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Hey Jon, that lens gives a perspective and interesting look. I had to give it a try and downloaded the 2k stream and did a grade. It´s a very modern look. I would rent it thanks to your review. Thank you! A good mix of talking and show footage.

Much better low light. I m not going to sell my GH5 and loose money to buy a more expensive version for just 1 stop of usable ISO gain. DR is already quite good on the GH5 for a M43 sensor. Of course if Pana comes with 12 bits, HDR and/or clean high frame rate that would be something to consider too but it's not the main factor for me. Finally, the price we'll be important too. Personally I don't believe in ground breaking AF feature. But no matter what, if this rumor is true and Pana releases a new ground breaking version of the GH5 I'll would be very pissed. That would be such a dick move less than a year after the GH5 hit the store shelves. A camera like that doesn't show up in 6 months, manufacturers have long term road-map. Wait and see...

Good, now that Casey leaked the GH5s and will be put in jail by Panasonic, @Neumann Films you can now feel free to leak us all the specs with no risk

You will be able to see blacks as whites, so nothing will be ever dark again but light:)

So many hopes and dreams projected on that tiny M43 sensor ........

Yes looks like Casey has one... Well well well.... Better get my "old" GH5 on eBay quick!

Need low-light and better AF to be more video-centric and merit the upgrade (especially if the price is higher). An integrated battery grip would be my personal request (a la the 1dx).

I originally though the "***** ****" was "super 35mm" and that it wasn't a new variation of the GH5, but rather a PL- mount adapter with a focal reducer built in to make m4/3 sensor into s35 sensor (like a speedbooster for PL glass), though Luke saying the adapter is by Wooden Camera throws that idea out the window. I really don't think it's a whole new camera so much as an add-on enhancement for the GH5. Just my two cents.

"Dynamic Range" is such a misused phrase. It's the MacGuffin of filmmaker dreams and fantasy. When someone writes the camera could have 15+ stops of DR my head explodes. Measured how? I'll try another way to explain how I see it. In an 8-bit DATA space (which Panasonic is probably shotgun married to in its electronics), you only have 16 million color values. If you shoot in 6 stops, you have 16/6=2.6 million colors. If you shoot in 15 stops you have 1 million colors. The data "word"/bit size is what sets the maximum colors you can capture. So after the camera comes out various camera experts will show on YouTube/Vimeo how you can see 15 white/gray bars, each exposed 1 stop away from the other. So yes, if you're shooting white bars you have 15 stops of dynamic range. However, change each bar to an individual color chart and you will see banding because you can't spread color out in 15 stops in 8 bit without seeing it in many situations. Again, you want 2.6 million colors at each stop, or 1 million? 10bit full color compressed video is not the same as 10bit single-channel RAW, not even close. Arggggghhh! What's so mystifying to me--the million dollar question--is why Panasonic can't offer RAW. A GH5 with RAW output would be a game changer. I'd buy one immediately! Anyone? As for the focus stuff. I agree with the above. Sony and Canon invested in low-level tech that can't be done without changing manufacturing. No one wants to hear this, but Panasonic is married to the wrong sensor size. Might have been one of the points @Don Kotlos was trying to make. Yes, there are many tricks that can be done to improve the image. But GROSS Dynamic Range? As they say in cars, "there's no replacement for displacement" If Canon can get 4K on its consumer cameras Panasonic will be in very serious trouble. That's my thoughts on their desire to keep announcing.

Cinemagraph technique can look great to visually study a nuance of a specific moment of time, I'm still waiting for ultra low power high resolution OLED picture frames to enable you to upload your own looping 'moments' and hang on the wall. Iconic moments from your favourite movie or interpolated still frames from a burst mode from a camera could look very nice as a hanging picture when slowed right down. Not sure the medium holds up for a 'traditional' narrative tool...as the looping nature of the image is purposely infinite. I think ultra slow motion can be more visually arresting - given the right subject and composition, the end result can be as stunning as a painting...

As much as I love my C100 (with DPAF) I don't use it enough to justify keeping it. I hate stuff just lying around. So will probably sell it, so keep that in mind if you decide you really want one and I'll give you another option. Some more thoughts, for a few minutes of video here and there, the A6300 works perfectly for me. What I love about the C100 is it just works well in almost any light and the battery lasts, it doesn't get hot, has XLRs, etc. It isn't 4K, but as perfect and nice looking 1080 as I've ever seen (it downscales to 1080 from 4K internally). If I ever want to do long-form video again I'd buy another in a heartbeat. I'm in the U.S. though, Boston area.

This is a nice cinemagraph "story": Not so much story involved more like beautiful images in one scene. But like it as it is. I also myself like to do cinemagraphs. Also really like to make cinemagraph moments from movies that I love. That way give them new feeling and the respect those need. Those I just upload for my instagram page: https://www.instagram.com/vinovinkkeli/

Most of my holiday films (friends & family stuff only) are based on this. I often characterise my work as being “moving photographs”. I find it a challenge to assess just how little movement is required in a scene to maintain the sense of dynamism and interest. It is fascinating, I think, just how even the slightest movement can bring a scene alive. Ideal for films which don’t have an obvious story but are intended to portray beautiful scenery or architecture whilst travelling. Tim

DPAF only covers a small portion of the sensor from what I understand. I'm not sure I would bother with it. But get the external recorder. (Although the AVCHD is surprisingly great.) There's no slow motion. That might bother you. The lack of 4k will make it a non-starter for some. The viewfinder is garbage. Otherwise I think this is a fantastic camera. I prefer the image to FAR more expensive cameras. Great color and tonality. But the image is hampered by a sensor that likes underexposure (or ACTUALLY rating it at 800 ISO and only using Log C, which has an awkward implementation of super white data) and a codec that likes overexposure, hurting the would-be pretty good dynamic range and can-be excellent lowlight by muddying the shadows. With an external recorder and careful metering, you can get past this. And it's only an issue in challenging circumstances. The form factor is great.

The theory that's always made the most sense to me about Panasonic's lack of phase-detect is that Sony, their sensor supplier, has them contractually excluded from it, in order to protect the competing Sony cameras. Olympus is allowed to buy sensors that are nearly identical, but with phase detect enabled, because their cams traditionally don't have much of a video focus, and thus aren't seen as real competitors to the Sonys on the video front (implying the video aspects are indeed a major factor in sales). Panasonic's statements about DFD being technically superior are just marketing bluster- of course they're not going to admit a weakness in their product, nor are they going to admit that Sony has them by the balls on this. They said similar things about OIS being superior to IBIS, right up until they started including IBIS in their cameras. If your competitors come out with a superior tech, you bluster about your existing tech being better, being proven, being reliable.... until your engineers are able to play catch-up, and then you introduce it with your next line. Marketing 101. I guarantee once they're able to source sensors elsewhere (TowerJazz?), we'll see phase-detect introduced. Not sure how realistic it is to wish for Dual-Pixel AF though, as that's Canon's proprietary/patented technology. I doubt they're interested in licensing it to a competitor, at least in cameras. They've licensed it for cellphone cameras because they're never going to compete in that space directly, and the phone market is so massive that even that simple licensing fee is big bucks.

Thanks for the response, I do own one as well. I love it man, I was also on the headache of getting it or the isco 36. Got this because I liked the flares and look so much. It close focuses at 1.5FT at F2 easily as well for me without the HCDNA. Hoping it can at least do that with the HCDNA but obviously allow rack focusing. I am really keen on getting it as soon as it is created again.

This is why I now just wear a pancake on my head for a hat...

LX200 with the GH5 sensor, tilt screen and mic input, plz.

The link for those curious: https://www.bhphotovideo.com/c/product/1331924-REG/tascam_dr_10lw_dr_10l_mini_portabl_recorder.html If you want true wireless, you'd need to spend much much more. Other option is be wired to them, but that is a pain in the arse.

In the metro you can get away with a grainy look from any camera. Even professional TV/film seems to let its hair down in the subway Think you're set with those kind of shots. I have something similar, Nebula 3000 (?). The thing about the C100 is it's sensor is MADE for video. It's an A7S long before Sony made one. If you're doing the story at some point you need to focus on directing and get a cinematographer. They'll have the "good stuff" Ironically, a better camera may hurt you because you'll get into the camera settings. That's certainly how I screw myself over and over and over again! The D810 and A6000 are great video cameras in 8bit. IMHO, you need to spend $5,000 to really make that next leap. All the stuff in between is a compromise. Even if you had a RED and every piece of equipment you want, working alone, a crew of 4 with Canon T3I, audio person, lighting person and assistant will end up with better footage. So put your money where the difference will make it to the end! Sounds like you're already doing it the right way. So rock on!

If what is real? We have 0 spec lol. The fact that the sensor (a sensor for security cameras by the way, nobody said the GH5s will have that sensor) does 4K120p does not mean the camera will do 4K120p at all. We have seen many many times capable sensor with a different output because of processing power or heat management. So we have nothing on the GH5s appart that it will be more low light oriented. But yeah if it does 4K120p with good AF and good lowlight, I am too getting one. If not then Sony will have my money with the A7SIII cause I am sure it will have A9 AF and FF is a bonus.

THANKS! the two XLRs of C100 is one of the reasons I'm interested in it. But I'm shooting this short film in Belarus. So probably thinking of something more discrete than the C100. So at the same time, I'm thinking about a A6300, A6500 shooting on a gimbal maybe. That's why I asked. I also have a used Sound Devices 302 that I connect to Tascam DR-40 recorder. It's going to be almost a no crew shooting (no sounds person, etc). So I'd like to keep it simple and easy. I'm worried about wireless. especially traveling to a different country. Just don't know if they have different bandwidth licensing setup and I'll pick up a lot of noise, or worse not allowed to use the devices.

Had to check hours. It has 191 hours. Would include 2 Belkin 64GB SD cards, 2 batteries, box, charger, etc. Thinking $1650 including postage. Optional add Atomos Ninja Blade with 128GB SSD for $250, 18-135mm STM for $150, Rhode NT2 (I think, not sure $). @salim I have both the A6000 and A6300. Where do you want to go? Do you want to be a cinematographer, director, producer? That will help me answer your question.

I saw you were interested in the C100... I believe it has two XLR inputs, so you could run two wires XLR lavs to each of your actors straight to the camera, or you could probably run wireless lavs from the camera to record good in camera audio. Either way it’s in camera, so you won’t have any external audio to deal with.

I recently picked one of these up: https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html I wanted to get the Tascam DR10X, but it didn't have phantom power, which seems bonkers to miss out to me. Anyway, I'm really happy with how this one sounds/works. It's cheaper than all of the Tascam options, and more versatile, you can plug any mic into it and you're ready to roll. If you'd like to hear some samples, I'm currently cutting an interview with two people sitting next to each other. I had two microphones, both the same make and model, with one running straight into a camera and the other plugged directly into this device. I did it purposely to test any noise the recorder might introduce. I can share a sample tomorrow if people are interested.

It could be called a GH5C like the 1dc

The thing that blows my mind is that no amount of money can buy you a small dslr sized camera, with a flip out screen, that shoots at least 4k at 60fps, and also takes stills... has good autofocus. I don’t care how much it costs. I need a SMALL dslr sized photo/ video hybrid with RELIABLE AF. It’s a HUGE need in the marketplace because of the YouTube revolution. If the GH5s shoots 4k up to 60fps, and has reliable autofocus... I don’t care how much it costs, I NEED that tool for my job and there is literally not a single camera that fills that need right now.

Good schtuff. Great reflection there in the mirror too. Tried instead of modern 'n light to try something a bit more moody, thinks works quite alright with the indoor scene:

@jonpais, Jon, do you also own the 15mm 1.7? Would love to see that in the mix. I think your testing shows off lenses exellently. Thanks again for that. One suggestion, maybe keep the ratio of expanation and showing an even 50 to 50 to have a perfect balance of the two. @cantsin looks like a fun lens definately. What´s up with the sound at 7.50 with the DJane holding the cellphone, is she recording off the amp?

Thanks John, I watched your video on a LG 55 screen (LG 55B6V) and I could say that the Sigma looks quite good for color and contrast. Yes I noticed too that there is a quite sensible difference btw the Sigma and the Leica with ETC which has less contrast (without it is the usual splendid performer, no doubts about it). If i had the GH5 I'd most probably use the ETC when I need to be closer to the subject with a tele lens so to get an extra reach. I am not fully convinced of the ETC with wide or normal lenses. I don't remember if you did a video testing of the Sigma 30 with ETC in comparison with the 42.5 Leica. I will check now. Thanks again, very kind of you.

After watching a lot of videos, G9 AF is not that good. In many cases it fails even more than GH5 when tracking. My minimum acceptable level for video AF is A6500, or A9.

Yeah I still think it could possibly be a paid hardware/firmware upgrade or an add-on to enable more features

Hi Jonesy, I was just taking a shower thinking I should do a video on this subject. I'm still not clear on it all, but this is my current understanding from my experiments with the Sony X70 that has both 8 and 10bit. Theoretically, what you say is correct IF the 10bit value ends up in a 10bit space. So when I shot 10bit on the Sony X70 I expected to see a big increase in DR. I detected none. Why? I haven't seen any big real DR improvement of 10bit anywhere on the Internet. Just a lot of marketing "you'll see" type of stuff. Excuse me if this is confusing. I'm still trying to figure it out in my head. When you use RAW values you'd have 1024 per channel, as you say, so there's a big difference between 256 at the stop of 8bit, and 1024, right? That's the way I see it too. So let's say we have 3 RGB values of 100, 256 and 1024 so multiplied we have 26,214,400. Can we fit this in a 10bit space? Absolutely, IF we're saving CHANNEL data as 10bits. And when I've shot some limited Magic Lantern at 12bit I DO SEE a marked improvement over 8bit H.264. So when I looked at the 8bit vs 10bit files from the X70 they were roughly the same file size, but I did see a difference in banding (but I had to super pixel peep). So how could it really be 10bit? And if it isn't really 10bit, what is it? My guess is that it is really 8bit with an extra couple of bits added to the full color data. So it really isn't 10bit, it's more like 26bit full color (24bit plus 2 bits). That would explain why the colors would band less on close inspection. There is more precision between shades. Time will tell if I'm wrong, but so far I believe everyone has fallen for a lot of marketing hype, nonsense. Not surprising to me, if you read my other posts few understand DR properly Panasonic loves to muddy the water with all manner of CODECs and bit-rate-mumbo-jumbo. So that's my take so far. It's not 10bit acquisition. It's more like 8.1 bit display

I think any possible GH5S actually compliments the EVA1 very well when you think about the type of people buying the EVA1. Anyway, new technology usually comes to the smaller cameras first and it is the case yet again here with Quad Bayer HDR. The EVA1 is designed to be a solid work tool, to please established pro videographers and it does so. The GH5S is a bit more 'wow' and would be a superb second camera for EVA1 owners. Plus it speaks far more to me, as I still prefer the tiny mirrorless cameras to 'traditional' form factor cinema cameras, even ones as small as the EVA1 or C300. By the way, if the rumors are true, I think this camera will be a breakthrough in dynamic range on ANY stills / mirrorless / DSLR. There will be a TON of photographers using the HDR mode on this sensor, believe me.

Very nice videos @jonpais The sigma looks great but I prefer the 12mm in the comparison as I like the color better, especially the skin tones. Too bad the Sigma is so gigantic, even though the price is nice.

Yeah, they would go nuts... but what would they then do? They would order the new camera. In any case, it seems plausible that we will get fewer MP in this new model. If that is the case we would lose open-gate, 6k photo mode and other goodies. Could we expect a softer image, due to less down sampling? So enough holes will be left to warrant another camera. I would add this as a B-cam for dynamic range and low-light. But the lower MP count would mean I would be stuck without these feature when on vacation, because I might want to take a few pictures. And if any of those pictures are “special”, well who knows, I might want to print them? Low light is useful some of the time... as is HDR, but decent resolution is useful far more often in my use case. This might play out to be the A7RII vs A7SII all over again. My pick was the R. And as for DPAF, well I miss it dearly every time I use the GH5. My smartphone has it... my Canon has it, and Panasonic NEEDS to have something like this in their next camera. Once you have used it, you will no longer make, frankly stupid arguments for not needing or wanting it. Let see how easily you maintain focus with a shallow depth of field on a gimbal without it. This is 2017, good AF is not a luxury... it should be a standard feature on all flagship cameras. Nuff said!

No, just your venerable nostrils and earlaps looks strangely close to each other in Sigma's interpretation of visual 2.5 world

I think we are lucky if we get 10bit 120p in FHD/2K, but if that's multi aspect I would have no reason to complain. 4K/60p/10bit internally would be badass but I doubt that, too much too soon after the original GH5. Owners would go nuts. That advanced HDR sounds like a lot more reasonable and "prosumer friendly". They need to sell those HDR TVs somehow, showing off nature docs with over saturated colours and interpolated magic motion on the shopfloor won't cut it now.. they have to give you toys to create content with.

Well the Eva is more production friendly and super 35 so that not really for the same audience . But for my personal use, a camera with 4k 60fps , a good 4.2.2 codec, face detection continuous autofocus and low rolling shutter is everything I will ever need, So I think the next generation camera I will buy will last me much longer since I won t have to make much compromise anymore. Hopefully it will be a a7s3 .

In a museum, living "paintings": I am very interested in this. Am working on an elaborate storyboard for a short for months now. A sequence of scenes, each told within one frame, taking "every frame a painting" almost literally. Like a slideshow of cinemagraphs, some stills with sound, some extreme slomos, some smooth timelapses, morphs. You can combine various techniques, use burst mode to capture raw images, make comps, CGI. Very exciting indeed.

Reevaluate? Your listing practices versus everybody else's, yeah, based on that, whatever revision you've been told to do could have been done in the same old thread, cheeky bugger.

I much prefer the image of the C100 and the ergonomics, but the A7S is better for lowlight and gimbal work. If you're picking up a b camera for an Alexa or Red, the A7S might be better because it's very good at what those cameras are bad at. For an A camera, I would take the Canon, no brainer. It's far more capable with a much better looking image overall. (Just my opinion.) On the used market, also consider the F3 and FS100 and FS700. Not my favorites, but I prefer all three to the A7S as an A camera. A7SII is a little better, though.

Awesome, now I can go to bed, dreaming of that beautiful Veydra:) Have to get up in four hours. cheers

You should go buy a PDA camera immediately, else your infatuation will never be sated.

use with the video assist, set the f3's sdi out S-Log 4;2;2 Use SDI output A, not the 'Video Out' bnc connector. Just an FYI, the color you get from setting the camera to video out / s-log PP is much more accurate colorwise than locking the camera to S-Log out with no profile. The difference is very obvious in the greens. It is a lot closer to the FS7 in a bad way. A member on DVX User tipped me off to this. Clearly this is a flaw because the two profiles shouldn't be different. I agree, the menu situation is very annoying on the f3. I have owned the F3/Black Magic Recorder for a while now and have been extremely satisfied with the images.

The per pixel dynamic range is defined as the log of the ratio of the maximum signal (until saturation) to the total noise (Shot noise + dark noise): The signal which is the number of photons is proportional to the pixel area, whereas the shot noise is proportional to the square root of the number of photons. That is why the signal-to-noise ratio, and the dynamic range, changes with pixel size - the larger the pixels, the higher their dynamic range (everything else being equal of course). Now the dynamic range of the whole sensor can also depend on other things. For example one potential chip that could be in the GH5s can change the integration times between nearby pixels:

The plot is thickening ... gentlemen, get your wallets ready (FT5) First image of the GH5s shows it has same GH5 body So it seems we will stay at micro 4/3.... The rumor site also states the same Sony sensor as i did in my first post.... i hope it will happen. Why am I so crazy about that sensor? The answer is dual ISO Magic Lantern RAW. It is not easy to use and to expose correctly for it... but when it works, it changes the 5D Mk3 into a dynamic range monster. Dual ISO works by alternating ISO levels between even and uneven lines, for example even lines are exposed at 100 ISO and uneven at 800 ISO. You then take that "interlaced" image, and with something resembles magic, reconstitute a high DR image. I believe the quad bayer on this new Sony sensor is essentially the same... only that it will be completely straightforward, no batch processing, just straight mapping to VLOG or RAW. I can't wait to hear more.

The latest firmware update was October. Your inference is wrong. Most of the reviewers on the Amazon and BH web sites either do not understand how to use the camera or are using much earlier firmware. There have been many firmware updates since the camera became available. It would be nice to have someone here test it, if they think it useful.

No. Just no.

Fingers crossed for a new Panasonic EVA1 MFT! ;-)