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Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film. I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good. Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).

1. Trust your own opinions. Don't follow what someone likes, even if they are a big shot DP. Do tests. Use your eyes. 2. Don't be lazy. Being lazy is the worst. Get low on the floor. Move that light higher or try something different. 3. Be prepared. Be organized and think before the shoot as much as you can. Make diagrams and lists. 4. Do not overlight. Trust yourself in the moment. Step away from the monitor then come back. 5. Bounce the light. Try that first, then direct. 6. Use a capture device like the odyssey 7q and then take screengrabs and you can compare your lighting and blocking. 7. Communicate as much as you can with your crew ahead of time of how you work.

this camera continues to amaze me. Please panasonic, give me the GX90 with mic-in and 4k teleconverter!

Since this work looks great already what would be improved exactly by using a different camera? Maybe extra stops of DR or better color in some respects, but what would that really accomplish? Lensing, composition, cinematic craft are strong already in this example. Not being snarky here, truly interested at how images these days could be "3 times" better? Certainly cameras can have more IQ over others, but to what end? Would images in this sort of narrative be all that much discernible? (Unless you're doing some wild grade with RAW for more extreme effects) Aren't we to the point where it all looks good if you know what you're doing?

Great video deezid! This video is so good in so many ways that is surprising that the first thing that cross the mind of some ppl is that "the blacks are crushed". If thats the first thing that someone wants to say about this video its says more about "you" than the maker (or the piece). Even if i think that the blacks should be "less crushed" (wich i also do, but thats not the point) thats the last thing i think after i saw i video like this. But hey....thats me.

Might I say that this doesn't just apply to cameras, but lighting and rigging as well. For the love of god, please please give me more products like the apurture 300d. No more generators or 800lb lights that risk burning down the city. Small, portable, and powerful.

I am super impressed with what Luca has done with the NXL. He's sent me one for review! It is super sharp and cinematic. Has the full frame look completely. Trying it with the Canon 35mm F2.0L IS but will also use it with the 50mm F1.2L... Big low light boost to the NX1!

Ahem. https://www.instagram.com/p/BT17maSgc0E Love them. I've had other posts in this thread with them as well. Shot with 20mm, 28mm, 40mm, 90mm 20mm 3.5 only: 58mm: 40mm:

The choice of "crushed" shadows (not really crushed, check waveform, but strong compression and pulled down to 0-3 IRE range) was an artistic one to achieve a very vibrant, dark and colorful look. I honestly would love to work with a Varicam LT instead, or a GH5 with the Varicam sensor and processing, lol... A bigger camera would limit me in many situations, but would be a great option for a way bigger budget (with assistance, another operator etc...). 3 times better wouldn't be the case, some images would profit (way better color science, better DR, better lowlight, no noisereduction nor sharpening etc...) others would be worse (this camera is just big and heavy and would therefore limit my work I guess). I didn't have any worries about doing extreme colorgrading on the internal 10 bit GH5 footage, grades like butter without introducing any artifacts. The codec is just great and miles better than my GH4/V-Log experience tbh.

1D C was a Cinema EOS camera with Super 35mm mode and LOG for filmmakers, and the 1D X Mark II is not a Cinema EOS camera, does not have the basic filmmaking features, so therefore is not a replacement. It was a replacement in the eyes of some customers because they had no choice, if they wanted a similar body and image from Canon along with Dual Pixel AF, they had to go with the 1D X Mark II, like I did. And it's a superb stills camera too. 1D C was Canon's best and most cinematic image, colour even a little better than 1D X Mark II to my eye, in the stills not just video, better in many ways than even a C300 II or C500... And they have showed zero interest in developing it further. Such a shame! And if all these Canon reps are saying the 1D X Mark II is the 1D C's replacement, why add LOG to the 5D4 and not the 1D X Mk II?!

Yes, I used a lathe to open up the rear diameter a few mm's (enough to push a 77mm step ring inside snugly)...and the result? - no useless 75mm rear thread on the DNA anymore. In these pics you can see the mod I did on my DNA (original model) - I expect the Hardcore DNA has the same rear diameter as mine did before I enlarged the rear. Now you can see how I can just drop a 77mm with 72mm step down ring for 72mm lenses...or just keep 77mm step ring for 77mm lenses. The step rings just drop into the new recess, then clamp in tight with the nylon screws. The larger opening (without step rings installed) now allows me to use the DNA on my larger Kowa inflight 1.75x lens and get the optics way closer than the original design..

Ha, I think I am still on 2012 scale... I couldn't afford a 7D back then, so I just assumed I couldn't last year. I start searching for stuff at the ML Forums but usually end up frustrated. If a question was asked once three years ago, people go ballistic for having to answer it again... so then I spend 10 minutes reading why that guy was a douchebag for not properly searching the forum for the answer... and then I forget what I wanted to know. It's a vicious circle of confusion. Lol.

Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader. If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw. LOG ProRes is a very good raw substitute If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

First use a 77-72mm step down ring, then add one or two 72mm uv filters with glass removed...making a shallow hood, giving enough thickness for the Core DNA to firmly clamp on the outside diameter of the 72mm step rings (as if it was a lens front).

I am also a FCP X user and I've purchased the top-tier 27" iMac with i7, AMD Radeon Pro 580 W/8Gb VRAM, 8GB Ram, and 512GB SSD. It should be delivered by 6 July and I would be happy to answer any questions you might have. I've upgraded from the same model (Retina, 15-inch, Mid 2014 with 2.5GHz i7, 16GB Ram and 512GB SSD) you currently have. Normally, I was planning to buy a 4K display and use an EGPU to extend the laptop's life. But when I calculate the total cost, it seems more logical to sell the laptop and buy the iMac. I was able to sell my laptop for £1200 and I bought the iMac with higher education discount for ~£2350. I've had quite a bit experience with Hackintosh and I would probably easily build a killer and more powerful system with this budget but I didn't want to bother with its maintenance. That said, if you choose your parts carefully, you can easily build a reliable and more powerful PC with the option to upgrade its internal in the future should you require a more powerful machine in the future.

Yes! (only requirements £800 and waiting a few weeks / months) :-p

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

I remember a story many years ago when home studio recording first started to take a hold and Tom Robinson (ask your Dad, kids) was talking about why he'd got a new fangled (at the time) Tascam Portastudio to record his demos on. His reply has always stuck with me because he said that when a band reaches a certain level of success the first thing they do is get flight cases for their gear and cables that you could tie the QE2 to the quayside with. This all then has to go into storage. So when he felt like writing a song, he'd have to call a roadie, call a van hire place, get the roadie to go to the storage place to pick up the gear, book a rehearsal room (because the flight cases made it impractical to have in the house), drive to the rehearsal room, wait for the gear to be unpacked and plugged in and then he could start to jam and record ideas. At which point he'd forgotten what it was he wanted to do and had lost the energy to do it anyway. With the portastudio, he could just switch it on and get on with it. I see a lot of parallels here too. The only thing thats inspired me to pull the RED Epic out of its case since I got it back was to do the side by side to tune the GX80 profile. It felt like having to go to the corner shop in a Sherman tank. In my real day job I have to take the same 'get the big clunky stuff out' approach because there is an expectation to deliver a set standard both in terms of image quality but pretty much in terms of content too. Coverage is what its all about to be honest. And the demands of that type of efficiency directs you to a certain type of kit. All of which means I'm about as creative as the guy sitting next to me who has also got exactly the same sort of kit (with a 50/50 shot on the brand). Which means to say, not very creative. Or certainly not a massive differential in creativity. We're looking at the same scene and covering it with the same kit so inevitable we're going to be much of a muchness creatively. But the creativity can sometimes be forced upon you (by equipment failure usually!) so you have to do something with what you've got and that triggers the resourcefulness response that is so often at the root of creativity. Being in a situation of "I can't make what I want" often makes you find better ways to make what you actually need. After wrestling with the Epic and then putting the same lens on the GX80 and shooting the same thing, I was left (with a bit of twiddling) with these two test charts. So, could I shoot this same scene with a camera that cost less than the media of the other one? Yes. Could the same be said the other way round about what I could shoot with the little camera? Yes but not without calling the roadie and hiring the van and getting the flight cases and, well you get the point.

So, as some of you may know, I've been "experimenting" with having little chats with different Panasonic cameras over WiFi and after whispering in the GX80s ear last night, I may have come up with something quite interesting. The first image is a grab from a GX80 using its Standard profile. The second image is a grab from a GX80 that is definitely not using the Standard profile.......

The current state of video on Canon DSLRs continues to go from bad to worse. Read the full article

Yes it's a great camera, I just wish the staggering image was backed up by a willingness at Canon to make it more usable, from a video perspective. Whereas Blackmagic had ProRes on a $800 pocket camera, Canon lumbered us with MJPEG at 500Mbit, which yes is a great image, but it's not a preference over ProRes in the eyes of anyone who uses the 1D C... They all wish it had a more convenient codec, with the same image quality or better. Indeed for the initial price of $12,000, you'd expect not just 4:2:2 but 10bit as well. The banding in 8bit can be an issue especially at low ISOs with Canon LOG. I will keep my 1D C forever... One day, it will be a museum piece!

Also available in blonde.

Second ring can be unscrewed aswell !! Without it you can see more naked screw. But finally i put it back, because redstan clamp dont need so much screw turns.

Looks like Micron got bored of the tiny profit margins on £600 CFast 2.0 cards

Coincidental that it happens at the same point as Canon end the 1DC. Clearly, it must only have been the 1066x cards servicing the voracious mjpeg files for 1DC owners that was making them any dosh

@DaveAltizer Thanks for shooting and compiling that. It would have saved me a lot of trial-and-error picking the EOS HD profiles weeks ago...!

It's definitely crushed. But nevertheless, I do like your work. Would love to see the non-color-corrected footage.

Sigma 18-35mm F1.8 isn't a full frame lens so you would get vignetting!

Then there is the Samsung colour... Absolutely right up there with the best and Canon. The NX-L I find is giving me really saturated images in low light due to the extra light concentration on the sensor.

I think you achieved that look, some very beautiful stuff! Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!! On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!

Neither the A99 II in 4K or the 1D X Mark II is suitable for long recordings. The A99 II due to the heating and the 1D X II due to the file sizes. But the A99 II can go forever in 1080p mode and the quality is a lot better than the 1D X Mark II. So if I were shooting continuous takes of a live event for hours on-end, I wouldn't be shooting 1D X II MJPEG 4K for obvious reasons, I would instead be using the A99 II in 1080p. There's also the NX1 which has no overheating issues at all thanks to Samsung's expertise in cramming very fast processors into smartphones, they know about efficient semiconductors and RAM, which run cool by design, and they know about heat management. Panasonic too... When did you ever hear about a GH5 or GH4 overheating? Sony have a lot of work to do in this area, and yes it is a let down, but the 1D X II file sizes are a much bigger and more immediate problem in my view. BTW - that cinema5D "review" was filmed at Canon HQ in the UK, with the staff watching on, and then tuning in for the finished video... and you expect them to be impartial?!

I have a 2013 iMac 27 with 3TB FD, a 2015 top-spec iMac 27 with 1TB SSD, 2015 and 2016 top-spec MBP 15s and am testing a 12-core nMP with D700s. This is FCPX 4k documentary editing where the primary codecs are some variant of H264. Even though FCPX is very efficient, in general H264 4k requires transcoding to proxy for smooth, fluid editing and skimming -- even on a top-spec 12-core nMP. If you have a top-spec MBP, iMac or Mac Pro, smaller 4k H264 projects can be done using the camera-native codec, but multicam can be laggy and frustrating. The Mac Pro is especially handicapped on H264 since the Xeon CPU does not have Quick Sync. In my tests, transcoding 4k H264 to ProRes proxy on a 12-core Mac Pro is nearly twice as slow as a 2015 top-spec iMac 27. For short projects with lower shooting ratios it's not an issue but for larger projects with high shooting ratios it's a major problem. We've got ProRes HDMI recorders but strapping on a bunch of 4k recorders is expensive and operationally more complex in a field documentary situation. That would eliminate the transcoding and editing performance problems but would exacerbate the data wrangling task by about 8x. This is especially difficult for multi-day field shoots where the data must be offloaded and backed up. However in part the viability of editing camera-native 4k depends on your preferences. If you do mainly single-cam work, and use modest shooting ratios so you don't need to skim and keyword a ton of material, and don't mind a bit of lag during edit, a top-spec iMac 27 is probably OK for H264 4k. Re effects, those can either be CPU-bound or GPU-bound, or a combination of both. Some like Neat Video allow you to configure the split between CPU and GPU. But in general effects use a lot of GPU, and like encode/decode, are slowed down by 4k since it's 4x the data per frame as 1080p. Re Fusion Drive vs SSD, for a while I had both 2013 and 2015 iMac 27s on my desk, one with 3TB FD and the other 1TB SSD. I tested a few small cases with all media on the boot drive, and really couldn't see much FCPX real-world performance difference. You are usually waiting on CPU or GPU. However if you transcode to ProRes, I/O rates skyrocket, making it more likely to hit an I/O constraint. Fusion Drive is pretty good but ideally you don't want media on the boot drive. SSD is fast enough to put media there but it's not big enough. Fusion Drive is big enough but may not be fast enough, thus the dilemma. A 3TB FD is actually a pretty good solution for small scale 1080p video editing, but 4k (even H264) chews through space rapidly. Also, performance will degrade on any spinning drive (even FD) as it fills up. Thus you don't really have 3TB at full performance, but need to maintain considerable slack space. In general we often under-estimate our storage needs, so end up using external storage even for "smaller" projects. If this is your likely destiny, why not use an SSD iMac which is at least a bit faster at a few things like booting? Just don't spend your entire budget on an SSD machine then use a slow, cheap bus-powered USB drive. If I was getting an 2017 iMac 27 for H264 4k editing, it would be a high-spec version, e.g, 4.2Ghz i7, 32GB RAM, 580 GPU, and probably 1TB SSD. Re the iMac Pro, what little we know indicates the base model will be considerably faster than the top-spec iMac 27 -- it has double the cores (albeit at slower clock rate) and roughly double the GPU performance. However unless Apple pulls a miracle out of their hat and upgrades FCPX to use AMD's VCE coding engine, the iMac Pro will not have Quick Sync, so it will be handicapped just like the current Mac Pro for that workflow. Apple is limited by what Intel provides but this is an increasingly critical situation for productions using H264 or H265 acquisition codecs and high shooting ratios.

With wide open fan vents and XLR jacks, I doubt it is weather sealed. They are already cheap!

@Andrew Reid Awesome! Can't wait to see what you do with the NX-L. Since I got mine I really haven't been tempted by any other cameras. Shooting wide open on a fast lens with the speedbooster, I haven't needed anything faster than ISO 1600. Having basically full frame 120p in high bitrate h.265 really gives this camera some legs.

Do you remove this inner ring?

That's the spirit. See, plenty of pros out there have done this and they are well advanced in their careers. Dod Mantle is a digital innovator and he knows what we're talking about. I wish guys like Nino at Cinema5D would stop pushing all this trash onto us that we don't need and start doing the kind of thing Philip Bloom was doing in 2011... Shooting for George Lucas with a DSLR... It was so much more fun than watching him lug 5 suitcases around full of crap.

Thanks @Timotheus! Acetone (and cheap follow focus gear) did the job!! Red glue is a kind of screw lock and seal. Nice "DIY" Ferradans style!

1D X Mark II? No Super 35mm mode No Canon LOG Hardly a replacement.

7D Lexar 1066x CF cards. MLVFS + Resolve 14 Can shoot the full sensor continuous 14bit (very close to 1080p 16:9). Haven't had an issue yet. I think if you're on a budget this is by far the best deal. 7Ds can be had for about 400dollars, sometimes less even.

I'm kicking myself for not asking the same question!! The C200 ships with Dual Digic 6 processors which has got to be faster than the single Digic 5 in the XC10. There's no way the hardware couldn't support it. RAW output can't be the reason either because RAW is *less* processor intensive -- it just takes the sensor feed and writes it to a card, it doesn't have to debayer or add noise reduction or anything. Canon's own press release for XF-AVC lists the specs of the codec, and for 4K it can do either 8/10bit I-Frame 422 and for HD 8/10/12bit 420/422/444. Committing resources to creating an 8bit 420 for 4K just to protect the C300mkII would be *insane*, though I wouldn't put it past them. It might even explain why it doesn't ship with XF-AVC. I walked into the demo planning the business case to finance the C200, and I walked out with an order for a C100 mkII. They're now selling the C100 mkII for $5000AUD and it comes with an Atomos Ninja Blade kit, vs the C200 with retails for $12499AUD. Easiest purchase decision I've ever made!

Here in NZ it is easy to setup 1 person company, pay the registration fee and you are set

In Finland it is quite difficult to start a business regulation-wise. They require a lot of upfront payments tax-wise, and you get cut off from any social benefits whatsoever. I find this worrisome when I am looking for staff as they usually prefer to not work, rather than work for random gigs. Another discussion for another forum... However, I used to just borrow or rent cams in the UK and US on weekends and save up for gear from the net profits from weddings and events. Here in Finland, I went through a government funded process the lasted 2 years, where you take daily classes in Finnish and attend business advisory meetings. If you are successful in applying for business support (i.e. have a good business plan, education and experience in the industry) they give you a grant of around 10 000 which they pay you every month in installments over a 6 month period. Its called 'starttiraha' for Finnish folk interested. Literally translates to 'start-up money'. I took out a loan based on this fixed future income, and will break even sometime this summer based on equipment and living expenses. However, I would have preferred to have had a more fluid entry as it would have allowed me to test camera systems. But I needed a quick start, and have sold off most of my purchases that were surplus (silly) and have reinvested in one system. Regardless of the grant, I still would have taken an unsecured loan - but only because I have done this business for over 10 years and am comfortable with sales, IM and SEO. I also do not know how to do anything else. If your quote is too high, I am the asshole around the corner with a better deal. Not fancy, but I don't have time for pleasantries - and I deliver (for corporate and events) because I have nothing to lose. Fingers crossed things keep rolling along... Edit: and the last time I spent more than 30 euros on myself for anything other than camera gear and support was sometime last year. I buy second hand clothes and rock a Huwei P9. I bought that phone only because it has a classy camera for instagram BTS - otherwise I would still be flip-phone. 30 euros was for small bottle of Paco Rabanne cologne. Even that I felt guilty about. Go figure. All net profit nowadays goes to wifey and the bambinos!

You know what I can't stand Mr Shield3, is someone who feels he can throw rocks from his armchair at a resource gatherer in the field, while he's trying to give you information about a range of cameras and lenses on his own blog. Have YOU used the Sony 35mm F1.4 G? If so, why haven't YOU written a blog about it? Or did you just look at DXOMark, and write it off without seeing a single image or the cinematic way it renders? And to write off the Minolta line entirely because of screw-drive AF, you should write off the entire Nikon AF-D line whilst you're at it, yeah? Here is the 35mm F1.4 G sitting on my desk... So yes I have used it personally. The reason I didn't respond, is because you were acting like such a negative muppet I gave up on reading the thread for almost a week. As for A99 II being just a phase, I've put forward my argument why it is useful for my shooting style... I don't need to justify it beyond that, not least to you. There's some stunning A-mount Minolta glass. This 28-70mm F2.8 is cinematic as hell and half the price of a used Canon 24-70 L Mk I. And the 28-105mm F3.5-F4.5 is good enough to resolve an 8K image wide open, and cost me £60. The full 42MP frame is uploaded to this post so you can see what I mean. Shut up with the armchair criticism, buy some gear, and tell us about your opinion on it. Good deal! I have the Sigma ART 18-35 in Canon mount and oddly enough Sigma mount for infrared timelapse on the Sigma Quattro SD mirrorless camera, but not in Sony A-mount. I think the Sony 16-50mm F2.8 SSM is likely to have better AF, but need to try the Sigma to be sure. I could see the Sigma zoom being very handy for low light in the 4K crop mode, as low light in full frame 4K tails off after 1600. The reason I haven't jumped onboard the Sigma zoom yet on this camera is I over indulged in Sony / Zeiss primes and mainly focussed on shooting in full frame mode. You could get the Sigma 20mm F1.4 and Sigma 35mm F1.4 for instance - these would cover a lot of shots in Super 35mm crop 4K, but also give you two full frame options that would be stunning to look at. A lot heavier and more hassle though.

With no replacement in sight.

You're in luck mate, looks like the gen2 is just finished and available from the creator (luca) here: https://m.facebook.com/NXL-284084538620105/

I always like to think of David Lynch shooting Inland Empire on the Sony PD-150 with the autofocus on. He started shooting the movie not knowing it would be anything more than just a scene, using the cheap little DV camera, but then finding it creatively liberating. I wouldn't buy a Red or Alexa, even if I could afford it, for this reason. Digitial started out as this new, creatively liberating medium where you could just pick up a small camera and start making a movie without the need of a big crew, using a heavily rigged cine camera or camcorder just kind of defeats the advantages of the medium (for me anyway). My favorite shoots are the ones where it's just me and one or two actors.

Where is the 8K? Skimming through it I don't see much content that goes above 4K, and the few that does seem to be exclusively timelapse. The oversaturated greens and overall horrible colors did at lease give me a horrible viewing experience. And did you notice the resolution of that train shot thrown in the first time? If not then there is probably a point that got proven or lesson learned.

Andrew I could not freaking agree more! This is a ridiculous situation. Coming from film, then super early video (Betamax, HI8, MiniDV) and then the 5dMKII it literally seems like canon hasn't moved since 2009. The 6D MK II was really there last chance in my opinion to make one hell of a camera for the full frame entry level market.... and what do they do? Pull the same stupid shit they've done the last 7 years... this is why I left Canon a long time ago and am happy straddling the sony/panasonic playing field. what Canon doesn't understand is nobody wants to buy 4 c200's when you can buy 1 c200 and like 3 5dmkV's or 4 6dmkIIs that have 4K 60p, 10bit 422 and get amazing quality while having multiple cameras that dont break the bank.. but of course no, Canon once again cripple their users and I just cant stand it. Ive said goodbye to my canon bodies and haven't look back. If color science and 'dual pixel af' are the ONLY things canon is offering that is worthwhile.... then no thanks I'll be happy right where i'm at with Sony and Panasonic and now the upcoming EVA1

Just did a non scientific test with all of the picture profiles included in the pack from Andrew. This test was done from a "vloggers" perspective using the 80D. I came away really liking the Cine 4 profile.

OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html