Leaderboard

I've had this kit for nearly a year now, so it's time to review it. Thought I'd share a mini review from some notes I've written down. Intro I've been mostly a Sony shooter since 2012 when the FS700 came out. Got the FS5 as an A-cam all rounder, and soon updated it with the raw update and Inferno. Mostly shoot in Slog2 alongside other Sony alphas like the A6500 and A7SII. Best Bits Electronic ND!! Nice ergonomics. Lots of HFR options. Internal XAVC-L HD holds up really well. Really nice monitor (Inferno) - easy to use and quality screen. Continuous slow motion is useful for longer scenes. 4k 100fps - looks great! Raw images look very thick and tasty. Worst Bits Menus are complicated. Internal 4k is nothing to shout about. White Balance, especially in Slog, never looks right (Colour can either be too cool or greenish yellow. ) Often difficult to grade images (but can get great results). Inferno monitor battery life is very poor. Camera is heavier, bigger and harder to use with the Inferno. Continuous slow motion is very noisy. Raw to ProRes 4k is only incrementally better than the Internal XAVC-L HD. EVF viewfinder seems a bit too small. Perspective The idea behind FS-RAW and the external recorder is very attractive, however some users may end up being disappointed with the experience. This is a very stable and reliable camera setup, however if you like to move fast and have a lot of freedom with your tools, this is likely not the right setup for you. To use the FS-RAW update is expensive, and I've found that if you don't plan to shoot RAW but ProRes instead - the difference isn't worth the extra money. It might be to some for special purposes, however I didn't feel the benefit enough. The A6500 beats the FS5 raw to ProRes ProRes image in 4k. Not so much in 1080p. A lot of us think that the more lucrative the setup, the better our images will be. It's definitely possible. But as our smaller, cheaper camera have limitations - the bigger boys also come with significant limitations too. You need more crew, more hard drives, more muscles, bigger tripods, bigger gimbals, bigger sliders, bigger batteries, and a much bigger wallet. If you're thinking of "upgrading" from your mirrorless, be prepared for a much different experience. For me, I do find purpose in using this setup. For some shoots, there's not a better option. But for the majority - being more compact is definitely more favoured. Here's a video I produced on the FS5 with the Inferno:

Oh fuzzy, you are the master of handheld shooting. I´ve been trying with my GX85 but pans with IBIS look jerky, whereas with tilts and tracking movements it seems to be that 4K handheld wonder. Okay, my contribution for the kit: GH5 IBIS with the Tokina 28-70 2.6 and of course a nice 5´´ monitor for critical focussing and a cage. Check out @jonpais setup with his G85. One native prime: 12mm SLR Magic, the third version- the T! 1.6 version. I own version one which is nicely sharp at 2.8, gloomy at 1.6 and still soft but better at 2.0. Version three is supposed to be sharp as heck from 2.0 on. Ergos and 15cm focussing distance are awesome. Didnt see any distortion. Again, that Tokina lens is awesome:), as I can tell now from first hand, bokeh at 28mm wide open a little harsh with closer rectangular shapes in the background, focussing distance 0.7m. Below a screenshot wide open at 28mm with my GX85 in HD 24p mode, graded:

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.

It has amazing dynamic range even in Rec.709. It has remarkably low rolling shutter compared to Sony. The 10bit files are amazing in low light with lots of 'depth' and richness to the shadows. It helps that it's so good in low light anyway with very clean ISO 3200. Tons of features, I will write a guide about it but it will take a while. Review coming soon, I know it's been ages but I will get round to it!

I am using the Zeiss 50mm f1.7. But I didn't have done any tests so far. Tried only short and results were looking good. I am at holiday for this moment and left the NXL at home. I took my anamorphic lenses only.

Thanks for your review! If you don't mind, I'd like contribute my experience: I'd add to the pros list: S-Log view assist "proper audio" (I think this gets overlooked a lot when comparing to mirrorless) Easy to break down/put together (esp. compared to its big brother) Battery life Dual card slots "Clear image" zoom can be used with the zoom rockers. And I'd add to the cons list: Can't adjust jack-shit once you turn on super slomo. And no histogram during slomo- wtf, Sony? No waveform Low res EVF (in addition to being small) Shutter speed changes seem random when going between frame rates/resolutions. It needs the ability to set angle!! Seriously, why no shutter angle option? I think this is worth two bullet points :P Controls for XLR2 get covered by the handle. (Or maybe it's XLR1-can't remember) And, to me, I don't find the footage difficult to grade (maybe because I use S-Log 3 and SGamut3.Cine instead of 2/SGamut?), and I've been exposing +1.5EV and haven't had an issue with noise even in HFR. Curious what lenses you use. Since you were getting marginally better resolution in 4K out, my first thought was maybe you're reaching the resolving limit of the lenses, but the fact that the a6500 is getting better results (with the same lenses, presumably) counters that idea. Great video, btw!! Is that 4K/100?

I'm fairly sure that they're literally the same lens with a different name on. The sample variation due to lens history - bumps etc - is going to drown out any reasonable performance distances. The HFT and T* coating are impossible to tell apart - and often the Rollei branded versions were produced at Zeiss with Zeiss's coating - http://www.dantestella.com/zeiss/coatings.html Foot zooming doesn't work. Trust me; I'm a stills shooter. If you move forwards to make Mr Stallone occupy as much foreground with your 50mm as he would have done with a 100mm, he now has a different relationship to the background. Read eg https://petapixel.com/2017/04/20/zooming-feet-not-zooming-lens/ FLs are a fundamental stylising choice for this reason. Eg Daido Moriyama is a 28mm shooter and Bresson a 50mm; DM is punk rock and HCB is a chamber quartet. If I need to balance a camera out with a heavy lens, then it won't be the first time. But focal length is fundamental.

I spent a while reading and watching that Steve Yedlin Argument this inspired me to this experiment So I was just messing around the other day and decided to shoot 1080p on my NX1 and found myself Fiddling with the bitrate hack which I usually leave on 140-160 mbps Was curious so I started messing with the bit rates and typed in 400mbps and got denied kept dropping down in increments of 10 until it allowed 320mbps I took it out shooting and the camera didn't skip a beat with audio + Autofocus with both S lenses. was shooting for around 40min and the only thing I could tell was when you pulled the SD card out right after shooting it was a bit a little warm. I also Shot some 120fps @320mbps and it would only go about 30 sec before failing... I dropped it down to 300mbps and it recorded continuously I just stopped it after 3 min... Perhaps its wishful thinking but I do "feel" the image is somewhat "thicker" is this basically like shooting 4k 160 and outputting to 1080 and rez up 4k again? First shot is the "Raw" File Second shot is a Grade I was trying to make match/cut with this frame. ( I failed the shot is much more blue than mine) Third shot is 120fps @320mbps played back @ 20% speed I uploaded the bike shot Raw out of camera if you wish to mess with it. I have no pro scopes or calibrated monitor to see is there is any advantage to this let me know your thoughts and or findings (about 160mb) https://drive.google.com/file/d/0B0mz6D_bQOx7SFZSWnQyU1VINms/view?usp=sharing

Same for me Jon...I like quiet cameras that you don't "feel" in the footage...just because you can move it, does not mean you should??...but if you do, I like the slow control of a dolly/slider shot....For me the value in IBIS is getting away with a shot without a tripod!

Its a bit mind boggling to consider the sort of fanboy cult an alliance between RED and Apple could potentially produce. Its going to be like the moonies merging with the scientologists. Via USB-C

It should be called the Nikon A99 II

Thanks for this, just purchased from Amazon

I almost asked if you could have download the files for the G85 instead of GX85. Panny don't make it easy...

Have you tried using a different card? Because really, the fw works for other people, and applying the update is simple - - Get new card and format - Charge battery until full - Download from Panasonic's site only, check file is exactly correct size, put in root directory of card - Unmount card or whatever your os likes - Put card in switched off camera - Switch on - Press play - Follow instructions

The next month or so should reveal more information apparently. The problem I have is that the go to source for info about it should be the reduser site but I can't last more than a few more minutes on there because of the sycophancy. I went over there earlier to see what it was all about regarding RED selling the cameras through the Apple store and pretty much did this.

Cheers for your points. I don't find it that difficult to grade, but that's 5 years of dealings with Slog. Those who are new to the format may find it tricky, certainly with the bizarre white balance results that never seems truly balanced. The lenses I've used are Sigma ART's. Granted, when I've used a Helios 58mm or something, I expect the image not to resolve to it's prime performance. The A6500 with the same lenses has a better image than the Inferno's 4k with FS5 - we know the A6500 has special 4k voodoo anyway. Also, I'm selling my Inferno. I like it but I'm trying to get more compact and portable for future shoots.

Haha! A RED Apple...

@Fritz Pierre Awesome! Would love to have a few of the AMC magazines! I am shooting on s35 via speedboosted m43, shooting 28mm a lot of times, handheld with my GX85. With that setup up and shooting style, even with sloooooooow pans I have jitter when shooting with IBIS, tracking and tilting of faster pace are no problems at all. My FW is up to date. Don´t know if that is a Panny IBIS problem or just the GX implementation of it. Anybody knowing, if panning with GX85 IBIS is an issue? By the way, my 12mm on native m43 sensor has the same problem, which gives me a good reason to post a shot with it. SLR Magic 12mm at F2.0 with GX85, graded HD 24p material, shot in classic Natural with contrast 0 and color 0. Yeehaw, lil sis of GH5 showin how it goes!

And here it is. Well, some aspects of it at least.

Apparently because they were selling like hotcakes: http://www.reduser.net/forum/showthread.php?152780-Holiday-Update-IPP2-Preview-Build

@PannySVHS...on a s35 sensor shooting 24p on a 50 mm lens, the appropriate pan speed according to American Cinematographer should take an object entering one side of the frame 23 seconds to exit the other side of the frame...for faster pans, you'd have to up your frame rate which defeats the idea of shooting with 24p motion blur....pans are meant to be SLOW...if it's still jerky when you pan slowly, I would check your FW or if that's up to date, with Panasonic.

I am not sure if it´s practical to describe manual techniques like handheld focussing. It might be easier to show. A stronger grip to the GX85 is necessary for ambitious handheld filming and focussing, to be found in a camera cage. @jonpais is using the same cage as I am. They are pricey. Good thing, I got mine for 40 USD. You might want to look for this one or a similar one. I attach rubber bands to the cage and the other end to the shoulder belts of a backpack, I put then one hand under the lens´ focus ring, with the other on the handgrip of the cage. You state about the usefulness of our answers and at the same time deny it. That is one of a few contradictions I read in your posts. You can support the people you ask by asking them specific questions. If necessary to you, you would follow up with a specific and friendly reply, how your question could be answered more to your satisfaction. That way it is easier to fullfill your interested and interesting and friendly request. Brandon Lis is an avid handheld DSLM shooter. Watching him is fullfilling one of many learning strategy besides the kind of answer I was giving above. Only certain shooting styles allow for handheld manual focussing. So it can make sense to watch material of capable handheld shooters in order to see if it could even be possible to achieve certain styles as a one man band camera operator and focus puller. Techniques like deep focus, Kurosawas blocking style and Brandon Lis approach would allow for that. That´s what some answers reflect on, which you have been given in this thread.

I haven't felt the need to even consider getting a battery grip accessory for the GH5. Feels decent to me out of the box. Whereas the battery grip for the Oly EM5II made that camera damn near ergo (and functionally) perfect for me.

Depending on the lens, there are usually between 250-300 individual points that Panasonic cameras can drive the lens to from closest focus to infinity when in manual mode so there is enough precision there but the ballistics of it are a bit quirky. From an external control point of view there are only two speeds - the slow one which moves it in the individual increments and the fast one which moves it by a multiple of ten of those (so 25-30 coarse points from end to end). Trying to move the focus point with a combination of only those two types of increments causes the weird acceleration behaviour because its trying to anticipate where you are going to end up. If you want to do A/B focus transitions then this is where an external controller can potentially make things much better as it knows the ultimate distance and can calculate a smoother ride using the two speeds. It will always have some lumps in it as only being able to move one or ten steps is never going to be ideal but at least the overall issue can be masked with a slower acceleration and deceleration. I've made some progress with this and it won't be long now before people will be able to try it themselves.

It's impossible to argue (sanely) that Kurosawa isn't excellent. But it's interesting that he comes up so much more that, say, Kubrick or Godard. And also that while he is widely referenced I don't see any signs of people actually absorbing him as influence. But, as Crow T Robot said, I digress: The point is that I wouldn't and didn't ask about blocking here because it's easy to find incredible books, articles and examples. The stuff I asked about is material I can't seem to get from books - how to work with very small consumer cameras like the GX80. Being told to look at a video about writing and blocking instead doesn't really help me with that. An example of the sort of thing I'm wondering about is how to pull focus when shooting handheld or even whether I should. My guess after pulling over 500 shots is that it can work reasonably well with a focusing lever and something like a chest brace. But it would be nice to know instead of told to learn to focus by re-making Ran.

I love to see people making videos with very little tools. That said, I thought the above video was shot well but it seems really blurry / out of focus which harmed my viewing experience. p.s I think the quality of Cinema5D has reduced quite significantly over the last couple of years.

The 1.33x SLR Magic Anamorphots don't look great under an f/4. the 50 performs slightly better than the 40. and their 2x is no good under a f/5.6. I've owned them all, briefly. If you want to shoot at f/2.8 or better, you need to go the route of a Kowa or Cinelux ES. I have shot as low as an f/1.4 with each of those and they still look great, meaning, no loss in sharpness due to the anamorphic. the only deficiencies would be attributed to having the taking lens wide open.

https://***URL not allowed***/talent-feature-limiting-yourself-produces-some-of-the-best-creativity-in-you-with-janne-amunet/

I have a wide variety of overpriced cases and bags that I haul stuff round in. Its the abuse the gear gets when its taken out of them that causes the problems for me.

www.leeminglutone.com/ Just follow Paul Leeming's advice.

While I agree with you the information posted on that site is not based on science and the points made are not valid, when one focuses most of their energy on attacking the character of the person vs. what they say, it vastly diminishes one's credibility and projects lack of self esteem: perception is projection. With our planet on the verge of another world world (possibly nuclear), it is in our best interest at every level to figure out how to be kind to each other and work together, to help each other non-competitively. Tough times are ahead- the cat's out of the bag regarding global banking and its current state (crypto currency is a reaction to the problem and may not solve it). It's in our best interest to prevent more division, instead promote unity and helping each other, as that's the best chance of preventing the next big disaster or helping us to survive and heal if it cannot be prevented. While it's important to be aware of negative things such as war and global financial collapse, it's more important to be thinking about living in harmony, as our thoughts do indeed change reality in ways that are currently beyond our scientific understanding: http://www.princeton.edu/~pear/implications.html Here's a challenge for everyone: don't put anyone down or project negativity for a week. Smile at everyone you see. Meditate at least 10 minutes every day (it's easy once you start doing it regularly). See how people treat you differently and how your life and outlook on life changes. I'm not perfect and this post is a reminder for myself to practice the same. On the topic of contrast, micro contrast, and resolution, it's all the same thing, the ability to measure differences / deltas / changes at multiple frequencies, from low to high. MTF charts and shooting lens charts are useful tools for showing lens performance without pseudoscience. The lens effect you mention regarding parallel light is collimation: https://en.wikipedia.org/wiki/Collimator, https://oceanoptics.com/product-category/collimating-lenses/. For aesthetic and artistic appeal, these kinds of tests are helpful: http://www.thehurlblog.com/lens-tests-leica-summicron-c-vs-cooke-s4-film-education/, http://www.thehurlblog.com/cinematography-online-why-do-we-want-flat-glass/. We can see that defects and artifacts can be appealing, depending on the intended use of the lenses and projects.

On a complete tangent..... Go motorised for under $50 (including some strips of lino which you'll need outdoors!). Fits in your pocket and honestly with a small camera it is far better than it has a right to be for the price.

The same vintage lens price varies on whether the lens has an all-black finish or black and silver. So no. They're really nice lenses but won't give me the FLs I want. The East German Pentacons are nice too, but there's the same problem. I need - well, want - at least a 28mm equivalent - and 24mm would be better. This might sound fussy, but that's stills people for you...This how I think of a wide: A 28mm is for doing shots like this ..A 50mm with the same amount of subject would have had a tighter background without the strong diagonals and the subject wouldn't have had the distorted nose etc that cues a viewer that she is inside personal space. This shot is a Moriyama. Winogrand was another great 28mm shooter.

Tip #1: Be grateful to anyone who gives you their time and advice. People help you get somewhere in this industry, not gear or good technique.

No it doesn´t. Files are indexed when you first import them and that's it, unless you erase the project temp files created by Premiere. No. I just opened a project I edited last month: not too long, not too short, around 500 clips including short B-roll ones and 20 minute long ones from interviews, plus subtitles, 8 songs, After Effects lower thirds etc. It took about 5 seconds to open the project and after that less than 3 seconds to load the media. No re-indexing or "conforming". As I understand it, the reason behind indexing is precisely to accelerate the process of opening a project and recalling all the media files associated with it. The footage was a mix of Sony MXF files (FS7 and FS5) and Quicktime h264 files form a Canon DSLR, and the station is not the fastest around (old-ish i7 with a GTX1070 and 32GB of RAM).

https://www.theguardian.com/culture/2017/aug/01/how-we-made-full-metal-jacket-stanley-kubrick-matthew-modine

As mentioned in interview for Cinema 5D, this clip is done using exclusively em1 II

I would recommend the P/L 12-60 as a starting point with the GH5...@ 35mm it's only a 1/2 stop slower than the 12-35 and the extra 25mm reach is significant...then you have the very wide 8-18 for down the road if you ever need to go that wide (personally on the GH5 12mm is adequate for most wide shots for me) you can then add the 35-100 or any of the longer Native lenses down the road...the Leica build quality and weight for an all metal lens is very good, as is the IQ.

Well deserved. On my larger monitor it looks even more awesome!

Color grade based on my BozBMDFilm to Rec709 LUT. Stylised to taste. Download the LUT here: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

https://en.m.wikipedia.org/wiki/Carl_Zeiss_Planar_50mm_f/0.7