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I’ll go one better than this... what if another manufacturer releases a camera that beats the GH5 in every way? Better handling, low-light, battery life, IQ, AF, stabilization... just crushes it in everything. Will that hurt the value of the GH5? Of course it will. It is a well established fact that the GH5 suffers from poor AF in video and low-light is not exactly the best. All GH5 owner purchased their cameras, so we all stand to lose some resale value. But after the next release of the new “best camera”, our current cameras will be no less capable than the day we bought them. Cameras are generally not an appreciating asset. If you wish to make money with them, you must do so by using them to create a product that then earns a return. Let me give you all a heads up... after you plop down money on the new GH5s, rest assured that a relatively short while after doing so, a new better camera will be released. One that addresses the shortcomings of the GH5s (or whatever model number). And yes, there will be shortcoming. If this bother you, don’t upgrade. You only realize the lost once you sell and lock it in. Why exactly is this a problem? As I recall there is only one camera manufacturer that ever promised not to release updates in a short timeframe. And that manufacturer is Canon. The irony of that is Canon are consistently given grief for not innovation rapidly enough. Yet the only way they could do this would be to release more regular updates. Also the model protection that Canon puts in place so that no model steps on the toes of another is constantly criticized. Yet in doing this they seemingly protect the value of each of their products. If you prefer Canons way of doing things, well buy Canon. They make great cameras. But if you want the latest and greatest features and tech, go with Sony or Panasonic.

Casey switched from Canon and Sony to using the Panasonic GH5 almost 90% of the time. He still has other cameras but it's the GH5 that really turned things around. Canon failed to give YouTubers like him what they need... 4K, small file sizes, articulated screen, all in the same camera... so the 5D Mk IV for all it's Dual Pixel AF goodness languishes in the corner as do the 1080p Canons - Big up-swing in noticeable quality when Casey switched to the GH5's 10bit 4K. Hopefully though, the number of out of focus shots in Casey's video where the camera selects the background instead of the subject will whip Panasonic into action to sort out some form of Dual Pixel AF competitor technology. Or maybe Casey doesn't mind... vlogging is a raw style, doesn't need to be formal and correct all the time. I do think AF in video mode is the next thing for Panasonic to get right though. It's a priority in my mind.

“PEOPLE ARE SHOOTING THEIR FUCKING VIDEOS VERTICALLY ALL THE TIME” Standing up is an interesting technique & variation...

I spoke to a Panasonic Rep at NAB this year. The day before NAB Casey switched to the GH5 and talked about it in his vlog. The Panasonic rep told me that as soon as that video went up, their pre-orders on the GH5 went up 20%. That was in 24 hours back in April. I can't imagine the number of sales that have been done just from Casey since then.

Just been watching the doco "Some Nudity Required", Jim Wynorski is featured in that too. Wow. As stupid as it would be for me to get another, it tempts me to get both! Have 3x F3! :-P

Dance can cure you of Zombism! Thats a great concept, right?

Yes, Pro Log S is designed to be overexposed just like you would regular S Log 2.

The video in the OP is one of the funniest things I've seen this year - I'm going to have to watch it all the way through this evening. Apparently Jim is now up to 'over 150' movies, according to IMDB.

We did our little schlock horror romp in 2009 with the XH-A1. No complaints. Stills here if you're curious. I duno. Seems to hold up fine for what it is. Certainly was good enough. It's just a damn camera after all. As a person on a film festival selection committee all I can say is that I share such a sentiment. Man, I have to watch a lot of movies. These days most stuff looks technically decent IQ-wise. It's rare to see a filmmaker with a unique storytelling or visual "voice" however. There's a lot of film festival movies that are adequate. Not many that are awesome...or that even have some sort of juice to them. For example, I liked this particular film, and my colleagues on the selection committee hated it. But, it's got a little something going by perverting the horror tropes and is pretty creative, I think, in how it tells its story. Finding something like that is so much more important than how the image holds up.

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.

Hey all, I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras. In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film. Feel free to leave any feedback or questions and I'll do my best to help you out!

Gotta thank you all for everything i could learn since i`ve found and started reading this site and this forum. I'm finishing film school right now, barely finished editing my first Doc, and today is a great day for me. Since i've started reading Andrew`s posts on the blog and following the discussions on this forum i started to fall in love with anamorphics. They're pretty hard to find around here and i wanted a small lens, that could fit well in my G7. 1.5x is what i aimed for, as the 4K photo on the G7 only does 30p, and i really preffer the 24p look. After some months monitoring the biggest used gear website around here i've finally came across an YashicaScope 8mm. Converting the price to dollars, it costed me only 100$ and got no scratches, fungus, os dust. It`s crystal clear. Loved that thing and it weights so low it doesn't even make a difference. Unfortunatelly i couldn't buy a clamp yet, as they're non existent around here and doing imports this time of the year in my country is know your gear is gonna fall into a black hole to never be seen again, so all the tests i've done are with me holding the lens with my hand in front of the camera, no good for alignment. But i wanted to share them with you guys, as without everything i've read here along those years it simply wouldn't be happening right now and it is time in wich i could be helping other people, just as you all helped me along those years. I've tested the lens with the 14-42mm kit lens, as it was my only lens wich the frontal element was small enough so i could press the anamorphic against the lens without risking to scratch it. I could go as wide as 25mm without major vigneting problems (theres a slight vignete at 25mm, but if you crop from 2.66 to 2.39 it should be gone). It is double focus and i'm still trying to figure out how to do it right, but as it is just a 1.5x lens the focus peaking still worked well enough on most of my shots and it's been easier than i thought it would be, with a clamp it should be better, as i won't have to be holding the lens with my hand. It seemed sharper than i thought it would be based on the few tests i could find on youtube. Here are some frame grabs. First one is 25mm, so you guys can see the slight vignetting. Shots 2, 3 and 4 are at 35mm, it seemed to me a good spot to shot, as it got no vignetting at all. The last image is at 42mm, the end of my zoom. I've shot all the images on f/5.6. Tried to bring my 85mm f/1.8 with speedbooster to test, but its frontal element was to big and the light leaking made the image a total mess. I did just some quick grade using filmconvert and lumetri. Hope you guys like them and sorry about my english, writing and speaking aren't things i fully domain.

There’s a video floating around, I think Driftwood may have done it, but he tested a bunch of variable NDs and although it doesn’t compare quality wise to a Heliopan or Tiffen, it scored very high for neutral color and it is one of the few that has hard stops at each end so you don’t get the dreaded X pattern popping up in you footage. They say you may take a sharpness hit but it hasn’t bothered me yet. I shot this with the 5D3 and ML Raw with the 24-70mm f/4 lens wide open and the Bower ND and it seems sharp enough to me... And here’s one from the Nikkor 35mm f/2 ai-s lens, shot wide open with Bower variable ND... They’re cheap enough, so if you scratch it or drop it, like I’ve done, just buy a new one. I’m shooting my film down the shore, so with the salt air and mist, I am constantly cleaning my filter, inevitably it gets cleaning marks. Anyway for the price they’re worth a try and Adorama has a good return policy if you don’t like it.

Fuji is rumored to have a video dedicated new camera soon also, maybe Panasonic is rushing things because a 2000$ APS-C camera, with a lot of native lenses (+recently released cheap cine lenses) and IBIS will compete with their GH5 really soon, rather than a double price-full frame camera from Sony. Buy a GH5 and a couple of lenses, or three, for 3000$, that ain't even the body of the Sony, and then you have to spend two times more for a couple of Sony lenses. I do not believe that a new A7s, that will be close to 4000$, will be the main competitor of the GH5. I am not even sure that Sony can implement 10 bit internal on that camera, but we will see. I do not believe that Casey, or Andrew, or me, have to tell Panasonic about their AF. Do you think they do not test other people's cameras? or do not really hear the market? They can't just do everything at once, it is an evolution progress, and Panasonic invested on other things, that their cameras excel (like heat dissipation, continuous video recording, advanced codecs and formats etc). It took almost half a dozen years for Sony to put a bigger battery on their cameras, which wasn't that groundbreaking to start with, that grip was mainly empty anyway. Canon C100mkII is still my most beloved tool, and Samsung NX1 second, an ancient one and a forgotten one. They both do the job 9/10 for me.

I understand that you only purchased the GH5 3 weeks ago, but it has been released since March, that's a bit more than a few months. If there is announcement Dec 15th, at that time you'll have the option to really weigh things out and know if your buyers remorse is justified. Until then, I see no reason why you cant enjoy your GH5 for all the other good things that enticed you to buy it just 3 weeks ago.

Hmm, instead of cinemascope we need a catchy name for real vertical videos. Maybe vertiscope, hmm nonono we need better. Maybe GravityWell cause it's so deep. Or Astrospect as it will reach the stars if you film the horizon. Oh Oh Oh, Highroller to get that analog connection to film.

@Sage I agree with @Oliver Daniel $49 might be the magic number. Not that your price isn't worth every penny, but it's more of a mentality for people.

Dang, that should interest anyone! Holy! Was just scared off by that condition rating of 'E-', I figured it was far far away from being 'A+', but then it appeared they meant 'Excellent Minus' by that. Uhhh... lol, who does that?! If you mean excellent, like all the eBay crowd call it 'EXC+++' or something.

Even on camera forums Casey is sometimes used as an argument, "if its good enough for him..". And he obviously knows how to vlogg. Almost every channel I know has turned to his style of editing and mixing music. So Im not at all surprised that he is an influencer on gear as well.

Check how low this price is for a F3 and they have 2 of them!! https://www.adorama.com/us 866269.html

Well this short is being considered for a award for something. More than me and I bet a lot of people on here are! Better than I have up on the web. But yeah I guess we all need to learn "To Dance" LoL. Hell it might actually help. But I need to be a bit younger to do what they did in the end. Pretty crazy video overall.

I think what is lost a lot in this thread is Content!! I watched this short and still have no clue what it was shot on and don't really care. The "Storytelling" was so good, at least to me, that I never really looked at the film in a "hell what camera was used,", I was immersed in the script, the output, not the what is was shot on. It could have been shot on a Barbie Cam I don't care. It is the old saying Content is king, and in this case to me it was. Write a good story and it works, plain and simple no matter the tool you use.. So yeah a old 3 ccd ENG camera can work just as well as a new Arri If you have a good story.

Thanks Majoraxis. With the LogC conversion, V-Log L effectively becomes LogC, so you can then use the footage as you would Arri LogC. In the case of Logarist, they support LogC directly. Though, I think you will find the results of the Main and Soft conversions to be ideal. In terms of special Resolve considerations, it is important to ensure that your clips are set to 'Full' or 'Data' luminance levels, under Clip Attributes. And, as with Premiere, place any white balance correction before the conversion node in the chain (and use the tint and temperature controls to alter white balance). All other color alterations go after the conversion node. The software I'm referring to there is my own, geared to a very particular task Thanks Oliver. The native color science is indeed difficult, especially tungsten. I may introduce something next year that will be a simplified, budget conscious option

Except one or two shots I focused everything with the DPAF. I really wanted to push it to the limits. I didn´t shoot too much much with the C300II but from what I can tell, the RAW is much more flexible in grading, it´s definitely superior. Plus you have 4K60p...

It depends. If pension, it´s regular income, if middleclass, it might be of pleasing amount, if in Vietnam, maginficient place for filming. Overkill is all the technology we are using our natural resources on, TVs, smarphones with the calculating power of workstations just a few years ago, everything is overkill. So, taking the essence, I get out of your comment regarding 7000USd for one lens: No, I wouldnt buy it, rather have the Veydra and other fun lenses for shooting, stayin light and sharp. I would love to see more of that 16mm Veydra and that 8mm 2.0 wonder. But it also takes a lot of work to do these videos Jon does. So I am happy for the insights you gave us, Jon. Thank you for that!

Price... Price this thing at $1k-2K premium and I promise you many will see the more affordable GH5 as a better option, regardless of what the new camera brings.

I've thought about this as well. Internal ND and better ISO performance is enough to convince me to buy.

GH5s - as in s35? JVC has already done a s35 sensor with a m43 mount - that's assuming the helicopter pic is the new camera (and not just a button add-on to a GH5 to make hitting rec easier) since it sporting what looks like the 8-18mm lens. I can't take credit for that one as it was mentioned earlier in one of these threads. Buuuuut Panasonic could be looking at recouping costs of developing that sensor by placing it in a hybrid body. Though the $2500 price speculation seems unlikely if that were the case. With a larger sensor you get more DR and the much loved multi aspect possibilities. What if the GH5s had the Varicam LT sensor and came in at say ... $4999? A C1/200/FS5 killa? Fun to speculate.

Another attempt with the GH3 and the 1.000mm catadripotic tele. Jupiter and four moons, Europa, Io, Ganimede and Callisto.

Gotta love the iq

Well I can tell you from experience that if you show up with one of these ENG cameras in the public you draw a crowd. And you better have a tablet to write down phone numbers of all the people, mostly females is seems, that want to be in your "Movie" LoL.

Digital Bolex D16 then...

Hmm this one does 1080p on P2 cards. Might be a cheaper one on there? In description. "Unlike similar priced camcorders, the AG-HPX500 can shoot a variety of standard definition and high definition resolutions, including 720p, 1080i and 1080p." https://www.ebay.com/itm/Panasonic-AG-HPX500/282732785218?hash=item41d42fee42:g:oJgAAOSwLqFV92BJ

I’ll do it too... 6 months to make a feature film on a hacked GH1 or consumer camcorder. I double dare you.

I'm coming from 5dmk3 magic lantern. One of the main reasons i want to switch is just because the GH5/GH5s have professional exposure and focussing tools. The waveform alone feels like a godsent. It surely feels like a production cam to where i come from

Your lowlight test in the church with posted framegrabs shows enough of a basis to say: there are a lot of GH4 videos showing much, much, much better low light quality than that. Same sensor is not enough at all, if implemented badly. EM5 Mark 1 has the same sensor as GH4 and its HD material is even much worse than GH1 quality. GH4 has better lowlight than a A6000 or a Nikon D5300 has, to compare it with cameras of its time.

Here's a sort of uber-imaging setup with a 9.25" aperture/2350mm f/10 Schmidt-Cassegraine compound scope with an afocal imaging setup about 15 years ago: Sony TRV-900 3-CCD VHF camcorder with full man. controls, SS down to 1/2 sec connected to a telescope eyepiece (this is the "afocal" setup) which is connected to a 3X TC (Barlow lens in astro lingo). The Jupiter images filled about 2/3 frame height with the Sony at about 10X zoom. This method makes finding the object pretty easy zoomed out, works well in spite of the huge # of optical elements involved, and zoomed-in gives enormous mag. - maybe ~ 20-25 meters EFL @ f/100? The film clips were processed in Registax, which selected the sharpest (due to brief reductions in atmospheric turbulence), stacked 400-600, which accentuated common detail features, than a complex multistage "wavelet" sharpening routine. The first Jupiter image was from the steadiest "seeing" conditions I've ever had - in the Florida Panhandle. The Mars image at it's historic closest approach in 9/3/03, from southern Mexico.