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Final battery test results under constant record 4k 10bit with screen open and on. Panasonic battery (tested twice) 2:23:57 and 2:18:23. Kastar batteries (tested once each) 0:58:57 and 1:16:23 Power2000 batteries (three+ years old, one failed) 1:24:59 Charging Panasonic battery: 3:08+ to oem panasonic charge. 2:07 to lvsun charge.

Ken...I think Panasonic will lose very few sales over this issue...as you know, in reality it's fixable for those needing AF...for those who hate this camera, you could put an Alexa sensor and processing at 4K in the GH5 body, and they'd still complain...because they made their minds up before the first image ever appeared online...I'm sure there are a few exceptions, but I think for the most part this already holds true...Jon...I can understand for your purpose that you may be on the fence...but then you already have the G85/80?...and the cameras are very close...but for anyone wanting to shoot anything, the IQ is a no-brainer...I can't keep thinking of the US election as a personal comparison to the GH5...to me with the election, the question that keeps coming up, WHAT PLANET DO YOU LIVE ON???...clearly not the same one I do!...anyway...it's the same with this camera...if someone hates this camera, I don't have either the verbal skill, nor the patience to persuade them...my only regret in this is that if Panasonic sells many of these, more money to put into the next great GH camera from them a few years down the road...

Some time ago, I bought one of these huge wide angle adapters (Mine is a Century Optics C5365 Wide Angle Adapter). I tried to use it for wider anamorphic shots, but failed. As @Ian Edward Weir explained to me on my initial post on Facebook's anamorphic shooters group, you have to focus everything down to 0.5m in order for this to work, but no anamorphic adapters can focus this close of course :p So here is my second attempt. And I find it quite successfull if I might say Here is the setup : - Pana AF100 - Minolta 50/1.4 (@ f/4) - Isco Ultrastar - +1 Close-up diopter - SLR Magic Rangefinder - Century Optics Wide Angle adapter With the Rangefinder focused at the minimum (3'6 ft) I have infinity focus ! (YAY) Pic 1 : With +1 diopter, Rangefinder, Wide Angle adapter (Both taking lens and anamorphic adapter focused to 1.5m) Pic 2 : nothing in front of the ultrastar (focused at infinity) graded to match the previous image Pic 3 : Same image uncorrected It seems there is a lot of light loss with all the optical elements added :P A bit of sharpness loss too, but that's to be expected knowing how NOT sharp the rangefinder is :s I'll make a next attempt with my 50D to see if I can really get wide shots ! Let me know if you guys had any other attempts at this kind of frankensteineering

Thanks to strong sales of the Sony A7R II and A7S II, Sony has announced a 23% year on year growth in sales to catapult the company into second place on the market. Source: Sony press release

Hello everybody! This forum has been a place of great discussions. Learned so much. The most fun has always been to discover about obscurities and oddities, fi. regarding lenses like the 28 85 f4 Tokina flare monster. Or the secrets of getting 60p on European Lumix cams or the odyssey of a young filmmaking kid Zak with an obscure lens for his beloved Canon Ti. So much passion and possibilities of discovering things. All the great fun stuff beyond the ordinary 3 light setup for video interviews! I would love to see more of that from all of you great contributors! Thanks so much for everything and please keep the tasty tips n tricks n awesome ideas rollin! Hope Zak is doing great and chimming back in some day, if he likes to do so! cheers, Marty

I don't have the GH5 yet, but here's a wish list and things I wish my GH4 had done: 2.7 or 2.5K up to ~80-90fps, at 10-bit 4:2:2 Focus punch-in while recording Assign audio levels to one of the dials Let us choose which settings C1, C2 etc change, and which are sticky/global. So that we could for example change between regular and overcrank framerates without having to reset white balance, picture profile, etc. Let us choose which different options the Display button toggles through- for example I never use the Info screen (black grid with settings), and I'd love to not have to cycle past it when I'm trying to switch between the clean preview and the preview with settings. A smart UI overhaul that makes better use of the touchscreen- more smartphone-ey I guess. Like the newer Blackmagic firmwares- swipe to bring in different displays, etc.

Just hit the display button ... clean screen without the scopes. Bob

AFC in VFR mode V-log activation code by email Anamorphic desqueeze Full screen mode on the mobile app.

Well I don't have a GH5, but I can tell you from all the Olympus, Panasonic cameras I have owned and it probably total close to 10 of them, AF-C sucked on all of them. Now AF-S was pretty good on all of them. That has been my experience. YMMV. My Olympus EM1 was hands down the best focusing m4/3 camera I ever owned. It was damn good. But not great at AF-C.

Latest figures Ive found says youtube gets 300, 000 new videos every day from its 1 billion users. They also say that they get 300h of video uploaded every hour. The average length of a youtube video is 30-120s. So if we use 1.5m for the example I get the number 17.28 million videos per day. Instagram which is a much younger platform and only has 400 million users (grew from 90m in two years). They receive 80 000 000 photos every day. Does this mean that video isn't the future? No. But these numbers alone tells me that a company that focuses on stills in their camera. And priorities for example wifi over log isnt dumb and going backwards at all. I would say that they are adapting to current times just fine. Because from those uploaded youtube videos I would be very interested to see how many are log, graded, filtered, monitored through hdmi, etc. My guess is not many.

Well I must admit I had to go to the old innerweb to remember what the Hell was a "Atomos Power Station". First product I ever seen that has no specs to offer on it's website! Interesting. I guess you are Suppose to guess how much more time you have with it for the amazing low price of?? God I love railroad tracks! They looked awesome in the last part of the video. But Was that a Log or the final grade?? I know you didn't shoot it. And I am not surprised about the Free Resolve. They only do updates on it every year or so compared to the Real one you buy! But it is what I use, So...glad I didn't buy a GH5 then! Hell, I might to have...had...to...buy...a...Apple!! Jesus, I felt almost ill for a second or two! You know a Resolve Dongle and a Apple Dongle, sort of sounds well, obscene!

Hey Marty, here's another grab from 1080p 5D3 Raw with the Tokina 24-40mm... Sorry to the rest for the OT but I also kinda wanted to bump this thread... I need me some 4K ML Raw...

It's a Vlog for people who also live mundane lives, they see Casey who has a slightly better mundane life than their own and aspire to be like him I think. "Wow, that would be so cool to be Casey, imagine if boxes showed up at your house and you unwrapped them!", "Casey was poor like us once, I can relate to that!", "Look he has family he has to deal with just like me!"... etc. It is a reality TV program for the internet.

BMPCC upscaled to 2K. 90% is Lighting/Cinematography. 10% is stylised grading based on my BozBMDFilm to Rec709 LUT.

Hey folks. Last year I travelled to Sri Lanka for four weeks, hopping about the place and pulling all kinds of strange poses in the name of having a totally not relaxing vacation. But it's what happens, I guess. I edited together all the footage I collected and I'd love to hear any kind of feedback you might have. In hindsight, I wish I'd collected more footage, but I hope that doesn't shine through too strongly. Edit wise, I dabbled a little with the fast zooms that have become so commonplace in this genre over the past few years but wanted to restrain myself so to not go too overboard. The Watchtower of Turkey style isn't really my thing, as much as I appreciate it, but I wanted to steal a little of that energy films like this can generate. Cam wise, I used my Sony A7SII, GFILM colour profile, Canon 24-105 and an old Zeiss Jena 35mm that I absolutely love. No rigs, no stabiliser.

Not my work, but certainly one of the most "American" movies I've seen in years. If you live overseas and your vision of USA culture is what you distill from Hollywood, well, here's something a little more accurate to the world many of us grew up with: https://vimeo.com/96897402

"The popularity of key models including α7RII and α7SII has been paramount to this success." But I do agree, this is PR in order to inspire confidence to Pros for their upcoming release which I guess will target 1Dxii/D5 users.

So I went to Jessops today and to my surprise they had a demo unit of the GH5 running! I was super impressed with it. Body feels great, stabilisation is fantastic and the AF worked really well, at least with the kit lens. I think the image is stellar as well. And although it doesn't have the "beautifying" effect of Fuji, it does represent the scene quite well and I'm sure could polish up well GH5 with kit lens, standard profile (-5 NR, sharpening): XT2 18-55, Standard profile (-1 highlights/shadows, -4 sharpening): The rep was a nice guy as well, although we did have a long discussion about equivalence

I hope he was just testing his AF, because he's got some work to do on his exposure metering. Now c'mon now, haven't you been reading, AF doesn't work on the GH5.

Anamorphic desqueeze. No drop in exposure when using Shutter Angle for slow motion.

The Panavision DXL is basically a re-housed Red Weapon 8k, and their new "70mm" lenses in fact cover just a bit larger than FF/Vistavision. A few years ago they were developing a larger format camera with a 48x20.25mm sensor (52mm diagonal) along with a separate set of lenses to go with it, but issues associated with the custom sensor doomed that project.

Thanks but that's not 3K Raw. Just 1080p. I haven't tested the 3K Raw yet... YET! I did shoot a test for my short next week, but also on 1080p and with my new Canon 24-70mm f/4 lens. I'll send you the link in a PM because I don't want to keep bogging down this thread with regular ML Raw.

V-Log with an additional no processing mode (no sharpening, no noisereduction etc.). Just a clean output.

Hey mercer, we need you to show off more of that 5D3 3K Raw with the Tokina 24 40 now, but in motion! Hope you getting a Panasonic again one day:)

Freudian slip? The big issue is quality control in my eyes. They went too cheap in their production like the 600's and the 750's shutter problems and that backfired. Therefore loosing not only margins, but a lot of reputation and customers, too. edit: But hey, they were nearly dead in 2008, too, before they launched the lowlight king D3. They have allready a chance to come back, it depends all on the next bodies (take the new 7500 not in account)

This is the camera they are going to use. No it's not the GH5. It is the Iris one toward the bottom of the article. https://www.urthecast.com/sensors/

Is there any source to back up the statement that they have over taken Nikon? (The press release does not show this) Is there a source that shows number of cameras sold? (The press release does not show this) Is there any numbers showing how it usually looks since this is just for the first three months of 2017? (The press release does not show this) What would also be interesting is to see the FF vs Crop sales and of corse where the profit is? Either way its interesting news. I hope every single day that Sony will get their shit together. Because they deliver excellent still cameras. They just need to nail video and quality control.

http://www.slrmagic.co.uk/slr-magic-anamorphot-cine-35mm-t24-2x-anamorphic-lens-mft.html Is this an option?

Nikon needs to source their sensors from someone other than Sony or start producing their own.

The focus pull feature is actually the only time I could see not using manual focus...truth be told, the main reason I bought the Leica 12-60

In the wedding processional AF vid, the background is pulsing in the first few clips. In the last one with the same settings (AF speed 5, sens 3) it is pulsing less. I still think A6500 AF-C far superior for video AF. GH5 makes me think 3x about using af-c. It's not the worst thing in the world but it's also not consistent enough for "prime time". I'm not saying it's unusable, but it has a higher chance of not doing what you want it to do vs the competition. IMO you're rolling the dice when you use it. Maybe with firmware tweaks it will improve but there's only so much you can do with CDAF. I really wish they licensed or bought some of the other AF tech, that would have made this camera really great, like almost next level. I don't regret my purchase too much, it's got a lot of great features and the people I work with are really looking forward to the 4K 60p. Just wish the AF-C was better, that would have sealed the deal for them and avoided this whole controversy (although I'm sure we would have found something else to complain about, like someone said the audio is not seamless between long files? still have to test this myself).

No that is my Canon 16x19 photo printer. The Pro 100, they have the Pro 1000 out now to replace it. And no what I suggested was basically Last years most powerful, or close to it. A New Intel top of the line CPU, the i7 7700 cost around 350 Dollars. The top end MSI 1080 TI 8gb Video card is around, gulp 550 Dollars. There even is one that has 11gb on it. They cost 750 to 800 Dollars. Not sure that extra is really needed unless you make a living being a Colorist, Grader. The 1070, heck even the 1060 will probably be all you really need, if you don't make high end stuff all the time. And like I said above, you really only need 16gb of memory for Video stuff. But the extra 16gb or more is really not that expensive in this day and age. But you will not see much gain with more like you would if you were gaming. não há de quê

With the 50D at the widest I could go with and without the "wider" setup. Pic 1 : Canon 50D, Helios-44M 58/2, Ultrastar, +1 diopter, Rangefinder, Wide Angle Adapter : Pic 2 : 50D, Pentax 40-80mm (@40mm), Ultrastar YEP, the "wide angle" setup is actually tighter than the basic setup. It also a bit less sharp but shows less distortion (Which is something I like about wide angle anamorphics). Back to square 1 :p

Premiere CC 2017. With CUDA-support enabled so the GPU does lots of work in both real time and exporting.

My smartphone does all that as well. But many of us that are more than a little active on Instagram use our still cameras. They can also shoot raw, be edited in camera or phone after wifi transfer and then published. It used to be on youtube but now days its way more common for me to be asked on Instagram what camera and settings I use.

Man, you need to test it. Pretty useful. Who cares for full AF after then? A machine can't beat the man. That's the whole point.

But most of the younger demo is using smart phones to upload pics to share. I guess for video too. Damn, both are up a creek without a paddle. What these cameras need are better UI's then these menu screens with tabs and a laundry list of features. They need to fire the people designing this crap in every company, not just Sony. My iphone 5 can take great pictures and video, edit those pictures and video! and then share it on any messaging app plus upload it to youtube, vimeos, instagram, flckr, etc... Meanwhile, I'm here fiddling with my latest mirrorless trying to figure out how to take a 5s self-timer...

Well, like I said, I'm more of a luma guy, less a chroma dude. I'd much rather look at lighting that's dramatic than look at a flat over-lit scene with perfect colors.

Respect to the guy for creating a style. Respect for filming every day. Respect for using every available tool at his disposable and getting rid of it if it doesn't work, for putting himself out there and being so open to criticism. It's not my thing, it's not my genre, but I really can't help but have a lot of respect for the guy. It's always easy to dig on folks because they're popular, and a million times harder to get to that level. Casey represents one side of filmmaking that I suck at. Marketing, being inventive and making shit work if it doesn't go your way, finding solutions when it'd be easier to just say it won't work. I like that, and I'll drop by his channel sometimes to get some inspiration and motivation. It's refreshing to take a break away from conversations about bit rates and colour banding and things that aren't at all related to just telling a story.

I have to agree with @jcs. If you don't get skin tones right, and I mean close to dead nuts right, even in dark areas, you might as well scrap the whole project. We, as humans, look at humans first in any shot, video, photograph. It is an instinctive reaction. "Fight or Flight" syndrome. And men and women look for different things in the scene. Human Nature.

If that were true, why is ARRI considered to be right up there with Canon for color (some argue they have better color)? There is a biological, psychological element with color related to evolution. Human beings are very tuned in to color for skintones, on both conscious and unconscious levels. If the skin tones are off, we tend to notice right away- is the person healthy or sick, friendly or threatening, happy or frightened, etc. The concept of Uncanny Valley is also a factor: https://en.wikipedia.org/wiki/Uncanny_valley . If something is close to real, but off slightly, we have a strong negative reaction. So color needs to be right on, or very off (cartoon) to work well. Canon (and ARRI) know this, and if colors aren't exact on color charts, the reason is they are biasing for skin tone colors which will have the best positive emotional reaction from humans. Colorists make colors 'off' on purpose for emotional reasons, ScFi/horror etc.

So 18 mm vignettes on the XL speed booster and Sigma 18-35 @ 18 mm and not on the Ultra speed booster, but it really makes no difference as the XL gives you a wider FOV anyway, so it seems on the XL you would simply zoom on the Sigma until you match the FOV you would get using the Ultra speed booster...

I've ordered the Ninja Inferno. Expect some flog to be making an appearance here soon...

Yeah sure Jimmy, but they should have.

Shot this with the Sony a6000 and Canon FD 24mm 2.8 (at f/4). I don't even have my FD-E mount adapter, so I just attached it to my MFT adapter and held it against the camera body. I love this combination so far.

Hi guys, This is a piece about Slab CIty, about a very lon roadtrip I made and about freedom itself: I hope you like it

Here's a trailer for a short film I've been working on, called Homecoming. It's a neo-noir revenge film set in the mid-90's recession era Finland. We shot it on and off during the early spring and late fall of 2016. Originally we were supposed to wrap the whole movie during spring with one flashback scene shot in the summer, but we had continuous trouble with the weather and with the health of several crewmembers. I spent the first week of shoot on a high fever and was functioning on painkillers alone, and later when we were supposed to shoot the finale our lead actor became bedridden with measles and we had to postpone the finale to late fall. But now it's slowly coming together and it's starting look like an actual movie. The trailer is NSFW, it contains some extreme violent images. (Click CC for english subs) We shot the movie 95% on BMCC 2,5K EF, with some shots here and there taken with 5D2 ML RAW and Sony RX10 MK2. I'm using kodachrome LUT as the basis for the post-process, with heavy color separation and high midtone sharpness to give the BMCC footage an 80's film/RED footage kind of pop. A lot of visual cues are taken from Scandinavian/Finnish films from the 80's and 90's. The movie was mainly shot with Sigma 18-35 1.8, Super-Takumar 50 1.4, Samyang 85 1.4 and Tair 11A 135 2.8, with some special shots shot on Petzval 85 2.2. I often use diffusers and other physical filters but here they're used very sparingly, only on flashback scenes. Instead I went with self-made vignetters to shape bokeh on the daytime scenes to look like brushstrokes or scattered drops. The effect is not very obvious in the trailer as it focuses on nightscenes. If you have any questions about the process or the movie, shoot away!

Hi guys, I've been traveling around with my A7SII for eight months now. I started this trip in part to launch my career as a freelancer (at least when I make it back home) and also to travel a lot before life gets "real" (as I was already stuck in an office but felt it was too soon for that). This was the first piece I created when I was in Canada, and there are many to follow, but for some reason I never posted them here. Here it goes: Let me know your thoughts, Thanks for watching!

Great news ! I am finally able to get nice flares with the ultrastar ! I just put a cheap variable ND filter in front of the anamorphic and boom. Mind -> Blowned. (50D, Helios 44M, shot at iso 800, f/2 and 180°)