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this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.

I have quite a few headphones, 'cause audio is my day job. Sony 7506 for musicians when I track bands, now superseded by a cheap chinese knock-off (sorta), AKG K240 for my own pleasure, tha upmentioned Superlux models for mobile mixing, a few earbuds. You don't need more than a pair of headphones if you know them very well. To a newbie I still stand my case, one pair of open back, one pair of closed back. You get to listen to your mixes with two very different systems and once it sounds good on both of them you're golden. Re the 7506, now that we have so many cheap models available I just can't justify spending that amount of money for a pair of headphones, considering how bad they sounds for sound fidelity listeting. That's of course my own personal opinion. AT M50 are kinda good sounding, albeit a bit too "modern" for my taste, but much more balanced than 7506s.

I disagree. If your intent is to make a narrative film or documentary, I would say the cameras used to shoot the films at Sundance is a great barometer. Now it doesn't mean the films are any better because of it, but it does indicate that the Canon image is still appreciated amongst the upper echelon of the Indie film scene. Or at the very least, it's not a distraction. This post is about choosing between the GH5 and the 5D4. Omar is obviously impressed by the Canon image, he has stated it multiple times. I was merely expressing one of the reasons why I decided to go back to Canon and why I believe the 5D4 may be the better choice. With the imminent C-Log update coming out in the near future, I would say the feature gap is even closer now. And in some ways... crop factor, color, AF, FF stills... I could contend the 5D4 is the better choice. You could contend differently and you would probably be right also.

This is nice, but will be inferior to my new LUT, on which I am working - the Western Union LUT, which will make all footage look like the majestic 70mm footage from David Lean's classic Lawrence of Arabia. Payment will be accepted by my uncle, Karim, behind his cafe in Luxor.

Agreed...but this is of course huge for them as a business and it's almost impossibly hard to satisfy everyone....if not AF it would be the "videoy" look (will Webster adopt this word into it's dictionary) or lack of DR or poor low light ability...as a business one has to pick your battles...personally I strongly doubt that they can beat Canon's AF system with a FW update, but again personally I prefer what they put in the camera as is...but then...many others disagree...well, we will know soon enough how well the FW update does. our friend on 3 men and an elephant just did a quick review of AF on his GH5 and seemed to find it quite acceptable for his use.

I almost preordered the GH5, but then @webrunner5 posted a link to an article that did a breakdown of the cameras used at this year's Sundance film festival. And you know what, the overwhelming majority was Canon... everything back to the 5D2. Within the same hour I happened upon a 5D3 ML Raw video and to this day I haven't seen one video from the GH5 that looked even remotely as detailed or cinematic. Since getting my 5D3, I have been more productive than I've been in the past two years. Meanwhile, I have also wanted a camera that has a little less workflow needed... even though 5D3 really isn't that big of a deal. So I recently purchased an FZ2500 for a very specific project I'm working on this summer. Yesterday, I messed around with it for a while and although it's a fun camera with insanely cool features, for a point & shoot, the color just doesn't look right, and more work is needed to make it look good, for me anyway. But it's still perfect for this project, so I will end up keeping it, but I think once I am done with that specific project, I am going to sell it and just get another Canon for smaller, quicker projects. Anyway, my point is that a lot of people complain about Canon and rightfully so, they deserve a kick in the ass for dragging their feet, but in the end, even their oldest of cameras still look pretty good when shot and handled correctly. Their newer cameras, even at 1080p, look plenty good enough to my eyes and the tiny screens my work will be seen on, so I may just forego 4K and go back to 1080p. Hell, there are even a few M5 videos popping up online that don't look horrible. So unless the 6D2 comes out with great features at a fair price, I may be going the M5/M6 or 80D route for my smaller projects. Now I'm not saying other people on this forum shouldn't get a GH5. It's an AMAZING camera with plenty of examples of great work floating around the interwebs, but you will not get Canon color straight out of the box and you will not get comparable AF. So if those two features are important to people they should be told there are other options. And even though Canon drags their feet with features, their cameras still produce beautiful images and this year's Sundance film festival proves that. Now to be clear, I am not advocating that everybody should go out and buy a 5D3 for ML Raw, all I am saying is that I needed to realize who my audience is and what my skill set is and for me Canon, or maybe Nikon, is the better path. If I didn't have the money for a 5D3, I'd shoot with an 80D and still be happy. If I wanted more features, with more lens options, I'd get an EOS-M5 or EOS-M6. YMMV. DISCLAIMER: I don't know ? and people should do their own research. I am merely sharing my opinion based on my experiences. I also reserve the right to change said opinion in the next sentence... Wait for it... The GH5 is the best camera, with the best AF and color. ?

I don't have a GH5 so I was drifting along reading that. And then he mentioned a new version of the LX100

If I'm understanding what you want to do, set that for AF On. Then when shooting, everytime you push that button in MF mode, AF will kick in to give you either a starting point, or if you want to get the lens to AF while recording. I don't think it will be constant though.

AFS (not AFF) must be selected both within the camera setting in the menu and on the external AF switch. If the menu setting is set to AFF or if the external AF switch is set at AFC, the manual focus override won't work.

Doesn't every camera which shoot raw stills is capable of delivering raw video? It's more or less just a straight data dump to a media card limited by interface's speed. If so, GH5 is capable of doing it and why not all manufacturers enable it? Canon is not the only one holding back this feature!

Yeah the XC10 was almost there. It was a joy to shoot with, even with its issues. The 4K C-Log was insane but again I didn't love the small sensor. I think I just like bigger sensor cameras with interchangeable lenses. Now if I can find an XC10 for less than $1000 used, I may pick one up again. I would love to shoot Canon 4K again, but everything is out of my price range. Here's hoping for a 6D2 with 4K... and C-Log... and focus peaking... LOL.

If it's anything like other Panny's then make sure you set the AF/AE Lock to just do one touch AF... I forget what they call it. And then I always leave AF+MF enabled.

I agree completely with Mercer on this....if the image out of the Canon is what you love, then the workaround to push a GH 5 to look like one, would prove laborious and unnecessary ...I'm of course on the Panasonic side of the spectrum in taste, but that's really irrelevant to your question...there's really no right or wrong...nothing more complicated than subjectivity at work here....the answer always lies in what you're trying to say/do/express with the camera, that's really nothing more than a tool...the more the camera gets out of your way, the better your project will turn out...I would never dream of buying a Canon or a Sony, which I would then grade to get it to look like an image from a GH5....

Just curious, why do you want the a6500? I had it back in January and although it's a great camera, I got the dreaded overheating warning in 45 degree weather. It never shut off, but it was too much of a red flag for me. Did you know the Zhyiun Crane can carry the weight of the 5D3... so I assume it would work with the 5D4 as well... just saying.

Exactly Ken!...and what I'm really liking about Panasonic's approach, is how they are treating the GH5 more as one of their pro range cameras...the camera came full of features, but even more importantly, full of yet untapped potential as more advanced FW is being developed for it....as is ongoing with the Varicam LT and actually also years ago in the private community on the GH2...and as Panasonic's releases are far less frequent (a philosophy I find far more sustainable than the "I need a new IPhone every 4 months" insanity) that we are now seeing. This model of constantly upgrading the Flagship camera, while at the same time trickling some of the pro features in the GH cams down to the less expensive later cameras that follows, gets my loyalty to Panasonic.

Even the Metabones has a play in it. Jordy from Cinecom (YT channel) claimed that few weeks ago, and duct taped the mount as a fix. From personal experience I can recon Zhongyi - Mitakon Lens Turbo's, the IQ is great and comes in affordable price. However, mine had a really small play in it. It was a problem only when I was shooting anamorphic, otherwise, I loved it.

Well then if that's the case... the 5D4 could be epic once the C-Log gets implemented. I wouldn't care so much about the crop, personally, but I understand why it could be an issue or a concern to others. The RS raises a red flag, but if it's exactly like the 1DC, then who cares. If Eli Roth didn't mind it, then who am I to care? Man I hope Canon does an about face and includes C-Log in the 6D2.

I think the new Tamron 10-24 would be a great "16-35mm" equivalent as well with the 5D IV. https://www.bhphotovideo.com/c/product/1317273-REG/tamron_afb023c_700_10_24mm_f_3_5_4_5_di_ii.html Pair that with a sigma 18-35mm and you have a really solid kit shooting a high bit rate 4k. I have found a very significant different in my MJPG 4k because of that 4:2:2 codec. Its great...once you transcode it... Bro, I LOVE your stuff here. Amazing. It's unfortunate to me that the 1DC isnt as widely used. If people just changed their thinking of it to a proper CINEMA camera, like an URSA mini, Alexa, or RED...they wouldnt be complaining about the higher bit rate recording or lack of AF. Knock, knock was 100% shot on the 1DC. You can see it on Hulu I think right now.

^ And likewise, in other ways, you could contend that 4K, IBIS, internal 10 bit etc. makes the GH5 the better choice. Oh, and the GH5 is no slouch shooting stills, but of course we're talking video here.

Looks like it dips when its stopped having to do anything when the pan ends? From the zoom test - which you should be able to quickly do yourself and see on the 10-24mm - you'll see that its at fairly set transition points that it changes the exposure. I'm wondering if a possible workaround for what you are having a problem with right now is to just tweak the focal length a few mm and try it again so its corrections aren't passing through these transition points? Its a long shot and probably won't work but doing the zoom test should let you see where the transition points are and have a go.

There was some discussion about this in the XT2 thread. You may be seeing in-cam lens corrections not keeping up with what you're shooting. I've noticed it a lot when zooming or panning in the midday sun when out sightseeing. This happens shooting full manual. I use the 10-24 and 18-55 a lot and they both show this behavior.

People need to stop saying MLraw workflow "isn't simple"... it's as simple as any other camera I use and it edits on my computer better than h.264. Only thing I think sucks about MLraw is the fact you don't get previews playing back in real time and with sound in camera. That's the only thing that really sucks for me but it isn't a deal breaker imo. Here's a quick video we just did with GH4, GH5, Gopro, MLraw. (MLraw was normalised to rec709 to better match other footage). Almost wouldn't matter what we shot it on, only Gopro footage stands out to me a bit. Password: 123 Not sure if I would buy a 5DIV right now unless I wanted the crazy autofocus or good stills, but I think it would still be a nice camera to have if I could afford one. GH5 is a more versatile production tool for video though I think.

Yeah, it's when someone makes perfectly understandable sentences and then ends with the note *sorry for my bad English, I'm from <insert country> *, lol. Again: it's all good, we're only human, no bad has come from it, don't sweat it, the intent was good.

Agreed, it is silly to go overboard deleting things. I hate when that happens.

Why does everybody always want to delete stuff? It's all good. Although we knew Panasonic was going to announce it at http://www.cinegearexpo.com/ , it's good to make sure which date and time to tune in! Also the topic kinda faded away these last couple of days, so it's a good bump, especially if people hadn't read about it yet. -- is anyone going, actually? Care to play EOSHD reporter?

Indeed. Funny that a few on these boards wondering themselves were asking me how tap-to-focus could solve the issue and it is actually his first bet in order to handle the job and fix it... Sorta hilarious to my eyes when I've watched such workaround there. So, I beg your pardon for the immodesty here and this 'I want my medal' note now :-) And from minute 02:28 to 02:51. BTW, also previously posted here:

Excelent video! nice to know you enjoy the landscape of my country

Absolutely! I also turn sharpness up to the max so that it helps with focusing. With digic peaking it makes focusing so much easier.

I was speaking specifically ML Raw on the 5D3. But hey whatever you like you like. That's why they make vanilla and chocolate.

It took me only forever to find the time, place and people to shoot this. It's the second part to the Single Focus Shootout I posted back in December. It's a lengthy post, but I could really use your feedback! The goal was to compare the performance of the three most popular single focus solutions with similar setups. For that I used the same taking lenses and identical Kowa B&H's paired with the Rangefinder, Rectilux 3FF-W and FM Lens. I planned a similar number of shots using each of those combinations through a variety of wide, medium, close ups and extreme closeup shots. In the end, the question is: do the single focus solutions stand in the way of story, and if so, which ones bother you, and which don't? In this other video I went a little more in detail about what I wanted to achieve, the shooting process, the crew, score and lenses, just to give it some context and. Finally, I made a blog post with a cheat sheet for all the shots and tech specs. All of this went up online yesterday and I've noticed the strangest behavior. First of all, the view count was incredibly low when compared to regular reviews. Then, the number of dislikes is high, the number of likes is low in raw numbers, and the ratio between them is about 25% dislikes. I usually get between 0 and 2 dislikes for a review (even a rushed one). Comments are also all over the place, both on Youtube and the facebook groups I posted it on. The combination of all these factors got me thinking and that's what I wanted to discuss. 1 - Everyone is ALWAYS asking for narrative pieces, and actual work using anamorphic adapters. It's common knowledge that cat videos and girlfriends aren't enough to judge a lens' performance, since you won't relate to the material, you can nitpick about vignetting, softness, CA and so forth. When you have a story on the screen, it instantly overrides nitpicking, and people will only notice flaws if they're really glaring (like the on-and-off vignetting in the first video). Anyway, I thought the thirst for narrative work using these adapters would be a boost for views, it's a 3-min story vs a 7-min review. So why aren't people interested? Or they just don't care about other people's work? 2 - Regarding the dislikes and feedback: I can't quite figure out if they dislike THE STORY, or THE TEST. I think it's a bit insane that I went way out of my way to shoot something more interesting and the audience completely ignores the original goal (TEST!), judging the piece for STORY and using elements for the TEST as reasons they didn't enjoy the video. Confusing? Here's an example: I wanted to compare how the FM, Rectilux and Rangefinder perform when paired with a 50mm lens, heavily stopped down. I could shoot a chart (boring), but I shot a story instead. It turns out the FM vignettes like crazy and the Rangefinder barely shows any dark edges. Instead of noticing this objective piece of information ("wow, the FM can't handle wides as well as the Rangefinder!"), I got comments like "you should've noticed the vignetting on set and addressed it". I'm not blind, I knew it would vignette. I shot in a way to SHOW IT! hahahaha My overall feeling of the piece is that it's making me look bad as if I didn't notice all the issues and solved them. Any advice or comments about that? Did you guys get my original goal was to highlight such issues? Thank you!

No profile --flat or otherwise -- will be able to properly capture what you will be able to recover in post, so you might as well use it to help with other things. A punchy profile like Standard will help with manual focusing. Couple this with digic peaking + magic zoom, and you'll be surprised at what focusing precision is possible with just the camera display. Also, learning how the monitoring profile relates to the specific post workflow pays good dividends, especially if you are in the habit of exposing consistently. And if you know which profile value ends where in post, then all you need for exposure is the digital spotmeter (which is really the ultimate digital exposure tool anyway). For B&W Monochrome might be useful in that you get to view the tones only, without color distractions, and this might help with lighting choices and judging separation. But this can also be a detriment since color cues can help with space orientation and framing if there is movement in the shot. And the profile's mapping to grey values will not necessarily match the channel mix you will do in post, so it might be misleading.

Love the 1dc! posted this before. I shot this on it. Hardly did much in post People complain about mjpeg. But its Robust when converted to Pro res HQ. These are some Screen grabs from a Drama I am working on. Shot on the 1dc

Hmm, the 5D3 is more detailed than the GH5? I'm having trouble with that, particularly when comparing the 4K output of the GH5 to the HD output (no 4K on the 5D3). Doing that comparison, the GH5 blows the Canon away in detail. I'm not saying the Canon isn't a great camera, but for anyone shooting video, I can't see spending the money on a camera that can't do 4K. Not in today's world and especially considering how good HD looks when it's downscaled from 4K. Then there's IBIS. The footage out of the GH5 looks so much better to me. That's MO.

very nice!

Did my frown really shine through as I was tapping out that line??...I thought I made it quite obvious that I actually enjoy these discussions...anyway....more of a smile than a frown...and to be very literal here, no condescension intended...

Obviously I am referring to every single human being and extraterrestrial life force in the entire multiverse that purchased the GH5... what else would I mean? Thanks though, I'll remember hyperbole is frowned upon on this forum. ??

This is my debut work, that took me 2.5 years to finish. I've learned so much from this community, that I just had to post it here. This is a music video for the band where I sing. Shot on BMMCC with contax glass, rangefinder and isco s8 2x. Big shout out to @Tito Ferradans @richg101 @ken and @Hans Punk. You guys are all listed down in credits for providing so much help with getting into the whole anamorphic thing. I was making those credits in hurry and totally forgot to include @Bioskop.Inc so a special thanks and an apology goes to you!

They probably went with the LP-6 due to weight and size? The micro cinema always uses those batteries... Which also sucks. You know what, I couldn't tell you because I have never used the internal recording. I do like to over expose a stop or two at times to get clean shadows, I would image this is more of a problem with the low bitrate. It is seriously difficult to get the F3 to fall apart. I will say that I use the C300ii quite a bit and the image on the F3 is pretty similar, (besides crummy indoor lighting, where Canon does so well at staying bright and colorful.) I do think it has one of the best 1080p images available. You do need to know that unless you have upgraded to the 444 version of the F3, you will not be able to get 60p with the video assist. You can with the 7Q without the upgrade, but that is much more expensive and a lot bigger/heavier. Also, for whatever reason there is a bug that causes the bottom pixel to flicker when using the video assist and capturing 60p/3g. I buy directly from SWIT. These guys are really good about shipping. I ordered Monday at 4pm and they shipped it out the same day and I will have it tomorrow. I currently own a 63w but just purchased that bigger one because it was on sale. I'll probably buy another if it works out. These are seriously convenient. http://www.swit.us/dv-batteries.html I have been using Canon LUTS and I am really happy with the results. I am working on a longer project that will be graded professionally, very excited to see how far we can push the files. I attached a couple stills. I think in almost all of these, I am exposing ETTR. I am really happy with how much saturation is held when over exposing. I have the F3 rigged right now but no photos... This is a very minimal low footprint setup, could be used on a monopod or something.

Is the NX1 a great camera? Absolutely. Is it still competitive in 2017? In some areas surprisingly yes. Should someone with no investment in NX gear and no need for NX1 specific features (really only h.265 comes to mind here) buy one in 2017? No way, Jose. No warranties, no repairs, no replacements. Any money you're putting in now you will never get back. EVEN IF the NX1 was the best camera ever made I still wouldn't recommend buying one now, unless you can find one with lens for really stupidly cheap. That being said, would I trade my NX gear for a GH5 or a6500? Heck no lol.