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Yes, going to be good for warp stabiliser. With Dual IS, 5 axis IBIS and Warp, maybe we won't need that £1000 tripod Flowtech 75 after all

With the new firmware 2.0 update, the Panasonic GH5 becomes the first 5K 10bit H.265 mirrorless camera, and you don't even need an anamorphic lens to join the party. Read the full article

4k, IBIS, Dual Pixel AF, raw, gimbals, drones...all that stuff is great...but sometimes ingenious revolutions of the simple things get me most excited. This thing is now first on my list!

Here are a few more screengrabs from my film. The first one is with the Canon 24-70mm f/4... And the second is with the Canon 35mm f/2... Haha, in the first one, the actor looks like he is shaking his head that I am posting these grabs... lol.

Only three legs??? Pass.

Agreed about the de-squeeze options. If I were writing the monitor firmware I'd allow a continuous variation between 1.00x and 2.00x (at least to 0.01x resolution), and then show the resulting output rectangle ranging from 4:3 to 2.66:1. "Special" values like 1.33x, 1.5x, 1.79x, and 2x could be made available in a separate dumbed-down menu I suppose. I think the problem is that anamorphic is confusing to many people, and Panasonic has made some lowest common denominator assumptions about their customer base.

I have always found this thread to be really important in deciding on using certain cameras inside vehicles, with fast motion: http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! Thanks to Samuel Going to post text as well, in case dvx100's forum goes under: RX100 V 250 fps ---- 3.8 ms (3.8-3.8) BM 4.6K (2K crop)--- 6.3 ms (official) 1DX II 1080p 60&120- 6.7 ms (6.6-6.7) NX1 1080p ---------- 7.9 ms (7.7-8.0-8.1-7.8) NX500 2.5k --------- 8.6 ms (8.2-8.8-8.9) a99 II 1080p ------- 8.7 ms (8.8-8.7) BM MicroStudio 4K--- 9.9 ms (official) a7r II 1080p S35--- 10.5 ms (11.0-10.0) a7r II 1080p FF---- 10.8 ms (11.0-10.5) 1DX II 1080p 24 --- 11.1 ms (11.1-11.2) a6000 1080p24&30--- 12.2 ms (13.9-11.1-11.5) BM 4.6K (4K crop)-- 12.6 ms (official) BMMCC ------------- 13.3 ms (official) my measurement was 13.4 ms (13.7-13.5-12.9) GH4 1080p --------- 13.7 ms (13.7-13.5-13.1-14.0-13.9-13.5-13.5-13.9) RX100 V 1080p ----- 13.9 ms (14.4-14.0---14.2-13.1) (first 2 with stabilization, last 2 without) D750 -------------- 14.5 ms (14.6-14.1-14.6-14.8) 1DX II 4k 24&60 --- 14.7 ms (14.6-14.9-14.9-14.6) RX10 -------------- 14.8 ms (14.5-14.8-15.0) GH5 --------------- 15.0 ms (official, preproduction) BM 4.6K ----------- 15.2 ms (official) my measurement was 16.3 ms (16.3-15.9-16.8) a6300 1080p24 ----- 15.2 ms (15.8-14.6) GX85 1080p -------- 15.4 ms (13.8-16.7-15.7) GH3 --------------- 15.5 ms (15.4-15.7-15.4) G7 1080p ---------- 16.9 ms (17.5-16.3) XT2 1080p --------- 16.9 ms (16.9-16.0-17.4-17.3) RX100 IV 1080p ---- 16.9 ms (16.5-17.3) (without stabilization it's slightly faster: 16.1) RX100 V 4k -------- 17.5 ms (18.1-16.3-17.7---17.7-16.9-18.5) (first 3 with stabilization, last 3 without) BMPCC ------------- 17.7 ms (official) my measurement was 17.8 ms (17.7-17.7-20.0-20.0) a7s APS-C 1080p --- 19.5 ms (20.3-18.4-19.5-19.5) a7R II 4K FF ------ 19.9 ms (19.3-19.6-19.4-21.2) 5D3 --------------- 20.5 ms (20.7-20.5-20.4) D5200 ------------- 22.4 ms (22.5-22.1-22.6) GH4 4K/UHD -------- 22.0 ms (official) my measurement was 22.5 ms(23.2-22.3-22.7-22.7-22.4-21.8-22.4-22.8-22.6) a99 II 4k --------- 23.4 ms (23.3-23.5) BMC --------------- 23.6 ms (official) my measurement was 25.0 ms (26.7-24.8-23.5) 5D2 --------------- 25.9 ms (25.5-26.4-25.8) 5Dsr -------------- 27.7 ms (27.5-27.9-27.6) G7 4k ------------- 28.1 ms (27.8-28.5) GX85 4k ----------- 28.9 ms (30.2-29.0-28.8-27.5) NEX-5N ------------ 29.4 ms (28.8-29.6-28.9-29.8-29.8-29.1-29.7) a7s II FF 1080p --- 30.3 ms (29.5-31.2) a7s II FF 4K ------ 30.4 ms (30.2-30.6) a7s FF 1080p ------ 30.5 ms (30.1-32.0-30.5-30.3-29.2-30.9) XT2 4k ------------ 30.7 ms (30.5-30.7-31.2-31.2-30.8-29.9) NX1 4K ------------ 30.9 ms (30.6-31.6-31.4-30.7-30.2) NX1 UHD ----------- 32.6 ms (32.9-32.0-32.9-32.5) a7R II 4K S35 ----- 33.3 ms (35.6-32.2-32.8-35.3-32.6-31.1) RX100 IV 4K ------- 36.6 ms (36.4-36.7) (without stabilization it's slightly faster: 35.7) a6300 4K 24fps ---- 39.0 ms (39.2-38.9) OTHER NUMBERS, MOST OF THEM FOUND BY SQUIG SOMEWHERE ON THE WEB: Film --------------- 5 ms? (here) Scarlet ----------- 14 ms F65 --------------- 14 ms AF100 ------------- 14.85 ms FS100 ------------- 15 ms FS7 --------------- 15 ms (here) C300 -------------- 16 ms Red One MX -------- 16.6 ms 7D ---------------- 21 ms 5D MKII ----------- 25 ms GH1 --------------- 25 ms D90 --------------- 33 ms I am curious to see how the sony a9, a99, and canon 1dx ii stack up against each other in rolling shutter. I get asked a lot to do crash cameras in cars - and in the past, I have used the a7s ii in 1080p mode. But these guys now seem like a better option to prevent jello.

This is a very good suggestion. LUT folder on the memory card. Menu on the camera to select them. Job done. Once converted to 5K ProRes they're smooth as butter.

For the first time I am tempted to get 5K Retina Imac to enjoy the full resolution

This sounds a lot like people said when everyone realized the 5D2 had pattern noise in shadows (in raw stills). I'm not sure what the defensiveness is about, esp from a guy who generates clicks ranting about certain camera brands. It's proven pretty useful to know when and how an image falls apart and how that compares to other known quantities.

If your goal is to use a camera to improve. I would get one that you can shoot a lot of stills at once and compare images in camera. Plus one that can shoot past 100 iso The sigma cameras are for those who know exactly what they want from their image. Def not for the faint of heart. Can u rent via lensrental and test it out?

It is an Adobe issue...the issue does is not with Panasonic.

https://www.engadget.com/2017/09/04/panasonic-gh5-6k-widescreen-intraframe/

Yes, you should definitely expose and WB to your subject -with a white balance card is perfect-, not the green screen.

https://www.meetup.com/topics/independent-filmmakers/ca/bc/vancouver/?_cookie-check=C09RLT6b4qDeTQko

The problem is that focal reducers naturally want to shrink the optical path, which is why a boosted lens is shorter than the same lens with a plain adapter. To do an anamorphic focal reducer you need to overcome this tendency, which is much easier said than done. Even if you succeeded and were able to produce an anamorphic focal reducer I don't think that people would go nuts over it. The reason is that it would be a rear anamorphic adapter, and therefore would not produce the horizontal flares, oval bokeh, and differential depth of field that are the main reasons why anamorphic is used nowadays. No doubt there would be a flurry of interest in the market, but then people would be spitting mad when they discovered that their newly created rear anamorphic lenses just do not look anamorphic. And then the mob with pitchforks and torches shows up at my house. No thanks!

I don't have a problem with the codec itself, the problem I have is that Canon led (potential) buyers on. They teased a middle ground codec that isn't actually any better (just more metadata) and I find that unethical.

Check out this little Video i shot on the GH5, Metabones Adapter and the old Sigma 30mm 1.4. (that kendy one :-) ) and the Panasonic 20mm pancake. Most of the Grafitti stuff was Shot at HD at 120 FPS. I should have used the 4k 60 FPS instead to keep the Quality with the digital zooms and reframes... Editing in Premiere. Just a fast Grading with Lumetri Looks.

Hey Nikkor, it's a suspense thriller about a man who comes home after spending some time in a mental hospital. The familiar people and places begin to dislodge hauntingly, faint memories of his dead girlfriend but the visions seem real and vengeful. It's kind of a mixture between a classic English ghost story and Japanese horror.

People want to knock this, but wow the images out of this camera are amazing. It's like getting Arri Alexa colors and feel with that auto focus and 4k/60p. Look at how clean that lowlight is in the first video. I bet this camera is so much fun to use. Lighter than the C300ii and internal raw. I could see shooting interviews in 4k/8bit or 1080p 422 to a recorder and shooting the b-roll in raw.

Voigtlander 50mm f1.5 in M mount. Not exactly vintage but they sometimes pop up used for $400 or even less.

Every morning, the Coen brothers read the news looking for interesting stories. Articles in the Rolling Stone or GQ tend to get me inspired (though, there's a lot to look through to find the good stuff). If you must write, these are good places to start. But otherwise I'd say just do what inspires you: the camera part. Bring your services to people who have stories but aren't camera-inclined. Exactly. Dark Knight Rises is basically A Tale of Two Cities, Westside Story is Romeo & Juliet, Lion King is Hamlet, Apocalypse Now is Heart of Darkness, O Brother, Where Art Thou? is The Odyssey.... The list goes on.

That's fair. Definitely not a kind of photography I do a lot of. When I dabbled in it I used a Leica rangefinder and would focus through the rangefinder rather than setting hyperfocal distance and compose through the rangefinder. But I decided it wasn't for me. In retrospect, maybe my slow ability to focus hurt. Hyperfocal technique is more instantaneous. @mercer I'm not that into photography but I found the 5D Mark III to be a solid stills camera when I had one. Yes, the Sigma has better image quality at 100 ISO and it's small. Bt that's IT. Everything else about it is much worse. Like crazy worse. And it also has this magenta/green noise that needs to be filtered out in lab color space and sometimes can't be so you really have to be careful. The battery life is awful and shot-to-shot time is the worst I've experienced. If I cared much about photography I'd buy an old MFDB and tech camera lenses.Bbut I don't, and this is the next best thing. If you want it for one thing (hyperfocal street photography, or I'm trying to get into some really abstract stuff–the shots I posted were test images to see how the detail is) it's great for the money. I wouldn't start with one. If you really want to challenge yourself, I'd get a spot meter and shoot slides on an old (like 1960s) SLR without a working on-camera meter. That's how I learned to expose. In the lab, they can change the exposure on C41 when they print it and it has tons more dynamic range. If you want to get really good at photography and exposure (not of people, necessarily, because they move too fast) pick up a manual focus Nikon camera and use an external light meter. Or challenge yourself a bit less and get an old Nikon SLR (the FM2 is great) and use TTL metering. For small stills cameras, the Fujis are really nice.

I really like how Panasonic is giving us things like this. Thank you Panasonic. Seriously.

Very nice shots. I still don't see the Sigma as a great street photography camera (your focusing/composition method is the same as you'd use with large format, requiring a lot of light and knowledge of hyperlocal distances, and again I wouldn't rate it past 100 ISO). But those look great. Great eye. And I do think the highlight roll off is a lot closer to slide film than you'd get on other digital cameras. Both in your photos, and just in my experience. But it doesn't look like color negative, which is softer in the highlights than slide film or digital. I REALLY don't think these are the right cameras for Ed, especially when I find film to be so good for photographing people. And frankly I find color negative better in both low light and mixed lighting... also in difficult lighting... than anything digital. (I'd recommend he check out a Mamiya 7, but 6x7 is far slower than 135 for low light.) I think where the Sigmas do shine is in rendering difficult textures. The photos I posted are not very good, sort of test shots, but if you download them and zoom in to 100% you can see that difficult textures are rendered better than you'd expect from an APS-C camera, let alone a tiny point and shoot. I think a D800 and excellent lens could get similar results, but that's expensive and big, and even then I'm not sure.

marked the high res preview in the right klick options menu?

Wow, another tripod. Such a revolution. Glad they tested it in arctic condition... And the wind tunnel, does it break the speed of sound?

Yeah I would get something easier and most of all smaller since otherwise you might as well use your 5Dmkiii. Checkout the Fuji X70 or Ricoh GRii. They are the current kings of the streets imo and both pocketable. I have several review videos of each

I mainly have two ways of starting a project. Either with an idea I'd like to explore but have no idea how to, prompting me to bring the camera out and wing it to discover the idea properly. Or, I just sit and soak it in, then realize "I should record this". Either way has me in the same boat as you money-wise. I've spent a lot of time with my T4i and a 200mm lens.....not creeping! But rather, appreciating how different one looks when they don't know a camera is around. I find the "not posing around a camera" is still posing. Other than that I don't really find people all that interesting, though I see your point of being in tune with surroundings. Perhaps I'll make a point of parking more often and just looking around to soak it in. Could you go into this more please? I'm not familiar with the original adage, and beyond taking it as soapbox wisdom, I don't know how you mean it to be interpreted. Oops, my bad. For some reason I thought that the main page was a sum of the parts, not its own forum. I've messaged Jon already to try and have this moved.

I guess, I will add my 2 cents in this.... I think the issue is name and price. Suppose they named it C100 mark 3 and priced it closer to that.... You can't even argue about the specs because its an obvious evolution of the C100 mark 2 - and the price would also be obvious.... In my opinion, they made a mistake with the C200 and C700. In fact, if I had a time machine and I was part of Canon's advisory committee.... I would have went back in time and told them to make a C100 mark 2 with 2.5K...Release C500 mark 2 with 6K (external recording - just following their thought process with the first C500).... and when you are ready with 8K.... then create a new line that will be the C700. Scrap the whole C200 idea.

Another update on Portrait for those who might want a straight out of camera alternative to CineD. All shot on a GH5 (1 shot on a GX85) in Portrait. I'm happy with the skin tones (even though Youtube is a bit shitty). What do you think?

Ah, quick release legs? Didn't notice at first.. nice

The wakeup is as fast as any modern camera. I set it to 30sec before sleep. And the manual focus wheel makes it as far as I know, the fastest manual focus compact camera in the world. Much faster than my x100f or Ricoh GR. Perfect for zone focus on the streets. But be sure to catch the moment, there is no spray and pray. I never shoot more than one picture at the time on the streets so Im fine with it. And on the DP1 its easier. 28mm is my preferred focal length for street. No need for a good evf I just need a general view with shapes. Exposure is already set. Focus wheel at 2.5 means all is in focus no matter what. I think 1.8m to infinity or something like that. Now I can just snap away All of the following shots are shoot on the move while walking and within a second or two of waking the camera up from sleep mode. And if one wants more resolution I have done some street shooting with the SDQ as well. A bit big for that imo though. BTW, I have a DP Quattro on the way and I definitely will shoot the streets with that as well

Yeah, it's my "big" and "serious" project this year and will actually be submitted to film festivals. I like to shoot an actual short to test a camera so I can actually get a realistic idea of how footage will look when actually lit and shot the way I do. It's a good way to put it through it's paces in a real shooting situation, when you don't have time to overthink the lighting and camera placement/movement as you might when shooting test footage. Of all the cameras, I think the G7 is the one I love the most. I can get great footage out of it, and I can use it without rigging it up (the monitor is the best built-in monitor I've used on a DSLR/Mirrorless camera--I can always nail focus with it) and it feels good in my hand (not too chunky for me as it is to others). The a6300 Slog2 footage was a joy to grade, with a nice amount of DR, but you can get ugly chroma noise in underexposed areas and the monitor sucks (I almost never shoot without an external monitor with it). I rebought the Canon EOS M again recently because the Canon color always tricks me into buying their cameras, but the nasty aliasing and chroma noise makes me regret it. It's weird because I love the look of the two videos I've shot with it, but those were shot all hand-held and for some reasons when I shoot static close-up shots, I get aliasing in eyebrows and facial hair. At the very least, it'll be useful in trying to find the best settings on the G7 to match the Canon colors (well, to get as close as possible) and also matching a friend's 7D when we shoot multi-cam stuff together. What I love about Panasonic cameras in general is that I never even have to think about moire or chroma noise (Panasonic just has nice, fine luma noise that looks sort of film grain-ish) and I don't have to switch to a c-mount lens and crop mode to avoid aliasing. Nikon was fine, but wasn't very inspiring to me. I think the BMPCC still shoots somewhat better footage than the Panasonic cameras I've owned, but I hate NEEDING a cage and NEEDING rails and NEEDING a huge external battery and NEEDING an external monitor every time I want to shoot just about anything. I say be ruthless in editing, but allow the film to be whatever length it needs to be. I can't wait to see it.

Yeah. The DDFX filters that I have are 83mm screw on. I have a matte box for NDs.

Every system has uwa. You can use 7-14mm Panasonic or Olympus ...

The "why" seems pretty obvious. 16x9 is enormously important, and to get there from 4:3 without wasting sensor space you need (16/9)x(3/4)=1.33x. Whether or not 1.33x is "crap" or not depends entirely on the lens design.

NX1's AF was the second best back then, not that further away from Canon's, and still I prefer it from Sony's for video (so in my opinion, it is still the second best!). Samsung was nothing to Canon back then, the smaller players were afraid the most (Olympus, Fuji, Panasonic mainly; Sony was worried, and Nikon would have been doomed). Olympus and Fuji haven't the resources to fight Samsung, Nikon can't compete in the new digital age, and even Panasonic is much smaller than Samsung. Sony is powerful, but Samsung had some amazing R&D breakthroughs, and the capacity to manufacture EVERYTHING you need for a photo/video camera (CPUs, RAMs, lenses, Super AMOLED touch screens, everything). First 28mpxls BSI sensor (A7Rii was the second big sensored BSI actually) etc etc. Samsung just decided that they didn't want to compete on a declining market, and pro video/photography was a long shot. NX1 was too late in the game. It is just a pity that we didn't see a NX1mkII, they did the first version SOOOOO good, without any prior real practical experience. The NX team had some truly talented and passionate people (just check some of their older corporate videos), something that a huge capitalistic and autocratic mega-trust, couldn't allow to exist.

Sure, I will share once it is finished and uploaded at the end of September. And here is a still frame of it.

To reduce sharpness without reducing resolution I'd highly recommend the Tiffen Digital Diffusion FX 2 filter. It doesn't cause highlights to bloom like the Pro Mist but softens the overall look. I keep them on my 2 Sigma Cine Lenses always.

Here they are in alphabetical order 4K(+) Bolded. I also Added a few from C5D numbers, and cleaned up the list. RX100 V 250 fps ---- 3.8 ms 1DC S35HD --------- 18ms 1DC 4K ------------- 25ms 1DX II 1080p 24 --- 11.1 ms 1DX II 1080p 60&120- 6.7 ms 1DX II 4k 24&60 --- 14.7 ms 5D MKII ----------- 25 ms 5D2 --------------- 25.9 ms 5D3 --------------- 20.5 ms (18ms C5D) 5Dsr -------------- 27.7 ms 7D ---------------- 21 ms a6000 1080p24&30--- 12.2 ms a6300 1080p24 ----- 15.2 ms a6300 4K 24fps ---- 39.0 ms a7r II 1080p FF---- 10.8 ms a7r II 1080p S35--- 10.5 ms a7R II 4K FF ------ 19.9 ms a7R II 4K S35 ----- 33.3 ms a7s APS-C 1080p --- 19.5 ms a7s FF 1080p ------ 30.5 ms (29ms C5D) a7s II FF 1080p --- 30.3 ms a7s II FF 4K ------ 30.4 ms a99 II 1080p ------- 8.7 ms a99 II 4k --------- 23.4 ms AF100 ------------- 14.85 ms Alexa 2K ------------ 6ms Amira S35 2K ------- 2ms BM 4.6K ----------- 15.2 ms (official) my measurement was 16.3 ms BM 4.6K (2K crop)--- 6.3 ms (official) BM 4.6K (4K crop)-- 12.6 ms (official) BM MicroStudio 4K--- 9.9 ms (official) BMC --------------- 23.6 ms (official) my measurement was 25.0 ms BMMCC ------------- 13.3 ms (official) my measurement was 13.4 ms BMPCC ------------- 17.7 ms (official) my measurement was 17.8 ms C300 -------------- 16 ms C300 II 4K --------- 6ms D5200 ------------- 22.4 ms D750 -------------- 14.5 ms D90 --------------- 33 ms F65 --------------- 14 ms Film --------------- 5 ms? FS100 ------------- 15 ms FS7 4K ----------- 15 ms (here) (14ms C5D) G7 1080p ---------- 16.9 ms G7 4k ------------- 28.1 ms GH1 --------------- 25 ms GH3 --------------- 15.5 ms GH4 1080p --------- 13.7 ms GH4 4K/UHD -------- 22.0 ms (official) my measurement was 22.5 ms (C5D: 14ms) GH5 --------------- 15.0 ms (official, preproduction) GX85 1080p -------- 15.4 ms GX85 4k ----------- 28.9 ms NEX-5N ------------ 29.4 ms NX1 1080p ---------- 7.9 ms NX1 4K ------------ 30.9 ms NX1 UHD ----------- 32.6 ms NX500 2.5k --------- 8.6 ms Red One MX -------- 16.6 ms RX10 -------------- 14.8 ms RX100 IV 1080p ---- 16.9 ms (without stabilization it's slightly faster: 16.1) RX100 IV 4K ------- 36.6 ms (without stabilization it's slightly faster: 35.7) RX100 V 1080p ----- 13.9 ms(first 2 with stabilization, last 2 without) RX100 V 4k -------- 17.5 ms (first 3 with stabilization, last 3 without) Scarlet ----------- 14 ms XT2 1080p --------- 16.9 ms XT2 4k ------------ 30.7 ms

Amazon's subliminal messaging is working...

If you zoom in 500% you’ll see its not a real horse, but tiny dots.

8bit 4:2:0 on the C200 is a shame, but I understood why it had to be crippled to protect the C300 II. What I don't understand is why Canon feel they can fool people into believing their planned codec for 2018 is an 'upgrade' Surely C200 users know the difference between H.264 8bit 4:2:0 in a MP4 wrapper and an MXF wrapper, with meta data. I don't think you can really call that an upgraded coded. It is still H.264, 8bit, 4:2:0, isn't it! So Canon initially had a chart where the mysterious new codec would record to CFast 2.0 cards... Then that all changed and it is only going to record to SD cards now. I think Canon should come clean and tell C200 owners what the fuck just happened.

I shot a 25 minute short this summer (Sony a6300). It's in the ADR/VFX/Scoring stage right now, so that's been taking up most of my attention, aside from my editing/filming work that pays the bills. But I definitely want to shoot at least a little 5 minute narrative short on the G7 soon.

Tokina Angenieux 28-70mm with 5D3 ML Raw...

Hi Andrew: Any input you can give to Panasonic would be terrific - I really appreciate it! I'm really psyched about the GH5, and think it could become a really major anamorphic camera since the format is basically the same size as a 4:3 crop of Super 35. Regarding anamorphic lenses, I'm currently working on primes, and they are mechanical beasts due to the Panavision-style counter-rotating Stokes lenses. So, I'm in the weeds worrying about screws, bearings, and special tools needed to manually pre-load a whole bunch of anti-backlash gears. One thing related to M43 and the GH5 is that they will be compatible with the M43 Ultra Speed Booster via high quality PL-to-EF adapters, which will create T/1.4 speed for all but the longest focal lengths.

Glad to see a de-squeeze function, although 1.79x should be included since this is required to go from 4:3 to DCI 2.39:1 without cropping. Of course, I'm biased since I'm currently developing 1.79x lenses! Need to start lobbying Panasonic to add a few lines to their firmware . . .

Facebook post... Nikon Speedbooster .71x -> Nippon Kogaku h auto 50mm f2 -> Kowa 8z -> CineD 4k 4:3 50p 8bit