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5 years ago i made a photo of the ISS with my GH3. I made it in photo mode with a old russian 1.000mm catadioptric lens. It was incredibly difficult to find the tiny point in the viewfinder and mantain the hight speed across the sky. I made a few dozens shots and one was sharp. It was pure luck at 1/125s. This is a 100% pixels crop.

Yeah, I've been magnifying the crap out of the XLR module too, I think I can see Rick Astley in there..

The original RED one was only rated at 9 stops maximum by DPs once it was out in the field....to talk about the GH5 with ONLY 12 stops, means that if it had 14 stops, that person would just have something else to complain about....oh wait....there is....the terrible AF??

Oh, I get it now, so... there's an XLR hotshoe adapter, without any cables running into it. It is... because the 2nd gen XLR hotshoe adapter... doubles as A RAW RECORDER !1!! It takes the signal from the hotshoe interface! Incl. Dolby Atmos audio from the onboard mic they've added to the XLR unit (Vesku...). Dúh. And RAW has 3 straight elements in the 'R', the 2nd letter 'A' has 3 as well, 3+3=6, more so: the W of course has 3 peaks at the top and 2 at the bottom, 3*2 is 6. And RAW is three letters, so 666. Illuminati* confirmed! *Illuminati is a Panasonic trademark, all rights reserved

For those that are happy with things as they are, great you are done upgrading. For myself I will take all the flexibility I can get. Would love clean lowlight. I’ll take 15 stops of DR. I have six hdr displays, so I’m sure I’ll be able to see a difference on one of them. I for one am sick of reviewing footage only to find the image turned to mush or there was color noise in the shadows.

I'm curious if you are using a cropped mode on the GH5, because a quick test shows you get severe vignetting with the Lens Turbo II on full-sized m43 format when paired with the Sigma 18-35 at shorter focal length settings. This despite the fact that the Lens Turbo II has less reduction (0.726) than the Speed Booster (0.71) Even though the 18-35 has sufficient image circle diameter at 18mm to handle 0.71x focal reduction, the lesser 0.726x factor of the Lens Turbo II does not mean you are "inside safe margin". The issue here is that image circle diameter is only part of the story. Equally important is the exit pupil distance of the lens, and how well the focal reducer handles longer exit pupil distances. This is where the Lens Turbo II completely falls apart, because the 18-35 is nearly telecentric at the wide end, with an exit pupil distance of 150mm. My simple test above shows what happens: the vignetting with the Lens Turbo II is clearly caused by the focal reducer, and not the Sigma 18-35.

Ok, I’m leaning towards a new camera as opposed to firmware. A second image has emerged that shows a red ring around the dial of the camera that Casey Neistat is using in the helicopter video. This would seem to confirm the earlier analysis of the frame grab from the video posted by @Neumann Films that seemed to show a red ring on the right dial. Since this red ring is Panasonics new design language to signify top tier cameras in the Lumix lineup this it stands to reason they would use it on this more expensive model. Also there is another image of the front of the camera that seems to show s red letter below the model designation. So why did the GH5 not get a red ring? Will future GH5 get the red ring?

Boy, kick a guy when he's dumb...ur...down OH WAIT, a pun! I'm not shure actually. But what do you expect. I Rhode into town on the wrong horse!

Let's not lose perspective that even the old GH2 is a great camera that indie filmmakers a decade ok would've killed for! & the GH5 is many many times better than the GH2. We're living in a time of luxuries! Spoiled for choices.

This video of the international space station passing the moon has become quite famous on the internet, demonstrating as it does the unusual abilities of the Nikon P900, a super-zoom consumer camera which costs around $700. Can we do better with a 'proper' camera? Read the full article

You guys are talking about having 10 stops for grading down to a 6 or 7 stop rec709 delivery. And, yes,...that is perfectly OK. But rec709 is now pretty old and wont last forever. In 5 years most TVs will easily display 10 stops or even much more. BT2020 and HDR will be very common and you will need to deliver in a bigger color space. More dynamic range will be very "common" in the very near future. Even YouTube and Vimeo have HDR 10bit codecs going into homes now. Its at an early stage but its already happening on properly flagged HDR uploads.

Exactly and there isn’t much of an image I’ll be happier with than from I’m already getting with the 5D3 and ML Raw, so my second camera really needs to be fairly small, simple to use, and most likely 4K. Right now it’s a toss up between the Leica 109, an RX10ii or maybe an XC10 if I can find one for the right price. For the most part I don’t want to deal with interchangeable lenses, and if I do then another host of features come into consideration... IBIS, sensor size, etc... In the meantime I’ll just continue to watch the cool videos from eoshd members.

On my GH5 I actually purchased a 400mm FD lens on ebay for $300, especially for moon shots, which gives me, if my crop info is right: Regular 4K (no crop): 800mm 4k crop (1.4 crop via ex tele mode enable in the GH5 menu): 1120mm 1080 crop (2.7 crop via ex tele mode enable in the GH5 menu): 2160 mm Personally I usually shoot the moon in 800mm or 1120mm "modes" because longer focals are hard to managed in terms of vibration. In body IS can help but it can also get confused on the tripod and be counter productive. Past 1000mm or so, simple light wind can have an effect on the camera shake especially with long and heavy tele lenses which extend far in front of the camera mounting point (because of the arm effect that amplifies the vibration). To counter this I purchase an adaptable tele support. This way I can balance the setup and move the support point forward. Another point is that the moon moves quite fast and tighter focal is harder to frame. Finally, wide aperture lens doesn't matter much for moon shoots. I find myself closing the aperture down to f/5 or f8 for full moon shoot. It's bright ! You can also get the FD 300mm for $50-100 on ebay. All you need is a cheap $25 ring adapter.

I only got the camera two days ago, so I will report back as I learn more. On build, it seems solid. The battery/card door is firm and solid. The port door is a little rubber thingy. It won't break. The buttons have the right feel, you know when they are pressed and they are not loose. For the outside sunny videos I shot a little under. The results were a little over and I could pull down in post to retrieve the highlights and color. This presumably reduces noise in shadows. The low light comparison video was shot at 0, with no exposure adjustment in post. Ooc the colors are a bit muted, one can up the sat in camera or in post. I added just a bit in post, and the colors emerged nicely. I am taking the camera on a trip now - I need the portability. I will learn about battery life and if there is any overheating. I will try the Z-log. As I said, with the normal setting, I did adjust exposure and sat in post with no obvious issues.

I think a GH5 attached to a telescope takes away from the spirit of the article and the Nikon ISS shot?

I knew that the iPod was going to make fun of a 1200 euros Leica and of a 450 euros Sigma in a 160x160 picture everything is relative

@jonpais just a couple of things I like the 12mm field of view but the 16mm looks more natural without the obvious "distortions" of that focal length. Any lens from 12 to 75mm can be used for blogging but I think 16mm is a very good compromise not to get the camera too far with a natural look. F/1.4 looks perfectly usable with very good out of focus zones, color rendering is great. Was your profile picture made with the 12mm or the 7.5mm ?

I'm just going with the flow with the hope you find it entertaining. :D It's something with the tripod isn't it? What I can't work out is how you point the camera at the robot, with the sun apparently behind his head, without lighting, and yet his face is lit up like crazy with no noise.

Thanks, that's a precious info.

If the autofocus is like A6500 or better...I'll get one!

good thoughts here guys indeed. my intention isnt to loop the movement of the main characters per se – im thinking about other things, particularly patterns in nature imagine a little 5 second video clip of a girl lying in a field reading a book in a bed of flowers. a day with a bit of wind creates all kinds of movement in those flowers over that 5 seconds, but what if the flowers were a LOOP of movement for 1 second, repeated 5 times. thats the kinda stuff im talking about. and she has her own movement and the clouds have their own movement – etc. its all separate and compartmentalized. pain in the ass? yes lol. but it also opens up a new freedom once youre controlling ALL the motion in your film like a god in a way i guess im suggesting that imposing some of the practical limitations of traditional animation on motion picture photography could be quite fascinating... simplicity. repetition.

Affordable and Leica doesn’t go together. So given these will be Panasonic/Leica we might only be paying $20k per lens... https://www.ducloslenses.com/collections/summilux ...which is a real bargain for a Leica branded cinema lens

Ehh... no PADF, no sale for me. MF with fly-by-wire native lenses is a joke, same for running one on a gimbal. Literally everyone else has moved beyond contrast only AF at this price point. Despite Panasonic's marketing attempts - DFD isn't the greatest AF system in the world. Yes everyone's needs are different and plenty will never use the AF, so no need to hit me with the condescending "pros never use AF" bullshit. At that price point it needs a competitive AF system. If not I'll keep using Sony and Fuji. I was soooooo close to buying a GH5 and a EM1.2 when I was in Hong Kong a few months ago and just completely moving to m43, instead I re-bought the a7rII and a few lenses. I'm now thinking about selling my Fuji kit and going full Sony with the a7r3 and a smaller body like the a6500. I would like 4k60, but I'd like to be able to solo-shoot it on a gimbal utilizing AF. I don't buy the speculation about not being able to go PADF because of some contractual thing with Sony either, IMO they're focused on other areas like the video spec and now IBIS - and aren't devoting the resources necessary to program a CDAF/PDAF array since m43 cameras are a small source of revenue and turn little to no profit. I don't think something as awesome as 4k120p will get me to switch or even consider this, since DR will still be the same and AF will still suck compared to others. Anyone dreaming of another stop is delusional, since no currently available sensor architecture has delivered a full stop from generation to generation in the last few years, improvements are always incremental, a fun stop would be a dramatic gain. Not going to happen. Cheers

I think @jonpais already made the astute point that if this is merely a firmware update, then Panasonic physically sent it with a bottle of red paint to touch up the body...

3328x2496 I assume was the capture resolution + the 2x desqueeze

Haha! All good. I'm just a weirdo nerd with a head full of tech specs and acronyms.

If you’re worried about Video AF, you really only have two options and if you don’t want to shoot 4K, you only have one option... a Canon. If you want decent 4K and good 1080p with amazing video AF, get a 5D Mark IV.

I was just about to say that the white car makes the perfect bounce. Good to know the new camera has IBIS... doubtful you held that monster lens on a close up steadily without it. I think the real question is... what camera was the BTS shot taken with? And are you contractually obligated to say a Panasonic? Lol. And is the robot’s name Eva One?

EVA1 is already a "mini varicam". Very mini! I'm currently working on a film with the first EVA1 in the country.

LOL

Too Noisy? 4K frame grabs from a dim church (no video because it is too shaky - using an unstabilized lens (Lumix 20mm f1.7)).

There is a shooting and editing style using 1 to 4 second segments of slow motion. It gives an effect of animated stills. It is often used by DSLM/R shooters, to present their vision.expression. Due to short length of the shot in combination with slomo and with only one animate subject in the frame, this largely popular shooting style has a strong reminiscence to cinemagraphs. A lot of times that are walking backs of heads. Wedding videos often combine characteristics of stills photography and videography. The cinemagraph is the most consequent approach of moving photographs and fits the popular shooting style of videographers around the world. In the video below we see the actress like posing for a photgraph, sometimes it could almost have been a cinemagraph as well. I typed GH5 in youtube search, this shooting style goes along with test videos for a new camera.

Lumix 14-140mm lens. AWB, AF, handheld.

Well they support anamorphic formats but produce no anamorphic lenses. I would love to see an anamorphic lineup from Panasonic/Leica. A raw output option for the GH5 would also be welcomed. Or perhaps a lowlight GH5 variant? Just read about the organic sensor that Panasonic has been developing for the past several years. 100x wider DR and also another that can capture color in just 0.01 lux of light. We can only hope!

I spoke to a Panasonic rep some months ago who said they would be announcing more about the organic sensor at the end of the year.

There also was the Panasonic G9. Not super video related, but for the average person probably better way to go than the GH5. Yeah that would seem to me also like a heck of a lot of cameras in one year to still add another..

A handful of these and you have a good start at a 360VR set up!

I know not the best quality out there but if you need something with relatively large sensor and interchangeable lenses, I guess this could be used.

I was lucky enough to grab a Proxiscope from Max as soon as it became available...he had previously sent me his prototype to do a test fitting on my DIY close focus modded pre-36 iscorama. Here follows my review after using it for a few weeks... Full Disclosure: Although I was graciously approached by max to test out his prototype, I did not take up on the kind offer of a discount in the purchase price of the final housing. This was due to me wanting to give an honest review, as well as back someone who was going to add a great partial rehousing option to those with iscorama 36 lenses. Therefore my review is from the perspective of a regular customer. I am very happy to report that the Proxiscope housing works flawlessly, not only with MC and pre-36 models- but with lenses that have already been DIY modified (cutting/ shaving stopper and body to allow grub screw stopper to be inserted for new stop etc). This is possible due to the proxiscope locking metal collar that completely bypasses the original plastic section and the front section having an integrated relocated metal stopper. The ingenious design allows the new front to enable the same close-focus ability as the DIY mod, but in a MUCH more elegant and reassuring way. No longer is the fear that the grub screw will work loose and let the rama front go smashing to the ground for example. The integrated focus gear to the design is much better than any third-party gear ring, as those never quite conform properly to the isco's tapered front. The anodised finish of the Proxiscope is very complimentary to the original isco design as it does not spoil the classic look with obnoxious bulges or with added weight that then restricts it to rail mounting. Focus markings are clear and are denoted in meters, I think feet measurements are also an option. The Proxiscope comes in a nice wooden box, with all the tools needed to install, with easy to follow video instructions to be found on YouTube. Installation takes about 4 mins and can be 100% reversible to original factory condition. In a world where everyone wants something for free, some may question the price. These people need to take just a second to consider the design time, R&D testing and small-run costs of getting anything of quality made these days. Also the fact that the current cost of a Tokina +0.4 combined with a decent focus gear will run you a comparable amount - without actually giving you the benefit of an 'in-body' solution that the Proxiscope does...Oh, and it's under half the price of the cheapest VD rehousing mod (that you have to wait 90 days+ for!). So, all in all...a very impressive product that massively improves the practicality of using iscorama 36 lens types for modern film making whilst still maintaining the isco's classic look and light weight. Rehousing is solidly built with clear instructions for installation. Fully compatible with 'factory' iscorama 36 lens types...as well as those with previous DIY close-focus modded lenses. (pic below shows slim UV filter attached - not part of Proxiscope)

Youtube upload h265. The quality it's supreme.