hey dude, I heard you like April Fools, so I put an April Fools in your April Fools so you can be fooled while you're not being fooled"... an April Fools Inception, if you will pardon the mixing of pop culture references. Alex did post this in response: So perhaps there really is some consolidation of the incremental but significant developments that have been achieved over the last few months, like 10 bit, centered 5x zoom, etc, plus some new development (fixing the static preview problem in 5x zoom 10 bit, maybe?) that is genuinely exciting and going to make these higher resolutions with lower bit depths actually usable, albeit with time limit on recording. And Alex is riffing on ML's history of April Fools pranks by making a genuine announcement on April 1st. Just some idle musings... EDIT: In fact, this is looking quite likely. Alex appears to be in the early stages of delivering lossless DNG compression https://www.magiclantern.fm/forum/index.php?topic=18443.msg182074#msg182074 EDIT 2: I downloaded the test build and am 5 minutes into a 3168 x 1320 24p crop mode recording at 14 bit lossless as I type. Preview framing is not correct so it's only good for locked off shots in its current incarnation. Also it's MLV lite, so I think there's no sound.

What you're looking for doesn't exist for your price point, sorry. The fs700 is the closest probably but it's still more expensive with a raw recorder and doesn't do autofocus very well. Also no stabilization. So yeah, what you describe would be pretty amazing for less than $3000 but I wouldn't expect all those boxes to be ticked any time soon

I have been diving into YouTube and am excited about putting out more and more content. My two cameras now are the Canon G7X II which I use for Vlogs and my Canon 1DC. I have a Love/Hate relationship with my 1DC. I really really wish I had autofocus but every time I look at the IQ I am so happy. Clog is what I shoot on and thats it. I have shot on the EOSHD flat profile and used the Canon EOS Utility app on my Mac to control focus and settings for studio stuff and that helps a bit (You can't use any autofocus while in Clog) By the way...the video below has "sharpening" in post. I put it on there but its too much. Going to tone it down next time. When I am fully operating the camera it is great! Especially at my full time job where I am creating YouTube content for someone else. Operating the camera is a breeze and with a Zacuto Gratical EVF on top I get all the video camera things I need like Waveform and Focus Peaking. My CONTAX Zeiss glass always looks so great. I am converting everything to 4K ProRes LT to save space and to run better. Its annoying but its ok. I just set it and let it run while I do other things at work. Im doing one video a week for Anthony ONeal and plan on continuing to use my 1DC for it. IDK what to do. Really want something with AF but also with a flip out screen that shoots 4K. Considering the GH5 but am waiting for NAB..

Hey hyalinejim, thx for these DNGs. I've graded ML Raw files before but there is something about the richness of these files that allows me to push the grade a lot further now. Very excited about this. Does anyone else out there has more skin tests DNGs they could share? that's where the magic happens. THX

Yeah I use his stuff all the time. Leeming on my Gh2, Gh3, and now my G7. I have found he is just about the best guy consistently to use. He has that stuff figured out! It is not worth the effort to bother unless you are shooting something really difficult not to have his LuTs. And he seems like a really nice person on the Forum. And I follow Barry Green with his book and comments on DVXuser for my AF100A. Guy is scary good. This forum Andrew has here, and DVXuser to me, are 2 of the best learning Forums on the web for, eh "normal" people. By that I mean people that don't own top end gear, but aspire top end stuff maybe in the long run. You can't start at the top unless you are rich. and You, in this day and age, really don't even Need top end gear. But oh boy, fun to dream about it LoL. I am not in the market at all for the GH5, but wow this thing seems ALL over the place on good and bad. I can see a few firmware updates Panasonic had not planned on. But I have faith in them to get it right. They have been to a few Rodeo's as they say!

I am happy with the camera, though it has its downsides, 180p causes horribly moiré. One has to know this, so it s not a big deal

Just tested - check mate sony! I'm sure the magic lantern boyos will add usable liveview preview and sound recording, then together with 60fps RAW and cheap CF we have a killer with look only matched by ARRI or Panavision, just check ebay - mark3 prices are going through the roof!

Just go with the Isco Ultrastar and Vid Atlantic front and rear clamps if you want the best quality/price ratio You just won't get anamorphic flares (but you can force them by using a cheap ND filter on the front) and it will be dual focus (but most of the times, you can get around it with some time and patience) PS : don't pay more than $200 for an Ultrastar at it is the usual "low" price for it.

I will give you that for sure. Panasonic did well with that feature. But the Sony can go to 2x which is a pretty big advantage. But the bigger the worse it can be at times, just like 2x physical ones behind lenses are.

Apples and oranges. It sounds like you envy the efficiency and technical acumen of those on this board who are shooting art in 4k for cheap when you're stuck meeting corporate demands at 1080p. I work a lot on low budget national ads (I'm assuming they cost just under $250k/day per day on set, as that's about average) and even with big budgets for 30 second spots they lack the budget to shoot 4k and certainly to finish in 4k... because the infrastructure is "too big" to be a guy in a room doing all the post, but "too small" to be technicolor or light iron (which do most of the finishing post on the 4k stuff I work on). So yeah, I hear 4k and I run for the hills generally, and usually turn 4k gigs down unless there's a lot of extra money. But... presumably most people here are working for smaller companies who can build their entire infrastructure around being a boutique 4k house, or it's just one guy or girl with enthusiasm for image quality out shooting art films. Imo, upgrading the infrastructure for network tv to go 4k won't happen any time soon, it's too expensive to replace that many moving parts and they just did it for HD. But smaller leaner companies like YouTube and Netflix are already all in. And individuals have been there for a while–smart phones shoot 4k, and some even display it. Having millions of dollars and A list talent is a luxury I'd love to have. But not having it is liberating in its own way. When you're small enough, you have more flexibility in choosing your priorities. Personally, I would never shoot a project–not a short, and certainly not a feature–in 4k or RAW unless I had an unlimited budget and certainly not on a test bed hacked camera like this, but that won't stop those more ambitious and smarter than I am from creating great art without spending big bucks.

Ah, you are right! I totally forgot that, but I guess it's because I've always used the AF/AE lock button for that one shot focusing and left the menu set at AFS.

Jon, it was my understanding that regardless of how you set AF-C/AF-S, when shooting video, it defaults to AF-C. However using the AF/AE hold button (assuming you set it to AF), the AF will set itself on the subject once, and remain there. Of course I too could be confused.

WOW! Sold my a7s for a 5D III a couple of months ago... Now I certainly won't ever look back

Before flat panel TVs there was a not-so-popular solution to achieve bigger images: rear projection. That's what it looks like, an NTSC-video rear-projected. But one thing is true: the image is big! I saw another review: Well, it's not exactly "pretty lousy" but not "brilliant" as other reviewers call it. The truth is in between.

This is great.... I had written this off as an April fools (good god do i hate April fools day!). Really interested to see the 1080p 60fps and 48fps

The Angénieux Type EZ ones are looking sexy. Gotta love these options indeed. Of course these are really specifically developed end products targeting in a very specific market, so prices do tend to get up there. But... I'm more of an 'a zoom covers the range of multiple primes, so it's super convenient' kinda guy. I don't really need all the typical characteristics of a cinezoom and can save me quite a few bucks by just cinemodding or just gearing stills lenses. Like, the Nikon 17-35, 28-70 and 80-200mm f/2.8 D ED makes for a cool bunch. There's the Tokina Cinema ATX zooms as stills version, so the 11-16, 16-28 and 50-135mm f/2.8. Optically that gets you roughly there, of course the way of acquiring is less professional, but then again, are we all that professional with them professional filled wallets? I actually don't mind working with primes, though. They're smaller to work with and they're optimized for the focal length, there's no concessions. Does mean you have to switch 'em out, but as long as you're not shooting ENG style out in the field, but rather in a studio scenario with lights set up and time on your side, I'd say it isn't a biggie. Dunno about Samyang/Rokinon/Walimex and what they're doing... they might be bright 'n cheap, but I'd say a Sigma is better overall quality and value in the end. You don't hear from Tamron a lot these days... maybe I'm just not looking in the right places, but they seem to be getting behind in popularity. Their newer SP series lenses actually look quite alright, though. I wonder if maybe they're the ones who could try something else and maybe produce us some cinezooms? I embrace more options, that's for sure!

Why not?! Samyang is starting doing great and innovative (for Samyang!) things, I believe they got some of the Samsung NX engineers, responsible for the great 16-50S 2-2.8f lens, why not to make a 16-XX (just put whatever you want at the long end!) T2.9 one for 4.000$?! My only issue with all these aforementioned lenses is that I use too much the 16-17.99mm focal lengths! The Fuji 18-55 seems like the best deal, and if someone cares for all the electronic advantages on an EF mount, then the Canon 18-80 is one way (even though, the most expensive). The thing is, I seriously missed working with specific for moving image lenses, the benefits can really increase the ease of use and elevate our results greatly. Here, Kai doing absolutely nothing with this beautiful lens!

Anyone knows what's the best way to get in touch with Panasonic regarding this issue?

Good to know, thanks.

While this is amazing, will no doubt be put to good use, and any democritization of prohibitively expensive technology should be welcomed with open arms... ...the elephant in the room is that if you can afford to do serious work with 4K raw, you can afford a more suitable camera that requires less hoop jumping than the 5Diii. The storage cost is astronomical. Even independent features with A-list talent choose to record in less space intensive formats for economic reasons.

Because no one will buy the new C300 mkii, or the C700...

Yeah, there IS a reason Smartphones are so popular!!

Might be an interesting test once you have the original file in your hands and not the compressed version with huge(!) macro blocks on the wall that you can download as "original".

A7s is smaller and lighter than the G85 (A7sii is larger), who knows what the A7siii will be. You can use the same lenses on the A7s cameras. To me, the A7s cameras are far better in the field. The A7 cameras have greater lens choice actually as you can use all the lenses available for M4/3 and M4/3 lenses if you want but you can not use E mount lenses on M4/3. The FD lenses ARE FF lenses. IBIS is nice but the A7s cameras need it less than any other I have used and again, who knows how well it will work in the A7siii. My GX7 has terrible IBIS for stills and non existent for video just as the first A7s doesn't have it, the second does. It gets better with each generation. No, it just means you can use a fast lens and keep your ISO lower than with a slower lens but you can do that with an A7s series camera as well. Plus the A7s cameras have an APSC mode for double duty (not so great for stills with the lower pixel count but for video is useful). What are you going to match an A7s and FF 50 f0.95 lens with? The FD lenses will work just fine (better as far as I am concerned) on the A7s cameras. I love my FD 24 1.4 and 85 1.2 lenses but they are much better for me on the A7s than the M4/3 camera (and the combination would weigh less on my A7s than they would on your G85). You would need a 12mm f0.7 to match the 24 and a 42.5 f0.6 to match the 85. Manual focus is excellent with the A7 series cameras (better for me than anything else I have used) but is also great with EF mount lenses. The TS-E lenses for instance, I think are better (easier to use at least on the A7 cameras) than on any current Canon camera. I love M4/3 but for low light, there is NO comparison as far as I am concerned. Your G85 would be a much better general video camera to me than the A7s but low light? No, I don't think so.

There is one such solution @webrunner5, your mobile phone! First of all the date mentions 31 of March, so no 1st of April(!) and second of all, most of the updates are not much, but every little helps!

I will echo the advice to get the best tripod & head you can afford. You don't need to spend thousands, but you're probably looking at $300-400 to get something that's workable (unless you find a good used deal). In my experience, those cheap Manfrottos with the one-sided tilt mechanisms are nearly useless- once you loosen the tilt lock knob, the tilt mechanism goes all wobbly. I would definitely get at least a used Manfrotto 701, which is workable. I used a 701 for a couple years, then went to a Benro S6, and then got REALLY lucky on a Sachtler Ace L with carbon legs on eBay. The 701 was workable for a light setup, once I got used to the fixed drag. The S6 was a good step up, it was nice to have adjustable tilt drag and adjustable counterbalance. The lack of a pan drag adjustment sucks though, and overall it's built pretty cheaply- plastic knobs, plate release button was sticky, etc. Both the 701 and S6 are dampened, but I wouldn't quite call them smooth. The Sachtler is a whole 'nother league. Smooth as silk, drag on both axes can go light or nice 'n heavy, counterbalance is more finely adjustable. Having a bowl mount is really nice. Everything about it is really nice, and it makes using my old tripods feel awful, haha. And it's not just a placebo effect- I can see a definite difference in my shots with it.

1st rule of fight club...don't talk about fight club.

I really like that but forgot to look at the quality of the footage, so will have to watch it again with the sound down. I can see a precedent being set with this video - great stuff

Thing is, most 1080p cameras can't actually resolve 1080p. This is due to de-bayering, scaling and compression. Zoomed in 1:1, most 1080p footage is blurry, lacking super fine detail. 4K (itself not completely sharp when looking at it 1:1) downscaled to 1080p gives you 'proper' 1080p with superb detail, way sharper than 'native' 1080p cameras can resolve. Oh, and as for lenses, most prime lenses can definitely resolve 4K. 4K is still 'only' 12 megapixels. Almost all stills cameras are higher res than that. If lenses couldn't out-resolve 12 MP, why would you ever need more than 12 MP for stills?