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I can offer you a speedboosted Contax Zeiss 50mm 1.7 vs speedboosted modern Nikon G 50mm vs non-speedboosted Sigma 35mm ART comparison on a GX80 if you're interested?

I have some Nikkors and they are amazing. The 35mm 1.4 is an epic lens... I shot these with it the other night on the boardwalk in ML Raw...

Paul Leeming is right on this topic. I dare to say the GH5 has a better dynamic range than the GH4 in V-log since the shadows are way cleaner thanks to the new sensor and downsampling. To see the benefit I don't need my 10 bit LG 4k screen, after grading the 8 bit footage looks horrible while the 10 bit footage still doesn't show any banding.

The big difference you will notice in the sky or a white wall behind a subject....and in 10 bit what you notice is the absence of problems....and of course a huge difference in grading....it's only on a rare occasion that the camera goes near 150Mbps anyway...say when you're shooting a scene with a fast flowing water and ripples...150Mbps is a gigantic amount of information getting written in a second...the discussions about this (not referring to you here) have just defaulted here to is this "150Mbps container" large enough...and the answer is yes...the 400 upgrade is all Intra and though it may handle certain kinds of motion better, so it will have its place in the GH5's toolset, it will not give you a better image than 150ipb under 98 percent of circumstance...when optimal image quality is truly the order of the day, shoot Prores at 800mbps instead on an external recorder....the truth is you'll never really go near that aquisition rate, as probably under those circumstances you will also be lighting a scene with proper production design, wardrobe etc. and on and on...the point is you already have an incredible camera in your hand for its size....or any size for that matter, and for an additional $1000 you can record in Prores to SSD's at 800mbps if the container size is truly a concern. 10 bit is huge....no marketing scam!!! Leeming said at least 2 stops...maybe even an additional 1/4 or 1/2 Leeming's LUT takes care of this beautifully...even allows you to match Cinelike D and Vlog as at high ISO Vlog seems to get noisy.

Good looking is not the same as good job. No I'm not going to watch it. His previous video trying to compare 8 to 10bit was not good. My comments on that one:

This JPG image is 8-bit 420 (everything we see online and with normal monitors is 8-bit. To see 10-bit one needs a 10-bit display, a video card capable of 10-bit output such as a Quadro/FirePro, and OS+software capable of 10-bit output (e.g. Photoshop)). The banding was caused by post grading where the 8-bit capture (Vlog?) wasn't sufficient for the grading, whereas the 10-bit version's extra bits allowed the final edit to be compressed to 8-bit 420 without banding. If one can't see the advantages of 10-bit and needs to save disk space, shooting 8-bit is a good idea.

This is A League comic material: "I can replicate it every time...". Cracking me up, pure genius! But seriously, you have nice subtle color palettes. If there is irritation or falseness in color it is most of the time due to our monitors. Thats why I got a monitor with 99.9% srgb space and a cheap one with maybe 80% to have a little more control over color variation. Thank you very much, Jon! Maybe a longer version would make sense. Got any ideas for the story? Condition would be, same setting and location and just two actors, to keep it simple and manageable to realize in a run and gun manner. So, up for ideas to reshoot this? Maybe indeed with a third actor? Maybe with my GX80? Though G6 has something, some nice roughness to it once it´s been graded.

should be $299

Just to be clear, I've got nothing against Cinelike D, when used properly. On my GH4, I preferred it to V-Log, at least with internal recording. The dynamic range is great. I did find, however, that in changing lighting conditions, it was non-linear with colour (especially skin tone) in a manner that made it very difficult to grade shots to match. Tracking white balance on a partially cloudy day with roving patches of daylight, for instance, either in manual mode or in AWB (I prefer not to shoot in AWB), just seemed to be smoother and easier to match when I didn't use Cinelike D, for instance. Since that's 90% of the stuff I'm using the GX85 for (and the G85 is already bulkier than I like), the lack of Cinelike D isn't a huge loss for me. That said, more options are better and it would be amazing if I could use the GX85 for more controlled shoots and get maximum quality out of it too.

I am currently using the Lexar Pro 1000x, UHS-II Class 10 cards. Although I have no problems with them and have had no issues recording 4K, they are slow to write. So if you need to do some fast run N gun, upon ending your last clip, you may not be able to record your next clip for several seconds. That's the biggest difference I've found relative to my SanDisk. But I'll say this, it's enough of a difference that next time I'd get the SanDisk.

I like the bit when they say I don't know whether to take that seriously.

Art-world texts are always so try-hard. There's a few interesting points in there, but they're drowned in post-modern word salad, obscurantism designed to hide the self-evident nature of most of the ideas being espoused behind a flurry of pointless syllables. I know a few people who have been on art doctorate courses, and have been told to start using more invented words and obscuring their meaning more. Can you imagine? Make it more "exclusive". I suppose when acceptance onto a course is primarily down to whether you can pay the fee or not though, in the end you HAVE to do away with objectivity in order to give people a pass LOL

Not according to Paul Leeming's tests: VLog has one stop more than Cine D, which in turn has ever so slightly more DR than Like709, even with knee adjusted.

So I've been doing some stuff controlling the Panasonic cameras over wifi by mimicking their smartphone apps. It's for something that might be useful for a few other people that I'll put up in a few weeks. Nothing earth shattering but could be of use if you use a gimbal... Anyway, what I see is that when the camera accepts the remote control connection it sends back to the app what model it is and all of the applicable functions to enable in the menus of the app. So that includes colour profiles (including vlog by the way) and all of the different recording formats. I've then tried to construct the commands to send my PAL G7 the one for 1080p60 which is obviously something the camera is capable of but is locked out from the user by not appearing in the UI. Unfortunately it didn't accept it but I'm going to do some more poking around when I get back. The point being that I have a hunch that someone smarter than me (which is a pretty much anyone with a computer) might be able to exploit this area if they can find a way to convince the G7 it is NTSC and not PAL. Ditto for getting the GX80 to think it is the G7 so it can have cinelike d for example or c4k as the sensors are the same it's just what Panasonic choose to lock out based on what the camera is told it is.

Best bang for the buck. If you want better, go RED at $50-100K+ and by better I'm really talking more about the extra 2 stops and ease of editing access. I don't know what "slider" you're talking about but the difference in grading of more plain backgrounds like sky is HUGE and totally gets me the image that I always wanted the GH4 to give with vlog. The codec and compression goes with the price point but the whole "this is too small for any decent image" is kinda bollocks as it has a good history across all the GH cameras. The kind of conversation goes like this: me- yes!! no magenta blobs in that cloud!! family member- i see no difference, they both look great.

Hey guys, it seems your findings are not optimistic enough when it comes to the benefits of 10 bit in the GH5 for only 20% more data you get 3 to 4 times amount of shades. This example has been shown before and is showing the obvious benefits of 10bit in the GH5 versus its 8bit.

Shot thousands of hours on Sandisk cards and the eldest ones (four years) are as good as new.

False color lut now available for GH5: https://luts.iwltbap.com/false-color-lut/ Benjamin did a great job, again!

Hey friends! time to post some g6 footage again. shot 8months ago. I lit and shot this in 1.5 hours, no planning ahead of the shoot. All quick n pretty style! Talents´voices didnt make it in the edit because of my not so pretty audio job. Edit took a looong time, because I missed some shots. So next time, at least a small shotlist:) Panny G6 still a great cam. I like the ergos better than the G7. Grip is more lovely to hold and it somehow feels more solid. Still shooting with my G6, GX80 and G7 for test shots only so far:) Hope you can enjoy this faulty exercise of mine. cheers, Marty

Now then........ I doubt I've got the wherewithal to get your 100mbit HD going but I might have just got something reasonably interesting working on the GX80. I need to do a proper controlled test against a G7 in the morning to confirm it but I'm cautiously optimistic. Stay tuned

Well, thats very interesting! I suspected there would be some sort of engineering/debug mode it could be put into and what they're showing in those videos is such a specific set of button press combinations that no way has someone just stumbled on it! The really, curious thing is from this particular video. And more to the point, why no one has picked up the VERY interesting entry in the Setup screen when he's scrolling through it. He does it quickly so I've attached a screenshot of it here......ROM BACKUP??????

RAW honey, of course.

It would have to do RAW though as it's a tough crowd on here drone wise.

It's only a matter of time before we have telekinetic bee drones for $.99

Hope for Panasonic that is not the case. Why on earth would you get this over a UMP.

Obviously any speedbooster will work if you want to go that route. I would personally go with the Lens Turbo rather than the more expensive Metabones, but either is great. For simple adapters, I've come to like K&F Concept. Also Fotasy brand is a decent cheap adapter. Sounds good, have a good night!

not the only one NX1 mixed with A7S and Phantom 4 Pro

Sorry this probably belongs in the lens thread, but these vintage primes and 5-axis is kind of relevant. I owned one Zeiss lens... the inexpensive 50mm 1.7 Planar and it really is an insane lens. There are also the modern Zeiss ZF lenses that are all manual, yet still a modern lens. I haven't used one but they seem to be a good compromise for those interested in vintage and modern lenses. So modern glass with a little character.

Man, you went to a dark place with that joke... well played sir.

The only problem the codec actually has is interoperability. ProRes 422 HQ will only show advantages in large motion or lots of fine moving detail like snow, small leaves in the wind etc... But the 10 bit advantage clearly works already.

AhAh, yes, probably another "youtube expert". The other video in my previous post if from slashcam actually. By the way, I can't like anymore post today. Andrew said "enough love for today"

Agreed. Now that I've actually got the mimicking working with the "newer" generations of cameras I can look at it a bit more when I get back tomorrow. I suspect it's way beyond my capabilities to get the cameras to identify themselves as other models but I can at least now fully compare what gets sent when the app is talking to a model that has a cinelike d profile capability like the G7 and one that doesn't like the GX80 as I have both cameras. There is bound to be a debug engineering command that does it but that's unlikely that I'll stumble upon it!!!

I bit the bullet and tried that one. I also made use of the 150% speed function.

See this video (from 1'15"). You won't notice it at first glance, but the more clips you compare, the more your eyes will be able to identify the differences. I think if the camera can do 10-bit, it should be a no-brainer to use that. I decided for the A6500, but in order to have no banding, color artifacts and the like and still a very good DR, I have to forgo extreme grading and slog 3 and expose very well. I've read somewhere that Like_rec_709, as is, had the same DR as V-Log (which wasn't written for the GH5 but for Varicam anyway, therfore "V") after the normalisation Lut. Free, easier to handle. Would use it in 10-bit too if it were my camera ...

GH5 has 6k video. It has many times more 10bit information than GH5 normal 4k 10bit video. The 200Mbs ipb h.265 codec has enough bitrate and data. It lacks 24P but maybe FW update will fix it.

All-I will be almost indistinguishable from long-gop. It will not spontaneously be perceived as "better". As with many things regarding improvements in video quality it's actually the other way around. On the long run, with hundreds of clips to compare between, you will finally consider the lower bitrate as "worse". You will start to notice evidence of temporal compression artifacts, usually negligible. The higher bitrates of the GH2 hacks didn't show more detail, as was often stated. When there was a weak signal in dark image areas, the highly efficient 24Mbit factory codec compressed noise out of the video. The 50-70-170 (or so) hack-bitrates dithered the shadows with random noise. This looked more natural. Many want a less efficient compression for the slightest chance that the image looks better.

I returned the GH5 cause I Was in the 30 day return window. Won't hesitate to purchase again if AF magically becomes good. But a little bird tells me that I have better chance waiting for the A7SIII. At the moment my only projects are my travels anyway. Don't need something right now. In the future I will do a round the world trip so thats another story. Spoke to a DJI VP the other day, told him why on earth would they not make a drone (wether a Phantom or Mavic who cares) with the Mavic form factor but with the Phantom 4 Pro 1inch sensor camera. I said even if the drone is twice as big as the Mavic, just the same form factor is what I want. Would buy in a heartbeat. He said they are not developing that but would do if demand was here. Am I the only one thinking the Phantom form factor makes no sense vs the Mavic?

Honestly, if my grading ever looks pastellic... it's a mess up... either due to my bad skills or lack of calibrated monitor. If it ever looks good, it is probably accidental and I will not be able to replicate it. If it looks bad, it was accidental and I can replicate it every time...

Glenn, you did the right thing with the 5DIII, because it must be a very satisfying experience. I would try that route as well but to me the storage part and overall expense is out of reach for now. I think you are great at cinematography. Your approach has inspired me to discipline my shots and to plan them out better! I am still impressed what you do with handcamera work and monopod work as well- always great framing and pace and rhythm of movement. About your grading: it reflects the natural light well, which you are shooting under mostly. So your colors are not as crazy as mine What I would also be interested to see, if you would approach stronger color and tonal contrasts as well besides some of your muted and pastellic palettes.

You'll really see the advantage of 10bit in VLog. 8bit will apart straight away whereas 10bit is fine.

Agreed @Teemu...when I think of when film used to be meticulously unloaded inside a dark tent by a 3rd or 4th AC while the crew kept shooting, because it's the setup with the crew, where the real money lies...we do need that same caution with digital....nothing paranoid about that!...anyway...if you haven't sent the card back yet, you may still look for a second opinion among data retrieval experts...the 7 gig capacity when you tried to format the card may be a clue...who knows....

Both Smallrig and Hondo Garage make a variety of rod adapters that function beautifully as a standoff for this sort of situation when you don't want to run the rods, and of course are useful for rods when you need 'em. I never liked the look on Cinelike D and found that shooting natural or standard, with a few modifications (actually quite similar to Jase) worked the best on the GH4 and still work fantastically on the GX85. Of course, I colour with either Colorista IV or Resolve, depending on the shoot, so that might have an effect on the ability to pull the grade out of the final image - colour maths really differ widely between apps and plugins. That plus a little Magic Bullet Denoiser III and you're good to go. I'll be picking up the professional Resolve 14 when it's on sale, no question, and checking out if it's denoise is as good. I like Denoiser III as much as what I've seen from Neat Video (and better, in some cases) but for sure it's FAST and does the job. I always liked a little grain in my images, and the GX85 actually has a fantastic noise structure - very fine and almost filmlike already, as long as you're not into the smudgy super-high-iso stuff where in-built NR kicks in.

Well that's actually science at work....our brains were hard wired to learn from the mistakes we make from an evolutionary standpoint, so that if we survive the mistake, we don't repeat it (hopefully!)...and all the more compelling reasonswith digital cameras to shoot lean...the cost of film and processing used to force that caution and careful choice before rolling...now it's a question of not shooting so much (and getting something right) that one does not remember but the choice in a shot was...of course nothing works for everyone and this is just something I do...but it's also good practice when one works with actors not to "peak" with them too soon or too late....any creative process is limited....perhaps the hardest choice in art is the decision "I've got it" or "that's the take" or "this painting or sculpture is done"...anyway I'm rambling now??

Let's wait for your review. Worthy as usual : ) There are reviews and reviews. Your readers/viewers have already been used to the complete and rich content from yours. They really rock indeed :-)

Which I think is actually a point that speaks against it I'd say... because, will you still be shooting micro four thirds in 10 years? That's especially where people with multiple systems have a hard time picking MFT over Canikon mount lenses. Within say the next three years there's a chance that atleast one of the following will have something compelling to offer... Be it Sony that might get their shit together... Canon might finally embrace enthusiast cameras with exciting features for consumers, Nikon might enter the mirrorless world and Fuji might continue the good thing they've got going on, they just need to loosen up a little (goes for any of them: less tradition, more forward thinking). We might even see BlackMagic do a handheld compact all-in-one shooter with S35 sensor? The real benefit of Panasonic then is the size of the lenses that ultimately makes it a compact system. I don't like the Sony system that priortizes fullframe lenses for their camera systems, Canon has a so-so compact mirrorless line-up, Nikon isn't in it and Fujifilm does alright, but a lot of lenses without stabilization and a body without sensor stabilization has become a hard sell. There are speedboosters and smart adapters for MFT, so it's very compatible... the real question is... is it very capable as well? Personally I can move within the boundaries of MFT cameras, but that does mean it takes a lot for you to consider when shooting, that ultimately makes you a better shooter, but it would be so so nice to have some of these restrictions lifted. Like I find dynamic range still a little on the challenging side... of course noise performance has been improved, but ISO6400 would really be nice to have clean. Set stuff is one thing, being out in a city at night or something, you might not have the means to go about it another way. Instead of looking for alternatives that do work, you're then just in the moment without 2nd guessing if it would turn out alright or not. That's a nice thing to have. Also, I do find a Canon, Nikon or Fujifilm a little richer/more organic. Partly color, partly crop, probably just different sensor interpretation making it less videoey. I'd say that it's likely that in the next few years I'll make the switch to S35. Also, speaking of stuff that lasts. Although a 1299 lens is epic to have, what if you don't buy the flagship lenses and spend a bit more of your budget on support gear, lighting and audio for example? Or renting a serious camera and some anamorphics. -- btw, I agree with you that a camera body is probably the least significant thing you can upgrade. Last year I figured that by now I would probably have already replaced the E-M1 and GH4 with their successors, but I find myself not really caring too much about the new ones right now. Guess in summer, when the updates have rolled out, I will upgrade to the GH5 though, but I'm quite liking both GX80 and G80 right now, might not be as productively laid out... but they're troopers when it comes to fun. Really loving sensor stabilization and adapting non-stabilized primes. That Leica 15mm f/1.7 is so neat too... it's super compact, nicely designed (though would've been cool to have had the Olympus manual focus clutch here), Leica mojo, affordable. You haven't checked that one out yet, now have you? And yeah, totally, when it comes to lenses everybody is always so enthusiastic about 'em. Guess it's like people, everybody has their own character, but we can all mutually accept and appreciate one another (well... sorta, the world is a messed up place, guess some people are more messed up than some vintage lenses). Lenses are the canvas, the paint and the brushes all at once. It's what paints the picture. Guess that's why it's gear that perhaps speaks to us the most on an emotional level and why we are so fond of them?

Wow wow wow You guys are really amazing. I do not know where to start but I will say this: to @Emanuel I do not know why you keep attacking me, and start now by judging me. You tell me I take too quick conclusions on gear, yet you judge me personally without knowing me at all. Funny isn't it? to @jonpais well, I am not sure you realize what being in the backcountry under 120mph winds, rain, hiking 15 miles a day for multiple consecutive days mean. It means that I reduce my weight as I can (and have those cheap super light 12-32mm was a choice of mine in this regard) It also means I do not have the time to put a ND on when the light requires it, then remove it - under the rain - when the light changed, and so on and so on. You have to think different than a normal shooting situation. I am just an amateur doing is 3rd travel video, going to Patagonia to enjoy trekking. I try to have the shooting experience the most automatic and non intrusive possible. This was not a professional shooting. I did not go there for the movie but for me and my girlfriend. So I do not care about your ND filters. I cared about enjoying and bringing then back a memory taking form with this movie Now if you have a look at my Cuba video, conditions were better and easier and I had more time to shoot manual (including focus) as you can see below. I was just sharing the video as this is a GH5 thread. And giving my thoughts about the camera. I think that should be the last time I share something here if it is either to get personal attacks, either to try to say I am dumb not to be able to carry a 1 ounce ND filter. I really do not get your points. I received many constructive comments from friends (critics about some of the transitions being too repetitive for example). Yours were not. And the slowmo stuff VS filming in high res is a personal choice. For high res, I take photography (see my gallery here: http://bit.ly/2rMLPRb let me know if you have constructive comments) My previous video (Cuba) should be more to your linking in term of ND filter, resolution and shits

Just finished my 2nd round of shooting for my short. I had a little more trouble correcting these images as I shot a lot in lower light than the first round. But here are a few shots that turned out okay... I will say that I think ML Raw has ruined me for other cameras.

Ok I guess I did not look at my original post. I just meant to put up this video, not the Add for Zacuto which I guess this video sort of still is, but.. My Bad! I am old. Plz delete the original post. Liam is right, eh I think, yeah he is. If you limit yourself to just using a Tripod, you are missing half the reason you shoot. It adds a whole new perspective to your output. Sort of like you are really there, the person holding the camera.

That guy is God for me! I once found an interview with him, I am in a rush, Google his name! You can't make a feature film with that edit style, but for two-three minutes epic videos, it's incredible!!!