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A rather quick edit of a short sailing trip in The Hague: Again I am really satisfied with the quality. The Summilux really sings. Stupidly enough I did not bring my field recorder so I had to rely on the built-in mic of the GX80, which I only could use in the beginning. The lack of a mic is is really annoying me, my next camera really needs to have have a mic in. I even considered checking out the A6500 but gave it up quickly after hearing about the dimmed screen issues.

post stuff!!! ?

Jean-Baptiste Marcant shared these stunning shots of Rome. - Resolution : 3072x1024 px - Bits : 14 bpp Lossless - Aspect Ratio : 3:1 Also, lostfeliz on ml forum says that hdmi out monitoring is possible on higher res without lag for focusing but you only get 40% of the image on center. They were wondering if it might somehow be able to pan the area to get focus on other parts of the frame. (http://www.magiclantern.fm/forum/index.php?topic=19300.575) If anybody else wants to chime in on this development or where the experimental builds are in terms of preview on the higher res modes...

People had way to high expectations about this camera, not only because the hype Panasonic started but because of rumor sites and potential buyers upping the hype. 10bit 422 is great but it's not some magical feature that will make everything you shoot look like Alexa footage. Messing up on 10 bit will hurt almost as much as messing up on 8 bit. Future 400 Mbps update not considered. Judging the camera for what it is, my first impressions are great. Im sure it's going to be a real workhorse just like the GH4 is. Edit. Forgot to mention something about the autofocus. Personally I don't use it but sure, it would have been nice to have. If you need world class leading autofocus during video recording then look elsewhere. Panasonic might fix it with firmware, or not.

Switching from Premiere CC/Resolve to FCPX is the best decision I ever made. Over the last year I must have saved at least six months in editing and render times (Btw, today I downloaded a 30 day trial of Capture One Pro 10. Took me about 20 minutes to realize that it's time to dump Lightroom as well. So, "Buy buy Adobe. Loved you from CS5 to CC but you have lost the mojo.")

I was planning on doing a more in depth test, but I only had a few minutes to spare during a shoot to compare the two cameras with our actress. GH5 Settings: UHD, V Log L 10 bit, ISO 800, 24p, Sigma 18-35, shot at 28mm f4 using Nikon Speedbooster. Ursa Mini 4.6K Settings: UHD, ProRes 422, ISO 800, 24p, Sigma 18-35, shot at 28mm f4. Grade: I started with Comet Color A Side for the UM46K. Added a bit of contrast and saturation. From that point I tried matching the GH5's color/exposure to match. Lighting was mixed conditions. Her face was lit with a Quasar Science 5600K LED tube + natural daylight coming in the window. Background lights were running at around 2600K. Walls are a greenish yellow color naturally. password: test

I was watching that with headphones on. I'm sending you an invoice for some new underpants.

unrelated - but the first two pieces on your vimeo are gorgeous - is that the ursa mini? and what are you using for lenses and grading? really impressive stuff Aaron! i was just in chicago like 4 times this year - we should meet up!

Same

The highlights are definitely a huge win for the UM46K. @Cinegain you're right about the yellow/orange. I made it a point to not key out sections for adjustments. If I were to key I would fix those 2 warm lights in the back to be less green/yellow. Her face stays pretty neutral which is good. Overall I really like the GH5 though. I imagine it will even get better with the bitrate increase at 10 bit. I should be able to upload the raw footage later if you guys want to test it out for yourself.

Yeah, seems the GH5 is still struggling with yellow/orange/green, which it always seems to exaggerate, especially at somewhat higher ISOs. The BM is much less biased... a whole lot smoother in the tones. Still though, not a bad job by the GH5. With very slight corrections you can beautify that shot quite easily. Skintones on Panasonics have come quite the way, I must say though, quite the improvement there.

At 2K you'll be giving up the full frame benefits for a miniscule increase of pixel count (I deliberately don't say "resolution", it is likely you won't get true higher res at 1:1 2K as 1:1 puts much higher requirements on lens sharpness). It is almost certainly better to just upscale 1080p to 2K.

Why not just be happy to keep the A7S rather than waste emotional energy "wanting" a sports-journalists still camera? The A7Siii might offer more of what you require for a video upgrade but until then you have a camera you "love" so it's a good place.

Exactly. Many expected to see fairytales and elves on OOC 10 bit footage, but the real benefits will come after summer 400 mbps update & will be noticeable only in post. BTW i saw a comparison with A7S ii (since this is a Sony vs Pana thread) where you can already see a benefit, even with 150 mbps on a sky gradient. I am still waiting for a proper comparison between A7S ii & GH5. I consider these 2 as the only viable and future proof options in this specific form factor for independent cinematographers right now. Edit. Plus XT-2...(sorry Fuji...)

I don't know if this has been shown. Plz delete if it has.

I'm not sure...even on the GH4 I had little problem and the GH 2 which I still own, has an Image I love...but as you know, taste is subjective...I love the image from BM but their earlier 2 cameras were ergonomically impractical IMO...stunning image though....Panasonic color I will take over Canon or Sony any day (except for the Sony F35...which I think has the best digital image of any camera today, including the Alexa)...my only interest is in narrative...I need certain reliability factors satisfied and in my work It's my taste and look that counts...that's what allows me to tell a story...be it 30 seconds or 1 hour....but that's the beauty of today....so many choices...one really can't blame the cameras any more....when I started working in the industry you shoton an Arriflex S35 film camera or for handheld on the shoulder an Aaron S16 film camera...those were the choices and the process was horrendously expensive and really only for the select few...and what you say about the GH cameras is true, but for me (only my opinion) it holds true for all cameras today...far more crap shot on all of them...yet put any of these cameras in the hands of a crew 2 to 3 to operate the GH x or A6500 and lighting and production value and I can guarantee you, you would not know what camera you were looking at...so personally I try to look between the lines when choosing my cameras...but finally...nobody's right or wrong...just different taste and abilities....

Just... people have been begging for high-res and keep hammering down footage has to be sharp and detailed. Yet... they end up loving soft smeary Canons. I takes getting used to. Also, you need to know your camera and grading, you can't just buy an exceptional camera and expect yourself to become exceptional by ownership of said camera and get stunning results. It's all in the lensing, lighting, motion and what's in front of the camera. You use it as a point-n-shoot camera? You'll get point-n-shoot results. The quality of results is enhanced by the quality it shoots in. Miss an inch of focus on a GH5 and it's cringe, because it's so noticeable. Do the same with a Canon and you can hardly tell, because it hardly resolves with the same kind of precision. Don't know if a lot of footage out there is from people new to the system, being done with either Canon or Sony, or upgraders from previous iterations of Lumix G cameras. The former group probably still struggles, the latter should in meanwhile know how to make it work by now. Noticed Albert got himself one! Now that will be an exciting channel to check back to if you like nice looking footage! That last shot is so dope!

In 2017, it's definitely not the camera. It's the user. All of them can deliver great results, if you make it so. I've seen A6300 footage which at first sight I though was RED footage (these users happen to be very skilled). The GH5 will have crap loads of poor footage out there. It's price is very accessible and amateurs will be pushing around Vlog like you would an elderly person on the edge of a cliff. The GH5 in great hands will be a monster. I'm absolutely astounded by the 4k image from the A6500. I shot a paid music video project using only the A6500 and the 18-105 f4 in autofocus and absolutely no other gear at all (to see what would happen). I think you need to put the camera (and yourself) under pressure, it forces better results. This video might be out this week.

Wonder if a trend will develope with rental houses where they will be renting milk crates of fully charged vlocks and one will have the bliss of true silence while shooting away from AC sources...Aperture just released a light (300D??) that they claim to be equal to a Joker 800 or 2K tungsten...whether there yet or not, this seems to be where the future of development in lighting is going. Owning and maintaining that many batteries seems impractical and expensive though...and a lot of work if they're sitting idle

On the camera front yeah. Two things I'm super excited about are the Teradek iOS wireless feed, and the Aputure 300d.

New Pilotfly H2-45 Gimbal. Up to 4.9 lb (2.2 kg). Probably $999 like the H2. https://pilotfly.de/epages/777c6180-f31f-4700-a505-78d08d790bfc.mobile/en_GB/?ObjectPath=/Shops/777c6180-f31f-4700-a505-78d08d790bfc/Products/000012&Locale=en_GB Unboxing : https://m.youtube.com/watch?v=Ubl0hYcuPo4 IMO, this is huge if you don't use an external monitor ! Should be available next month.

Nice, I didn't even know I could do this! The nice thing about Capture One is that it shows a preview while scrolling through the LUTs/ICCs, with Lightroom it seams I have to select it and then push perceptual and then relative once again. But at least now there is no need for photoshop anymore and your previewer program works great anyways! ( though an addition that I would consider is to have a some form of gallery with different LUTs like is shown here).

Yes, as printer profile in Develop tab (it's called "Soft Proofing" in english if I'm right).

You can still get your hands on Samsung batteries all over the place, why do you need the third party ones? They are cheaper for a reason. Stick to big brand names like Watson for example they put the proper real mAh capacity in their batteries, Chinese brands usually just put half of what they advertise.

I just tested the ICC profiles you sent me with Lightroom CC 2015.6 and it works. I copied the ICC file into: /Library/Application Support/Adobe/Color/Profiles/Recommended Then we can use it in LR, but we can't adjust intensity. Nice alternative anyway

Yes...but the shipping cost for the one Pannyhvs posted was $850!! ...that seems to be getting on the extreme side of shipping costs!...and that price seems too good to be true also!!!...as it has the high speed license and everything!

Damn, that looks awesome!!! This may be my favorite of your videos Jase. Great shots + great edit + greay color + great music = cool as shit video!!! Are you still using Standard with everything dialed down and FilmConvert to color?

Also, in your posted video one can see this: with ultra wide lenses the effect on perspective and z axis is strong when changing crop.

You can use 4K crop mode which ends up almost the same crop as GH4 4K and is still actually 4K (or so a few of my friends have said).

Way too hard on yourself. The opening shot with the light effect works brilliantly. I really thought it was a moon time lapse. Very interesting stuff, with some great low budget pointers I'll be stealing.

Thanks. This video shows the difference in crop. So I guess you get wider with native lens that were designed specifically for MFT.

Great price!....but hello!...look at the shipping costs!...there is a scheme afoot where one pays the shipping (usually very high) separately on an item with too good a price to be true...you pay everything....the camera never shows up, and you are refunded by PayPal...but the cost of shipping is gone?...of course 5000+ hours on this one rather than the 1060 on the one I posted above....who knows??

They should work but probably nothing wider than 25mm. With the GH4, G7, GX85, G85 you could go as low as 12.5mm with some 1" c-mounts.

I have been using these more for grading photos than videos recently. For the longest time I was trying to find a way to use it with Lightroom without the need to roundtrip to Photoshop but I did not have any luck. Then I gave the Capture One a try and I managed to convert the LUTs to ICC profiles that can be loaded in the program. Success! Now you can easily add these LUTs to your photos although you will loose the ability to partially add the LUT or use any camera specific ICC profile. Here is the link with the compiled ICC files: EDIT I just figured out I shouldn't share this since it was Benjamin's LUTs. @benymypony I sent you a link with the files if you want to add them to your drive folder.

If you ask Sony, they would likely say that the A9 isn't designed for you and the A7sii is the current camera they would want you to upgrade to. I am not sure there will ever be an A9s or if there is it will sell in much smaller numbers and therefore be even more expensive. There MIGHT be an A9R (probably will be even though maybe not until the dust settles from the A9). I would think there will be an A7siii before there is an A9R though when that arrives, who knows.

Thanks so much for the great test Aaron!

This is what it looks like now with a Rode shotgun mike, Cage I bought and the dreaded Dead Cat! 14-140mm on there also. But yes I think it might look a lot like the old AF100's did. Why not. It was a pretty good design. But looks like they may have moved the ND Knob?

Since I mostly need gimbal for low angle shots I am more interested in a setup like this: I feel it will be much more comfortable than holding the provided vertical grip upside down and I am sure it can be done with the battery base. Anyone has experience with a setup like this?

@Ian Edward Weir, that's why you have a collection ;-) ... There are no perfect lenses, every lens his own character. Perhaps I will have also a few collected in the future to play with. The Kowa 35C 1.5x for sure.

I was thinking about moving to Resolve, some time ago, but it didn't have some of the features I needed for editing. Premiere is unstable sometimes, but Resolve just didn't offer the features. I'm intereseted if it does now. I'd really appreciate if someone could give ma an answer about these things: 1. Does Resolve have decent audio features like compressor, limiter, expander? 2. Does Resolve have saveable presets of effects, which can be dropped on clips anytime? 3. Customizable keyboard shortcuts? 4. Customizable window layout? 5. Maybe keyboard shortcuts for applying effects or effect presets? (Premiere doesn't have this afaik, would be a very welcome feature for me)

The AF even in that video compared to the Sony stuff shows it's still pretty behind. Maybe if they tweak the algorithms a bit they can improve it. The Sony is really smooth whereas the Panny stuff is kind of abrupt, especially when it does the in and out when it finds focus. The Sony of course is not god like all the time, especially at night, but when it works, it works so well you don't even notice it, whereas with the Panasonic you can tell the camera is doing something.

@Andrew Reid "An extra step though it might be, transcoding to ProRes in that is 100% necessary for Mac users wanting to edit in Premiere but for Windows users the situation is worse. ProRes isn’t supported out of the box and most of the popular transcoding apps are freeware solutions like Rocky Mountain Movie Converter (*shudder*). They’re nowhere near the level EditReady is at. EditReady is the best $50 I’ve ever spent.". Hello Andrew, (copy of nearly same message in another news comment about another Davinci Reolve 14 subject, i apologize) I made editing on my Windows 10 laptop with Davinci Resolve 12.5 and i work with Prores video files without the need of Quicktime 7 Pro (obsolete now) . I transcode mov files from Canon EOS with ClipToolz convert, a robust well fitted video trancoder to get HD Ready smallest files in Prores. There is a free trial version od ClipToolz 4.0, and they have a bunch of high quality freewares ! It could be nice to correct your news for your followers working with Windows. CLIPTOOLZ 4.0 (PROFESSIONNAL VIDEO CONVERTER FOR WINDOWS) http://hdcinematics.com/why.html http://hdcinematics.com/ FREEWARES from same company http://hdcinematics.com/freeTools.html The best $0 I’ve ever spent, i got a free copy of ClipToolz V2. An the new V4 is 20 $. Best regards

Dracast is releasing these bi-color 1x1 v-mount flexible leds cri and tlci of 95 for $199 and a set of three for $499. Exciting lighting options for budget filmmakers coming out of nab this year. Great times for doc and indie shooters.

This. Those of you who are still ragging on FCPX based on the release from 2+ years ago owe it to yourself to try it again. There have been many, many improvements in a series of major releases since the brouhaha of the first release way back when. If you can get over fealty to past models of nonlinear editing tools, you may find that it's much more efficient and speedy than other nonlinear editors (especially when it comes to Pro Res codecs). And with the addition of the Color Finale plug-in, you have an amazing color-grading and LUT tool that makes up for FCPX's biggest weakness: that awful color board. I haven't tried the latest version of Resolve, but I will give it a go on my next personal project. But I have used Premiere and agree with Andrew. It's just a kludgy P.O.S.

Seems to be a pattern where people hate it, dismiss it... then try it, and slowly fall in love. If I had a mac, I'd be all over this, especially for smaller gigs.

For pros turning jobs around FCPX is the bees knees. It's the Canon of the NLE world in many ways - easy to get snobby about its tech specs but in real world use its super reliable, straightforward to use and performs fantastically where it matters. For factual content and solo filmmakers it's a dream. The filmmakers you see using it are the ones consistently putting out content, not those dissecting the latest greatest tech. Its fast, gets out of your way and lets you focus on the storytelling. Nobody should be writing it off as a top contender for any reason now, especially not solo filmmakers.

Nothing can beat FCPX for me. So easy and fast to do what I want. Time remapping is the best of any software and I use time remapping all the time. Who cares about Native lut support when you just need Color Finale the best grading tool ever with way better integration of LUT management than Premiere native shit. I am not saying Resolve is shit. I used FCPX then switched to Premiere for the After effects integration. Switched back recently to FCPX and it's just that much better. Tried the last year Resolve for a project. It did not work for me

Still can't believe that sooo many people bought the marketing BS of Adobe when FCPX came out! FCPX was re-built from the ground up, and yes it took a few months to get all the kinks out, but once they did it proved to be one of the quickest NLE's that i've ever used. I remember when I first started out I kept wishing that the NLE i was using (FCP & Aivd) would do things this way or that way, because it was more logical & would speed things up - FCPX made all those adjustments a reality. FCPX is not iMovie - pure & simple! Premiere is like going backwards in time now - clunky, awkward & just not up to the job. The only reason I can see why people still use it is because they pay the monthly subscription for AE & PS! Really want to use Resolve for grading....

I've been using resolve on and office the last 6 months - I definitely think it's better than Premiere (which I find to feel a bit ancient in terms of it's usability and UI). I saw in your post you haven't tried FCPX in a few years.... do you know the version available today is much much much better now? Give it a whirl! I like the way Resolve is evolving and some of the features are unique (grading, audio editing, CDNG), however because I find FCPX so much faster and enjoyable to edit with (like the Magnetic Timeline 2) - when I edit wth Resolve I really miss the modern fluidity you get with FCPX. Resolve really needs more plugin support from third parties, plus a few cool tricks on timeline editing to challenge FCPX's "scary at first, but really awesome new way of editing". That said, Blackmagic are probably the most interesting and exciting video/film industry product company in the world right now. Top job.

Has anyone proven that EditReady 2 encodes the GH5 10 Bit files?