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AF is not that bad at all though I don't use it....I did however play with it to see...the real problem IMO is people want to bypass the skills to operate a camera this complex and essentially want a feature loaded GH5 that acts like a point and shoot....the gimbal issue comes up a lot...the sollution, unless you're Martin Scorsese, making Goodfellas, shoot shorter takes and employ some of the skills steadycam operators have used for years...like locking focus in manual mode, and then maintaining a constant distance from the sublject....or using a lens in the case where this is impossible with a short infinity distance and shooting away...for those complaining about GH5 AF on gimbals, I suggest viewing some steadycam reels on Vimeo or YouTube....and try to imagine the obstacle course the operators are navigating to achieve their incredible results....without AF and a camera setup that weighs between 25 and 45 lbs...in other words, stop blaming the camera and developer your own skills....for run and gun, either learn to focus manually or put up with what it can do, which is not as bad as reported...with AF the skill lies in where you can use it with this camera and where not.

This is getting quite out of hand ... and i fail to see why. Some people need AF, some don't. Please don't crap on a camera which is awesome just because it doesn't have the one feature you want. Buy a different camera. Calling ML hacked crap is callous at best. They did a lot for low-budget shooters, including opening up 3k 21:9 RAW on the 5dmk3. I sold mine a few weeks ago, not because of autofocus, but because of lacking exposure tools. I'm grateful to ML, and will continue with them on the truly open Axiom camera. This is also a hobby to me, i'm a one-man band. Right now i am looking at the GH5 or GH5s which seems like an awesome compromise of picture quality (higher res/non-RAW) and a bag of tools i sorely miss (waveform for correct expo on skintones, highlights, etc). Also vectorscope. Of course i'm lusting after a C200. It got the RAW i got so used to. Also the exposure tools i want. But this is a pro-cinema cam, which boasts your coveted AF, pro-XLR sound, internal RAW, wonderful color science, high DR, and is good in low light. And i think the price tag is right. Getting such a package under 10 grand at 1.5kg is unheard of. That's the weight of the 1DC! So the C200 is on my personal shortlist. So is the GH5 and GH5s, and i can barely wait to hear more on january 8th

You can get gorgeous skin tones. Specially in the studio where you can dial it in perfectly.

In a studio environment, where size/weight isn't a real concern, a Nikon D8XX will be faster and more flexible than the Sigma. Because the Sigma camera doesn't have a bayer CFA, but samples colors vertically, it can deliver as clean an image, color-wise, as the best Bayer cameras IMHO. However, the color RED is sampled last in the sensor (bottom layer), so it loses some nuance. Shouldn't be a problem in a studio environment, but you have to light correctly. Also, these sensors have only 6 stops of DR. That's MY opinion, many will say that incorrect. But I throw it out there for you. It does NOT detract from the camera for me, that's all I need, but it's something you should know if you're not exact with your exposure. To use a baseball analogy, these cameras either strike out or hit home runs. Base-hits aren't their thing. These cameras excel in any image where a bayer sensor can be confused by thin strips of light or dark, like a person's hair in the sun. The bayer sensor will miss color information and create color artifacts. For example, a strand may only hit the red and green pixel, creating a reddish little blotch after de-bayering (but you'd need to pixel peep). The Sigmas don't succumb to this. So outside, with a strong backlight, the Dp3 can take a portrait that exceeds what any Bayer sensor camera can do--in a very small package. In short, if you need to travel light, can work slow, and want to do some portraits outside, and you have good light, the Dp3 can deliver shots that will bring tears of joy to your eye. Also the images do have a different look. This is a fact, if they were as fast and sensitive as bayer sensors no one would use anything else. I recommend that every serious photography try these cameras out. So I recommend doing what Mattias did. I'd certainly LOVE to see some portraits done with the camera. One my list of things to do one day too. (I had a dp2q).

Last month I completed a short doc/promo for MMA fighter Drake Boen, directed by Edrei McCabe, shot and edited by me. The final version utilizes archival footage of past fights and doesn't have film grain, but I prefer this version, which I've dubbed "The Editor's Cut". It was shot mostly on the Canon EOS M with ML (H.264 with 3x Bitrate) with some Panasonic G7 (with focal reducer). Lenses used: Canon FD 50mm 1.4, 28mm 2.8, 35-105mm 3.5, and the Tokna 17mm 3.5. Edited with Premiere, graded with FilmConvert.

Quick test: record that line under a blanket. If it sounds a lot better, it's a baffling issue and you're recording in a room that's too live. Deaden it a bit.

Cheapest way would be a simple ~$15 adapter, slightly more for an adapter with an aperture control ring/lever. The difference in sensor size will give you the FOV of 34-100mm (FF equivalent), however, versus the lens being a 26-75mm equivalent on your D5300. So really, with a simple adapter, it will be a very different lens on the G85 than on the Nikon. Really, you want to be using a speedbooster to adapt your Nikon stuff, as this will make the G85's sensor effectively the same size as your Nikon's, and your lenses will look/feel the same as they do now. The speedbooster also helps counteract the Panasonic's weaker ISO performance, as it makes the exposure one stop brighter, allowing you to use a lower ISO. The Mitakon/Zhongyi Lens Turbo II is the only halfway decent affordable speedbooster in my experience, and even then I got a lot of flaring/hazing in bright sunlight. The Metabones is the gold standard and you can find the first generation used in Nikon-m4/3 for around $250 on eBay. OM will not really adapt to Nikon unfortunately; there are adapters with optical elements but those are garbage. A quick google search is bringing up replacement rear mounts, though, so that might work. Really though, the Olympus is like a $50 lens, you can easily grab a Nikon 50mm to replace it for not a whole lot more than the replacement mount for the Olympus. IBIS works fantastically with adapted/manual/non-OIS lenses. I was skeptical that it would really get the job done by itself, and was planning on getting some native OIS lenses so I could run Dual IS, but I haven't needed it at all, and am running all manual lenses. The native lenses are nice for having AF, auto-exposure, etc for photos. The Olympus 45mm f1.8 is pretty amazing and very affordable, I've had two; and I've heard the Panasonic 25mm f1.7 is pretty great too. The only thing that really sucks about native glass is manual focusing, if you want to do any sort of semi-controlled/repeatable focus pull you need manual glass.

@IronFilm and @Kisaha I blame you guys for this. At least for the sony stuff. But seriously. Thanks for the feedback and sharing your experiences. Salim

Why sell your external recorder? Was that what I suggested? I only said that banding can be a result of an aggressive LOG profile, as Don said, or from too little color information due to a high compression CODEC that uses 420. We both have different roles, right? You shoot and grade real stuff I assume. I'd hire you over me to go shoot something. I test stuff, a more scientific approach. We're here to educate each other, I hope Just so the OP can make sense of this I will explain some of this stuff in more detail, as I understand it! Many filmmakers believe their cameras record color just like our eyes/brains do. But they don't. Cameras can only see in gray-scale actually. The manufacturers put color filters over alternating pixels and then composite a "color". But it's not really a color. It's just a brightness value of light through a filter with the noise floor of the silicon as a reference/floor. Too much brightness, and the value doesn't change. The #1 confusion I see is the belief that these values have an implied relative brightness; that is, that the brightness difference between 100 and 200 would mean double the brightness as we see it. That SHOULD be the case, but isn't. The camera records linear, we see exponentially. But even that is IN THE WEEDs. The fact is, as YOU WOULD BE THE FIRST TO POINT OUT, the real world of grading is getting an image that looks right to the viewer, or conveys the feel the filmmaker wants. That will mean adjusting the relationship of brightness across the image... But but but..., you must have enough color data to fit your display gamma or you will notice where you don't have enough color, which is banding in smooth color gradients. You can't widen your gamma (LOG) in a fixed data color space (8-bit) and assume that you will always have enough color information in your image to fully saturate a gradient. Don was basically saying, the less aggressive LOG you use, the less chance you have to run into banding. AGREE!!!! And he'd know more than I about which LOG profiles do what in the real world. Let me say this again in other words. Extending a gamma beyond the amount of color data you have can increase banding. Similarly, forcing more color into a narrow gamma will result in an image that has no discernable visual difference, which is why LOGs can have benefits in certain circumstances (they exploit what may be unnecessary color data). But you have to really know your shit to know when that is! What I learned in my experiments is I did NOT know my sh_t As for the external recorder, I was just pointing out that its benefit can affect banding, but is a separate issue from how it happens when using a LOG gamma for shooting in an 8bit space? The OP should really be clear about the differences, right, before assuming one will fix the other? If he was, I don't believe he would have asked the question because it's very subjective, or too variable to give an objective answer, right? Are we friends again?

Congrats for your new equipment! Excellent choices and future proof (for the middle term at least). The Mixpre6 is a bonus, and it is a no brainer. In my opinion the best low cost recorder for most people (I am eying the 10t myself, but I bought a lot of equipment, and I will slow down for a while!). It could be a better deal than the wireless, because you can connect anything to it. Not many tips really, the Mixpre has excellent analog preamps with analog limiter/compression capabilities, so you are a couple of steps ahead of the usual Zoom/Tascam crowd! The AUTO search of Sony is stellar (it works 99% of the time), and be careful of the ATTenuation setting on the transmitter (I usually have it on -6), and the gain on the receiver (better play it safer there, as you do not want to overload the mic capsule before your signal passes through the excellent analog circuits of the Sound Devices). Just play it safe, you can give some dB gain on post easily!

Yes, please, feel free to share. I am excited to see how people use it in their own work; quite a few have it by now. Tihon (above) sent me this: And here is Ryan Glover's work (from dvxuser): And Jeremy Dulac's sample (dvxuser):

Just bumping this topic to see if anyone has used it yet. I'm interested to see some examples. I haven't been shooting with my GH5 lately so have no need to buy it yet, but I'm curious to see how many others have taken the plunge.

@Mattias Burling its on ML official thread ... back to topic GH5s has defintly caugth my attention i think its great that Pannasonic releasing another great fully featured camera for affordable price

.. more like wishful thinking! Bolex uses a good old CCD sensor, great look but poor ISO performance. we're talking worst than current GH5. that's not going to happen. Raw is also unlikely imo. even the +$40,000 Varicam 35 doesn't have that built-in. I even doubt dual ISO. again that would be stealing a lot of thunder from EVA1/Varicams. but it may trickle down eventually. Everything so far indicates GH5S is going to be an incremental update (after all it isn't GH6) . Besides Panasonic risk too great backlash from GH5 owners if they give too much only 9 months after GH5 release.

If you can afford it, get the Metabones Nikon G to Micro Four Thirds Speed Booster. If not, then get the cheaper Chinese knock offs. The Metabones is well worth the extra money though imo.

Having used the C200 for several long run and gun days, I would not call it lightweight! The form factor is nice, but if you're used to DSLR cameras it's significantly heavier, with all the advantages and disadvantages that brings. For me personally, though I love the quality and look of a larger heavier camera, smaller lighter cameras have proven better with my way of working. For that reason I stopped using a Ursa 4.6k and moved to the GH5 as my main camera. Still miss the Blackmagic image, but the GH5 can get surprisingly close after grading, and I don't miss the pain in my arms, back and wrists! My dream camera is one the size and weight of the GH5 with the image of the Blackmagic Ursa Mini 4.6k. Here's hoping for Raw in the GH5s...

I have a SD 302 that I use with a tascam DR40 recorder. I looked at the Mixpre and I like how the recorder and everything was just one unit. No more extra XLR wires in my bag. So I looked at eBay and found a mixPre 3 open box. Made a lower offer. But I ended up contacting the company selling it and they also had a MixPre 6 also an openbox unit. I figured my needs might expand MixPre 3 and I should just cough up the money. So I got like $80 discount on basically a brand new one and I decided to take it. However, I have SO MUCH TO LEARN. To use this setup and leverage all their potential. If you guys have any tips would love to hear them. thanks!

haha. But at least you can't blame me for buying a MixPre6! ;-)

Well, hope not yet finished... : ) https://www.battleforthenet.com/

I bought two G85 bodies a few months ago. Very pleased with them. And I have owned and used Nikon d5xxx's, sony a6300, fuji xt2, samsung nx1, etc. The ergonomics are great and both the 1080p and 4k are sharp and have minimal artefacts like moire.

The only thing any free market needs protection from is government itself. The entire definition of a free market is that it is free of government interference.

Was your internet turned off pre 2015?!

also remember that 1080p RAW is less than 1080p video in resolution... debayering eats resolution. But ML RAW's forté lies elsewhere, as we know

Thanks Luke! This looks great! Thinking if it's not the EVA S35 sensor that's the "big" thing, then it may very well be much improved SNR for cleaner, noise-free images with a greater range of ISO. Also DR seems to be pretty spectacular in all of the images you shared with us. Perhaps this is due to not a larger sensor, but maybe larger pixels due to an overall lower pixel count. Please keep the teasers coming - not asking you to reveal anything (don't want any trouble for you and your Panasonic NDA), just rather a few more frame grabs and BTS shots until official launch would sweet. Sure there are others here too who would like to see more. On another note, congratulations on the new family member And totally get it if you spend less time here and more time with family as that will always be more important than teasing us with frame grabs lol.

Seems like we used most of the switchers, faders, etc, from a company called Grassly??? We used Sony monitors and all that goes with that, Sony recording, playback decks etc. God they cost a ton and weighed a ton! What cost crazy money then was these hydraulic pedestal studio tripods!! Man they were HUGE. Sort of like this one. And the one for sale there on ebay is a bargain I think. Looks like brand new. https://www.ebay.com/itm/Matthews-H-6-Studio-Pedestal-Tripod-Dolly-hydraulic-Pneumatic-with-Head/401459961139?hash=item5d78e0dd33:g:HbgAAOSwax5Y0byS

I got the settings from Dave Alitzer on another thread, which he apparently got somewhere from dvxuser: "THE SONY PROFILE Black Level: 0 (it's disabled in s-log2 anyway) Gamma: S-log2 Black Gamma: Range- Narrow, Level -7 Knee: auto Color Mode: sgamut3.cine Saturation: +32 Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5) Color Depth: +6 (all of them) Detail: -6 Expose 1.5 to 2 stops over." I used the Sony Profile settings and graded with Lumetri in Premiere. I only used those settings and never found a need for anything else.

Honestly I was pro net neutrality until I saw these. It really opened up my mind on the issue. Now Im conflicted. Please watch them before you comment and respond with emotions. Take it in and listen to what they have to say. Its important to be educated on both sides. Like I said, Im now on the fence on whether itll be good or bad. Let me know what you think after you watch those! Really interesting stuff.

In the same way the Chinese government "protects" the internet. A regulated free-market is a contradiction in terms. Indeed, it seems strange to me how the language of the whole debate has been taken over and reversed. I suspect in the same way that the "antifa" use violence to fight "fascism". You mention two plan options like having choice in plans is a bad thing or like being able to find and select the cheapest best option for your internet use is a bad thing. I get the impression that pro-NN supporters think providers are just waiting for their chance to provide bad deals, to drive away customers, and go bust. Cue Palpatine "muhahaha ultimate powa!" Like I said, it seems more like everyone (I see I'm in the minority) is leaping on the feed-me-government bandwagon. I'm not convinced.

I'm pretty excited to see what this new GH5 model has to offer. I'm happy with the GH5 and see the prospective GH5 "S" very intriguing. My favourite modes are the 1080p 200m All-I in 25p and 50p. The quality is exceptional for "lowly" 1080p, haha. Been shooting a traditional Christmas video this week, all in V-Log 1080p 50p All-I....

Put together a little review of the DP3 Quattro. Contains +20 samples.