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Well I guess there is a time to just embrace that this is 2017, not 1950. The Digital look is here to stay like it or not. 4k is in, 720 is out. I think as a hobbyist I would love to keep the film look alive. But like I said, if I am trying to make a buck, put food on the table, I don't think a lot of cameras we associate with the Filmic look is going to cut it when you have to take any job that comes up. It has to be a later Sony, later Panasonic, later Canon C series, and yes even a GH4, and it seems the GH5 Has to be in the mix as they say. There is no going back. For fun a BMPCC, 5D mkIII, for money making a Sony A7 mkII, Panny GH5. Bigger money stuff, Canon C series, Sony FS5 middle ground price. Canon C100, C300 probably the best overall for a balance between Film look, Digital look I think hands down. The Sony's, well the low light of them damn hard to turn down, but the worse looking Digital look to me. I think Panny is in the middle. And overall price wise, I think, very hard to beat. For kind of serious modeling stuff, indie, short films the BM Ursa cameras Have to be in there. Price wise it has to be considered. Sony FS5 also. I like the Usra maybe better overall. But not as mature as the Sony Products. So that tips it in Sony's favor a bit. But showing up with a Sony will get you more jobs than the BM sad to say. Now I am talking about making a living here, not for a hobby, fun. Hobby, well BM products, the lower end ones, 5D mkIII way up there now with ML. Just my rambling thoughts about the industry as a whole if I had to do it all over again. Food for thought, and debate as they say. A add on here. I think Panasonic, what ever this New camera they are talking about NEEDS this damn camera. It has to be under 6k, maybe even less. They have a Big ass gap in their products. It has to be filled for anyone to take them serious. To be able to move up from a GH5. People are not going from a GH5 to a Varicam LT. Get a grip!! They are sucking hind tit for not having a AF100 product like in the past in their lineup. The CEO of Panasonic needs his ass kicked for ever letting this happen. I mean it! Stupid, just plain damn stupid. Sony has handed their Ass to them because of it with the FS5, Canon with the C100, BM with the Ursa 4.6. Hell even the JVC LS300. And no the Panasonic AG-DVX200 does not count. It has been a total flop for them. Lots of early problems with it. It ruined its potential even if they get all the bugs worked out. They threw it out the door too quick! It would be hard for me to buy one, even used. It is more of a ENG style camera anyways.

Working on a short film next week with a Panasonic Varicam LT! Looking forward to my first time getting my hands on it.

-5. I normally use a black pro mist 1/4 to help take the edge off. The UM Pro has the same sensor as the 4.6K so from what I understand its the same image, just enhanced features.

Yeah LogC has some pretty cool mojo.

Exactly...if the GH cameras have done a service to people who don't like them, it's that they force the competition to up their game with each release they come up with...and then Panasonic incorporates a lot of those GH features into their less expensive lines following their GH release....with the Varicam line the competition can only be healthy...and in the LT you now have a cinema camera cheap enough to buy new instead of rent...first cinema camera to do this....

That's cool, would love to see the Varicam really succeed. If nothing else, it's nice to see the high end not monopolized by 2 companies. Keeps everyone on their toes.

Lucky devil...please share your thoughts on the cam once you used it! Yes....more and more DP's are shooting stuff with this camera....and they love it....and without exception they all talk about the dual native ISO feature and that last shot they managed to grab with no light before going into the dreaded Golden Hour....and make no mistake, producers take notice when they get that last shot, without the crew going into double time!...Panasonic has entered the Cine Camera market with a very solid contender here...and just as with Tessla....who has just surpassed GM in the largest US car company holdings, Panasonic will and has taken the long view with the Varicam and they are in the game to stay...

5D RAW upscaled to 4K 5D RAW upscaled to 4K + a few XC10 4k shots and Blackmagic pocket cinema camera shots on the bus, and car dialogue scene.

I edit lots of H264 4k on a 2015 iMac 27 using FCPX. Using proxy and deferring Neat Video to the very last step is best. Also jcs had excellent advice about limiting use of Neat Video. If you haven't use proxy before, this will produce huge performance gains during the edit phase. Before the final export, you must switch it back to optimized/original, else the exported file will be at proxy resolution. That final export will be no faster but all the editing prior to that will be faster. However I'm not sure just adding 16GB more RAM is the solution. It sounds like a possible memory leak from either a bug in plugin or FCPX itself. Pursuing that is a step-by-step process of elimination and repeated testing, e.g, eliminate all effects then selectively add them back until the problem happens. Starting with 10.3.x, there is a new feature to remove all effects from all clips. So you can duplicate the project, then remove all effects from the duplicate then add them back selectively: https://support.apple.com/kb/PH12615?locale=en_US

I absolutely agree with you. They would have to clean their house. dvxuser, for example, is a shadow of old times. It is a problem of their business, their reps, etc. Not of their development department or engineering. It is a pity : ( Maybe they'll hire me (who knows? :-D) and their trouble will tend to solve but never by their own as they seem to think. It requires expertise, strategy and hard work. They simply don't look like to feel like.

Yeah but this bad press, deserved or not, about half ass AF is a REALLY big problem for them now. Even Panny fans are holding back, just think about people that are thinking about jumping ship, what they are thinking. This is Not a good thing for them, Panny. If Sony comes out with some new, better mouse trap, A great A7III, well it might be game over if this new camera that is suppose to come out is a 7 grand or more, and the GH5 AF sort of never lives up to spec as well as we would want. And the Low light, DR bragging has not really come to true like they said. They have a nice camera here in the GH5, great has yet to be proven! I can tell you it is not on my radar. No way. I will hold out to see what Sony comes out with first if I am buying anything new. And these Firmware upgrades are more smoke and mirrors than real benefits. 400mbs All-I is well, not what I would want, not in a body the size of a GH5. I can think of a better codec than that. It starts with a R.

This should work, from: https://forums.creativecow.net/thread/3/913091 "You can mimic the Photo filter effect in Premiere by making a colour matte with the same colour of the photo filter, super impose, set Blending modes to Hue and drop opacity to 25%."

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

Get all three. Its the only logical option here! Add the Ninja Inferno while you're at it and get ProRes and pristine monitoring for all three for only $300 per camera!

Thank you for double checking for me. Yeah the FZ2500 is awesome and to be honest with you, without the slow and quick function, the GH5 seems a little less intriguing to me... as silly as I'm sure that sounds. I think I will definitely wait to see how the summer firmware is before I buy one. D7500 here I come... and maybe another FZ2500... or maybe I should follow your lead and go with the LS300... I never used the dolly zoom, but I figured it was entirely some kind of digital scaling... or some shit... oh well that's easy enough to do with my slider.

I haven't got a GH5 buy, yeah, looking at the manual and online videos of the VFR it doesn't appear to be variable within recording like it is on the FZ2500 and their consumer camcorders that have that function. The Dolly Zoom would be out because its a combination of the optical lens zooming in/out and image scaling that requires an integral lens for the software to pull off. It *could* be possible on the few MFT powered zooms that Panasonic do I guess but it doesn't appear to be part of the feature set as yet. Its some camera that FZ2500 isn't it?

Stockings?

For $2000.00 I think I would buy a used Canon C100 with the DPAF in it to be honest. I don't really think we need 4k for the stuff the average person does on here. It's nice to have I guess, but it does not lead to any film look as far as I can see. Maybe down sampled to 1080p does, 4k eh, not so much.. And the C100 already down samples from 4k to 1080p automatically. So less work to do in post with it.

Only shortcomings by their own. I follow your fair concern but from your knowledge I'd risk to put my bets on your liking :-) We here must praise the potentiality of the gear, to learn with its limitations. DR is a way more limited on GH5 than processing there or the stupid AF mantra. People tend to exaggerate and lose accuracy on forgetting the right spot.

I'm not disagreeing with you but you could also argue a good DP will get a great image from a t2i or a Nikon D90, so it's only responsible as regular posters to this site, to acknowledge that the great footage we are seeing could be more likely due to great operators. For instance, if I had the same exact set up and circumstances as Luke had on his recent anamorphic video, with the same script and resources, more than likely my short would not turn out as well as his did. There is a craft to this and craftsman and craftswomen need to be applauded for their skills, IMO.

It's one of these "why am I like this?" moments. On the way home from work quickly bought a GH5 and a used Olympus 12-40mm. "No ragrets" Good point! Canon FD or Nikkor Ai-s are probably the way to go. I'll get a Zhongyi LensTurbo II for Canon EF next week for my Samyang lenses and I already have an F to EF adapter so maybe I'll go for the Nikkors, but the FD are so nice. Hard decision.

It seems 100% stable at 180Mbps with AF on. Seems 90% stable at 200Mbps with AF on (first try results in stopping due to card too slow error, then try it again and it stays running for several minutes, then I ended the test). Not stable at 220Mbps with AF on or off.

Well I think Panasonic logically knows that the GH series cameras are more for Amateur, Hobbyist users, so I think they Bake it in on purpose to make it look a bit better than it really is. Sort of what Olympus does with their photo colors, and even with their video now on the EM1 mkII.

I agree, when I first started getting more serious with video, I had the NX500... I tried getting it as flat as possible and ETTR... I learned quickly that ETTR is usually not your friend. It works great with my 5D3, but I haven't found another camera where it does.

Just got the card and tested it. I am comparing it to my Lexar 1000x 64GB card which struggles with higher bit rate stuff it seems. First the Lexar: 52053KB/s write, 86406KB/s read Now the Delkin card: 64990KB/s write, 89404KB/s read I have yet to try it out other than these tests, will let you know how it works. I was hoping it would be faster than the Lexar 2000x though which it does not seem to be.

Yeah I don't understand how they, BM, have picked up the pace as much as they have with just going from 4k to 4.6k? They sure did some good Mojo on their processing to make it happen that is for sure. They are like night and day.

Both the GH4 and as it seems the GH5 as well have a serious yellow saturation problem (and red clipping), so be careful while ETTR.

That's what I use as well. Damn, that really sucks, since my GH4 looks quite clean with it. The UM Pro has better debayering and downscaling than the UM 4.6k. Less artifacts, not by much though. UM PRO UM 4.6k GH5 (eww, reminds me of the hair actually)

Absolutely, just apply a curve and it looks great.

Done with likes for today, so here's expressing my public appreciation on your words, guys :-)

Yeah Fincher does have a "different" mix of both a Film And a Digital look to his later stuff. His films even have a different Cadence to others. I guess him and Brad Pitt are going for it again. http://www.vanityfair.com/hollywood/2017/04/david-fincher-brad-pitt

Wait, no 4K60p like that hyped 'enthusiast' camera? I'm outta here.

If it helps, here are the photos. The small ball head is actually needed to shift up the CoG a little bit, otherwise the Z (vertical) adjustment will be out of range and I won't get it balanced. A good thing about the BMMCC is that it has three 1/4" holes at the bottom, I can use two of them to align the orientation. You don't need to adjust the settings for balancing. When it's power off, it's not doing anything, balancing is pure mechanical. If the camera can stay at any position, you're ready to turn on the crane.

No... not in theory. The GX80/85 has 5 axis IBIS on the sensor regardless of E stabalisation settings.

Good one! : ) Nothing against this camera segment, on the contrary. There's room for new hybrid models, though. DSLRs sell less because of the consumers now from their smartphones. So, there's no one sole market per se. Sony has won the parade for several reasons not related here in this discussion. I don't think Sony has worked the hybrid market as it should be. As for instance, Panasonic. One follows the other one. Hence to be funny or ridiculous enough that AF hype or PDAF vs CDAF controversy as we wish. Sony leads on sales, right? :X The point is not to be unfamiliar with cameras I've become used to work with for the last quarter of a century. Out of curiosity, JVC GY-HD100 was a sort of open gate to the HD realm of my very own as poor man's HDCAM. Anyways. It is more to accept the media convergence has changed this industry. Not coming from there. Outside the industry itself. Only who understands that will be able to have more chances to survive. High-end is another ballpark, for sure.

Oh I am sure that is has not changed other than the cars and a few rules. That is what I love about Europe, it had Not changed! You are luckier that you think. You have to love stability over rampart progress any day. That is Americas downfall I think. No love for the past. Just go, go, go. Not a goal that can last very long. And not a very fun way to spend your life, always in the rat race compared to a laid back lifestyle of of my favorite city of Naples LoL. I know, you like Rome better.

Panasonic used to be known for their mojo, in light of being technically inferior in some ways. I've found most of the Varicam stuff to be quite nice. Seems like RED and Arri are so established that the high end nut is hard to crack, as opposed to the Varicam not being up to the task.

Yes you can overcome just about Any lighting condition as long as it is Consistent. That is the trick. Your VIP section sounds like a good plan. It is not going to be an easy task as you well realize. Just come prepared, that is 3/4 of the battle, be ready for any need. Big trouble is that having a very fast lens leads to OOF footage. Probably not as bad as it used to be when I shot, better higher ISO in cameras now help you out a bit. Heck even better controllable lighting also now. But you want to try to make it look as normal as it is. You are in a Dark restaurant, you Need to try to keep it looking that way. No easy task, but you are not the first one to have to shoot in this situation, Just take a deep breath and say it has and can be done LoL. Some restaurants have the ability to dim or brighten the lighting, you might luck out if they do. Positive thinking, a fair amount of talent, and a bit of luck thrown in, and you can accomplish just about anything. Words you just about Have to live by to make money shooting.

@AaronChicago Thanks for the downloads of the ungraded files. They're nice to work with and I'm having no problems using them with Premiere Pro on Windows - albeit with one curiosity. The colour shifts when I play the videos in the timeline! Again I must say the GH5 is comparing quite well. I do wonder if the light could have avoided being blown out if you'd underexposed a stop.

thanks for you opinion. I've booked the vip part of the restaurant + the ambiant light is very dim, I think it be easier. Thanks for your color grading advice. Can I find this warming filter on premiere? Strange, I think it'soversharpen caus I forgot to decrease the sharpening to 0 when shooting. But Nikon 1080p is a bit soft, I agree

Vid Atlantic is a pile of crap. Check Rapido, Raf, or rectilux if not Redstan. All 4 offer great solutions.

..and if you don't need the top handle, there are microphones on the body for reference sound! Battery life is mostly excellent too. Why to have one in dSLR form? The LS300 sells for less money in the US than the GH5 with the XLR thingy box on top and a good set of ND filters. There are a couple dozen of dSLR form cameras around to choose from.

Try to start with easy pan from A to B, sideways in straight line. Curve, move in/out from the subjet is always harder to shoot and stabilize. Then use the tracker in AE to stabilize frame by frame... And be ready to fail, a lot... That's part of the hyperlapse thing. Good luck

Man that Seal Beach October video looks great. Awesome color, good enough resolution. I wish JVC would put out a camera in DSLR form, I might be interested in something like this. But for the money, it's probably the best deal around.

Not bad at all! The last one mixed with Phantom footage for aerials.

Didn't check if the RAM is depleted when using Neat, but there ab-so-lutely is no real time, not with Optimized Media and not with viewer set to Better Performance. Render times are also the longest ever. I wouldn't use proxies for Neat, with noise being one of the things I wouldn't want to judge in quarter resolution. Proxies are better for multicam (you can check in preferences) or if you have to save disk space abroad. Otherwise (depending on CPU and Quicksynch or not) I'd use Original / Optimized. Note, that you can't choose to view one over the other once both appear in inspector under Available Media Representation. On the long run, ProRes will work better than H.264. If you are not only performing simple cuts. A few more basic tips: 1. Watch One Smart Collection To Rule Them All. Since this MASTER ACCESS collection lives in the new library, you'd have to create it every time anew. To facilitate this, I made an empty library with just my OSCTRTA, I call it FILTER (german for filter) and exported an XML. You can download it here. You double-click it to open FCP X. 2. Learn shortcuts, also those for navigation. See Editing At The Speed Of Thought for inspiration, and imagine how long it would have taken if he had just used the mouse. 3. Use the new workspaces. I made my own ones. I resized the windows for Organize and Color & Effects (scopes opened, viewer very big). I even made my custom workspaces the default shortcuts (cmd shift 1 & cmd shift 2), but that's a "hack", I tell you only if you can't stand to have to use the menu anymore. 4. Make your own shortcuts. Two I use very often are set volume to silence ("0" - zero) and automatic speed (conform clip framerate to project framerate, ctrl cmd r). 5. If you encounter any problems and you can't google them, send feedback to Apple. There are bugs, and there is no point in tolerating them.

Yeah it does. Kholi is creating a LUT for V Log. Here is the pre release version on this clip:

Example of backlighting with musicians moving in/out of light (really just an excuse to post this awesomely bizarre video from yesteryear): And the making of:

You can't just put the GH5 into a bigger body, slap a huge price on it and call it a day. I mean, you have the XLR unit for on top of your GH5 now and can use the Aputure DEC vND EF-mount as well. BOOM! Done. They also can't create a Varicam LT with the exact same specs in half the size and price. But to give it some proper production value the S35 is just about a must. It will especially help to more easily get some great dynamic range and lovely colors going for it, the thing we all expect to see out of a camera like that. Of course, it would also be one less reason for people to look at other cameras that are in fact S35, which kinda is the production standard. Should help with the crop and in turn to easier establish a shallower depth of field as well I guess (nice with S35/APS-C lenses, but I do see an issue here if it does in fact come with a native EF-mount, because... how are we supposed to speedboost fullframe lenses then??? So yeah, seems to me it makes more sense to bring out cameras with the shallowest mount possible for most flexibilty, E-mount would be ideal here, since that even adapts MFT, but you know...). So... I think dynamic range & color science is what people will really appreciate. Other than that, just to have something that's all-in-1 and covers the basic conveniences such as ND filters (evND?), XLR interface, more controls, awesome flip-out screen, long battery life, ability to run it offa external power, things like that. No more frankensteining with little cages and coldshoe mounts, external monitors, magic arms, ballheads and cable jungle. Just drop it on a tripod and hit record. Speaking of which... for a recording media it might be interesting to pull a Videodevices on this... see, they have the PIX-E5 recorder and use a so-called 'SpeedDrive'. They will sell you empty enclosures which house a mSATA drive and functions as a USB3.0 thumbdrive. You can buy like a Samsung 850 EVO 250GB mSATA drive for about 100,-. You'd just pop it in your camera and once you're done: fuzzless and speedy offloading onto a computer. The mentioned Samsung mSATA drive is rated at 520MB/s writespeed. Should be no problem for high-bitrate recording anything I imagine. Concerning that, I'm guessing this will write away files similar to the GH5, but can do it all internally. So... you get that 4:2:2 10-bit 60p at 400Mbps and FHD slow-mo at up to 180fps. The big difference? It would additionally support RAW output to an external recorder, though it would of course be great if they could manage that internally or give us internal ProRes. Just... probably not. Anyways. Legit reasons to get one, but no groundbreaking ones. It wouldn't really be innovative or do mind-boggling things. But it would be a superb step-up for people with GH-range cameras. Because that's always been the question... where do you go from a GH-camera? But then it all comes down to pricing... they're not suddenly going to sell a ton of these if they're exactly in the range of Blackmagic/Sony/Canon/Kinefinity/2nd hand RED/etc... these are systems that will get you far north of $5k, more like 10k once you're fully configured and accessorized. If it does nothing that hasn't been done before... why bother at all? That's where the price comes in. If you're a small production house, maybe just a single dude or dudette doing his/her thing, 10k is quite a stretch to up your productions from the GH5 to something with a little more oomph. It's far more likely to get people looking for a step-up from their GH-range camera interested in something like a JVC GY-LS300 or something 2nd hand perhaps. But... if you can get a camera as described above... for a little bit more than say the launchprice of the LS300 or DVX200, so perhaps 4995,- then I forsee a bright future for it. So for me, I'd be pretty stoked to see, whilst being fairly realistic about it: S35 sensor with great dynamic range and color science a fairly compact professional body with ND filters, XLR interface, plenty of controls and easy navigation/menus GH5 resolution/framerates, all capable of being recorded internally RAW output $4999 Like an AG-AF100 successor with 2017-like Panasonic specs. A mash-up of things I like about the JVC LS300 & Panasonic DVX200/GH5/AF100. Not a hardcore cinema camera, more something to use as a production camera, where the GH5 would start to feel a little out of its element. Still great options with the GH5, though. And it does have that 5-axis B.I.S. and all that good stuff that makes it the most perfect B-cam. They should compliment eachother rather well. Should this come in at 6999-9999, well... tough...

@webrunner5 It's good to know, too bad I missed an opportunity to buy some shares, I could influence the production of a LS500! In my mind, the whole LS300 project is the more impressive if JVC created this very interesting little camcorder completely on their own. Canon mkII is an amazing workhorse of a camera, but except dual pixel AF has nothing groundbreaking in it, the aforementioned LS300 has more groundbreaking features (like variable sensor, prime zoom function, various streaming video capabilities and a few more) than the C100 series. Canon is starting to age, the industry moves to 10bit workflows, HDR, need more frame rates, and 35Mbps (even though they seem like a much more robust bitrate) doesn't cut it in 2017. People already start talking about 8K, and C100 has not even has any 4K. Even if only had the internals of the GH5 and a few more, then it would already be more interesting than the C100. We discussed this before, GH5 is a video orientated mirrorless camera, has nothing to do with an entry level cinema camera, they are vastly different markets. I can't see someone that just gave 1999$ for the GH5 and use his old 12-35 2.8f lens and his old batteries, to worry that much for a 6000$ camera that probably can match with the 6000$ 18-80 CN-E and have a killer combo for most things. Although, I can see the opposite to be more possible, someone that just gave 12.000$ for his new Panasonic and CN-E, can easier spend 2500 for a nice kit that can use as a B cam, and his personal all arounder. This seems like the sensor incorporated on the JVC http://www.altasens.com/images/AL41410C-PF0476-10.pdf It is really interesting to see these frame rates and resolutions in 2014.