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@IronFilm the audio's not as bad in this new test but still not perfecto. Some more cine-like images though:

the extra $500 is the "you know you fuckin want it" tax.

Yeah, I changed my mind about he video. But I'm not saying whether I was being sarcastic before, so who knows what I'm thinking now

That is pretty much exactly what I expected. I see some are not happy that it isn't the match of the better FF cameras in low light but I would say it looks amazing in low light FOR an M43 sensor. The other stuff for video is why you should buy the camera, that it is competing with some better APSC sensors for low light is the bonus. I can see some adding a GH5s to a GH5 for lower light (than the GH5) instead of a A7sii with a GH5.

It is obvious that the reasons they did not implement IBIS in GH5s are clearly technical, although I think it is possible with this new sensor after some minor mods in the body. I respect every technical justification for not implementing IBIS, like: It doesn't fit, it generates heat ,vignetting is introduced etc. But those exaggerated claims like: "We asked the pros and they said NO, IBIS sucks, don't implement this, cinema cameras don't have IBIS, leave this off board please", cmon these are bullsh$t... GH5's target group (i am talking about the majority here) does not mount their cameras on cars, and even if they will, the proper way is to put the camera on a gimbal. How many users have encountered problems with these "ibis jumps" when using GH5 on a gimbal? I am using this camera every day for almost 6 months now. I have never switched IBIS off, and never encountered these problems that "the same company which produced the freakin camera" reports. Until last week IBIS was one of the reasons to buy a Lumix, and since last week it is a flow which "professionals users reported to Pana"? GH6 will definately have it, paired with a stupid marketing term like "magnet freeze", and those "reported by pros issues" will vanish. We know this, they know this.

If Jon has not replied yet, I must, in his name, say yes, Sir!

@maxotics YESSSS! And here's your profile pic:

I've collected a few gems from Facebook:

Not saying DPAF specifically, but a hybrid system with PADF like what Fuji, Sony, Olympus, and Nikon1 use - you know the rest of the camera industry. I've seen people say similar things to "the colour doesn't fall apart in the same way the Sony does," but it looks like the gh5s is worse to my eyes.

In producing "The Middle Path" did you change any of the defaults such as highlights/shadows or knee adjustments? V-Log L?

There is some silly people on here!

I'm going to go ahead and say it's less the sensor than the processor that's making people think this is a FF killer. Without benefit of noise reduction it's very clear the FF advantage over M43 that @mercer and I were pointing out. Not saying this isn't impressive, just think it's very unwise to purchase this camera on its low-light ability alone. Having said that, it's very clearly a step up from the non-S:

Maybe, but the Cion would look much nicer on a display shelf in my lounge.

Different companies have different priorities for their reputations. (and companies can also misjudge the impact of compromising in one area over another) Sony is gunning for "small" and "full frame" (which leads to overheating and poor battery life, that is their trade off) Panasonic is gunning for "reliable" and "long battery life". Small/FF certainly is popular with hobbyists! Reliable/battery is popular with professionals! #potstirring hahahaha! Ok, I'll give you a point or two there. 6K anamorphic, very true! Is hard to count the cameras on your fingers that can do this for sub $10K and need more than one hand. ETC mode? Been around since GH2 IBIS? Common as chips. Articulated screen????? Ditto!!! Even more so.

Very pretty! I haven't worked out how to mask Glenn's eyes to make the iris pop though.

Would love for that to be the case...especially given higher sensitivity..there will likely be something in the frame that's "hot". If so..that, along with timecode i/o would help in more pro setups. Timecode is a game-changer in this camera class. Even c200 lacks it. Not just a multicam feature..more often it's for dual system audio crews. Regarding Panny rep's comment on audio, hard to say whether there is improvement beyond the onboard mic. They need to put the monitoring latency bypass feature back in.

Low light test. You can see fine detail on shadows...

Mysterybox thinks GH5s has 14 stops usable dynamic range (see the comments) https://www.mysterybox.us/blog/2018/1/8/panasonic-gh5s-hdr10

I have time, I only work for my own project (but I'm printed internationally), so I'm going to invest in Foveon. Next week, I will try the SD Quattro with some old sigma lens like the 50mm f2.8 macro and the 17-70mm (I don't need hyper fast glass), I hope it's going to be easier to manual focus than on the dp.

GH5-Alexa Conversion. Perfect rolloff, tailored to GH5 sensor clipping

There are lots of different anamorphic lenses out there & quite a few which don't get much attention. I'm with Rudolf & avoid the coloured Iscos - over priced & really won't give you the look most people are after. As a first stop I'd look into something like a Sankor/Singer 16D or H or an Elmoscope I - they have the x2 stretch, aren't horribly sharp & they will give you those lovely Blue flares that you see from the cinema - they will flare much better than any Iscorama. Yes they are dual focus, but you mentioned getting an adaptor for single focus, so no problem. Have a look around & you can always post examples to get people's feedback....good luck & don't make a impulse purchases - waiting & looking around is the best course of action.

Look at this awesome work from @Gerbert Floor Didn't know he filmed also with the NX1

Nice. now we must have two cameras: one for daylight, and anouther for low-light. what next? gh5se with 16 stops of dr, but with only fullhd and no slow-motion gh6- same as gh5s, but with IBIS and with 6k, omg

That would be an understatement! I Almost bought a one new when I got Tired of waiting for Red to ship their, at the time, Vaporware. Wow sometimes waiting is a good thing! And this is why Red could not deliver Anything new! "In February 2013, Red filed for an injunction against Sony, claiming that several of its new CineAlta products, particularly the 4K-capable F65, infringed on patents the company held. They requested that Sony not only be forced to stop selling the cameras, but that they be destroyed as well.[23] Sony filed a counter suit against Red in April 2013, alleging that Red's entire product line infringed on Sony patents. In July 2013, both parties filed jointly for dismissal, and as of July 20, 2013, the case is closed." Of course did Jim Jannard tell anybody about this, Hell No! I guess he thought he was going to be a Billionaire. After this being the second big delay from Red on promised products, I just gave up on them. I waited over 2 years on the Original Red. Nada, nothing. So I said the hell with it and took my money and bought a Porsche LoL. A used one mind you, I wasn't that rich. Best decision of my life. I have had a bunch of them. Daily fun. Cine cameras are way too expensive anyways, not that Porsche's aren't either...

don't forget the loss of 6k anamorphic

I see both sides (Andrew's and Joachim's). This is Andrew's attempt to invoke change...it's his call to action. You can't blame someone for casting their opinion on the matter. Especially one that's close to his heart. Unfortunately it's going to do about as much good as does public bitching about politics. 99% of the people who are vocal about a certain subject will never actually DO ANYTHING to actively change things. Words are weapons? We were raised to believe "It's not what you say, it's what you do." We were taught that "Sticks and stones can break our bones but words can never hurt us." Sadly it seems that the pussification & political correctness of society has yielded just the opposite. The exchange of opinions on social platforms is about as effective as people puking into a swimming pool and proceeding to slosh around and exchange hand-fulls of vomit (my own comments included). It quickly becomes an indistinguishable mess where no one is sure what belongs to who, and why we started doing this in the first place. On the other hand it could not be easier to remove yourself from the likes of these detestable sites, and ensure you don't encounter their idiotic content. I love eating healthy, natural food, but I'm not mad at McDonalds for capitalizing on people who want the instant gratification of a cheap unhealthy meal...I'll simply choose to eat somewhere else. Hell, I can even open my own healthy restaurant and make a run at doing things my way. You should view the vidiots as mere moths. An insignificant distraction to those who hone their craft and produce quality content. Logan Paul will not be asked to co-direct with David Fincher any time soon. Maybe he's currently getting big paid for his clickbait. His easily digestible, appeal to the masses, thoughtless dregs of a You Tube channel, but that's a fad, and fads have a shorter lifespan than ever before. The flavor of the month is just that (and guess what, there's an all new and improved one next month). The cream will continue to rise to the top, maybe just not the top of You Tube. So fuck 'em.

Learn to do your home lesson instead, dude... : ) Here are more LEGIT tests. FUD is over, for once, I hope. (vimeo embedding is not available there:) https://vimeo.com/227812784 What about to research a little bit before to take assumptions based on what pops up written on internet? ;-) Let's take a look on those vimeo users: https://vimeo.com/perfectloveweddings https://vimeo.com/littlepotatofilms Do they look like suspicious??! LOL :-) Right. FUD is a bitch and never welcome. Sorry to feel the need to write it.

It only takes ONE product flop (such as shipping a camera with a 20 minute battery life, if you switch on all the features) to harm the entire product line's image. You'd get countless mindless idiots telling other idiots "don't buy Panasonic because they have poor battery life", when the exact opposite is true! (for all but one)

Reliability is paramount. Nothing a bunch of batteries can't overcome. When any add-on of gear or even by software is truly PITA. Not feasible for hundreds of shooting scenarios. Mark my words, they would beg for a dozen of batteries if necessary. To be honest, I find barely unacceptable when professionals complain about handling several battery units. Stabilization in-camera, well, is simply a game changer. They're going backwards on that one. Power supply is a weak excuse to my view. GH5S is both a brilliant cinema camera and the best accessory to couple with GH5. Only an outdated hybrid though. Strictly because of a business decision under my perspective.

Absolutely - that same vid looked good on my phone but on my monitor the magenta skin is undeniable.

Gotcha! My turn instead LOL : ) Shame my posts failed to convince him to go on my and in his own behalf ;-)

For some reason you are suppose to use a fairly wide angle lens when using it. It does look interesting. And price is certainly cheaper than a normal Gimbal, and looks less Dorky using it LoL. Come on Panny We were hoping you would be the Ginnie Pig to buy it first and tell us about the results.

YouTube removes Logan Paul as a preferred ad partner and cancels his YouTube Red projects https://www.theverge.com/2018/1/10/16876178/youtube-logan-paul-ban-ad-partner-red-monetization-canceled-controversy-google

I don't think there's anything strange on videos like this one here: https://vimeo.com/244689449 Besides the fact the owner seems pretty legit: https://vimeo.com/worksmanuelpalma/videos As much as the previous one BTW... They've just added their shaky side-by-side sample only not sync with. That's it. Hence to look like wider. Yes, it is. Not TC sync there. The first user also had some parts to really scream for a stab hand so... Everything seems fine to my eyes so far. Even though I had seen only those.

[PS] Without mention ISO2500 (my fav top end and one of mine too) is one of their natives; BTW this dual ISO stuff is not proper of a consumer device (our old chap Don @webrunner5 is pretty accurate on the spot when properly calls it a game changer) as much as their 10-bit high bitrate codec bonus but now by default with the whole dynamic range at disposal on their high end too, well well... Well tempting.

There's a few major reasons: 1. Vibrations. Turning off stabilization doesn't hard-mount the sensor to the body of the camera--it just tells the electromagnets to try and hold the sensor as still as possible (in relation to the camera). That means whether or not IBIS is turned on, the sensor is always floating. Some forces that act on the camera, such as vibration from a car or motorized gimbal movement, can actually overpower the magnets and shake the sensor around, which is an annoying jitter at best and unwatchable mush at worst. Great example at 3:15: 2. Lower heat. By putting the sensor directly onto a heatsink, it reduces heat buildup on the sensor, and therefore noise. Seeing as how low noise is one of the selling points of the camera, that makes perfect sense to me. 3. Dual native ISO. My understanding is that the circuitry required is more involved than what's on the GH5, and therefore would not be possible (or at least more difficult/less effective) if the sensor were in motion during recording. 4. Multi-aspect sensor. Since the sensor is larger, moving it around inside the mount wouldn't be feasible, and could put portions of the imaging area outside of the lens image circle. 5. Battery life. The new sensor is quite power-hungry, so adding IBIS on top of that would make the hit to power consumption impractical for many users. 6. IBIS can cause undesirable artifacts when the camera is in motion. Not only unpredictability in panning speed, as the camera has to recognize and compensate for the fact that the camera is supposed to be moving, but also strange warping and perspective shifts (especially with wide angle lenses). Good example here at 9:30: 7: Processing. By not having to use a portion of the camera's processor to do all the math required for IBIS, that processing power can be utilized for other functions, such as better NR, faster/higher-res HFR, and pulling a higher bit depth off the sensor (beneficial even when encoding that data to 10-bit video). Everyone seems confused as to why Pananasonic left IBIS off this camera, but in my eyes, they've made their reasons perfectly clear.

To be clear, I'm only referring to the release reel Liam posted that's referenced in the Art Adams article (say that five times fast). The 2015 reel you posted looks quite lovely in comparison. Much stronger colors and more neutral skintones. I think the fact that the Cion/BM4K sensor looks better than a lot of "better" models out today bears closer examination. Often, cameras trade off low light performance and dynamic range for inferior color rendering. For example, by letting the blue filters in the array pass a bit of green as well, boosting the signal in that channel, they contaminate the blue signal and make it harder for the camera to separate the channels in processing. The early Reds had a problem with this, and it resulted in a lot of muddy color. Some interesting insights into the CMOSIS sensor vs its competitors in the current marketplace: http://www.bmcuser.com/showthread.php?17318-No-more-love-for-the-4K

Eh...I'm with Art on the Cion. That release demo reel is actually gross. http://www.dvinfo.net/article/acquisition/a-critical-look-at-cions-new-demo-reel.html I've heard they actually improved the color a great deal in firmware later on, but that footage is not something I'd use to sell people on the camera. That said, I've always loved the rendition of that sensor in the BMPC/UM4K. Not great in low light, not amazing dynamic range, but rich and pleasing in a way that reminds me of slide film. Add the excellent rendition of fine detail and global shutter, and for the right place, I see it having a place on some productions.

I'm a little late to this but I just wanted to say I enjoyed this. Also, the twist was nice. Old School Critique The only thing I would have played with directorialy is I would have had the actor walk towards the bunny in a sense of relief, which would set up a more instense rise when the hand pops out. By standing in place, it builds up anticipation, as if he's "waiting" for the twist. Technically, the framing, lighting and grade was very nice. At first, the framing was very tight which felt a bit claustrophobic, but you eventually opened it up. I'm a big fan of reverse reveals where it makes sense and I think your pacing was very nice and thoughtful to the piece as a whole. What I read was in the first frames he was "comfortable" and "insulated" doing something mundane. As you built tension you gradually opened up the framing which made him seem smaller, more vunerable and unprotected. Nicely done. I see you bro. The only thing I didn't like was the whip transition of him running up the stairs. It felt out of style to the rest of the film to me. I know as cinematographers we like to try out various tricks, but I'm personally really big on functionality over form when it comes to engaging the audience into the story. The most effective films keep viewers locked into the story, and so you'll notice use of transitions are very limited to cuts and fades, and in certain films, eh hem Star Wars, wipes. I feel the cooler, more experimental transitions are better left to music videos or non narratives because the viewer is more engaged in the mood and emotion rather than a cohesive story arch. Also, as a motion language thank you for not doing handheld. The technique is being used to death and it's refreshing to see you can have smooth stabilized footage and still build up tension. I feel like this is lost on a lot of modern filmmakers. How was the VFX on the hand grabbing the bunny accomplished? I always like to learn how different ppl approach these things.

The debates about adding lights instead of bumping ISO's seem to be focused on controlled shooting environments. I don't shoot narrative, just short doc's and events - the only lights I've ever used is for interviews, and then its always a portable key/fill/back setup. Everything else is natural light and whatever is in the room where I'm shooting - I'm pretty much all run-and-gun. Cleaner files at higher ISO's are a big deal at times, that's why after breaking up with Sony and moving to Fuji with the XT2, I did the backslide into the a7sII - its just so much better than everything else in the 12800-51200 range. After 4 years with the a7s being the low light king, the GH5s looks to have closed that gap significantly, though the false color and color shift above 12800 doesn't look very good to my eyes. The a7sII can easily be found for less than the GH5s brand new - not to mention used - and it still has IBIS. I don't like the price hike combined with deleting IBIS - especially since Panasonic still pretends CDAF is as good or better than a hybrid AF system - combined with the fact that you'll have to float this on a gimbal or glide cam for stable footage. All the noise about "better usability" with the GH5 is just that, noise. Everything needed to shoot on each camera can be setup to custom buttons and control wheels, its not like shooting with the Blackmagic Pocket cam. Its always good to have options, if you want to shoot at 2.8 with deeper DOF, this is a perfect camera. It'll be interesting to see if Sony releases a aps-c and FF version of this sensor. Would love to see it in a Fuji. Despite being super impressed with the NYC footage, I'm still going to wait and see what NAB brings - its only 3 months away. Blackmagic always has something up its sleeve and Sony will have something new - whether its a E-mount cam is anybody's guess. By then early adopters that don't like the GH5s will be selling them and the Fuji XH1 will be out in the wild. These are good times in the video world though.

I would also point to a very important observation by @AaronChicago...having a camera that can shoot in the dark can be a novel concept as with the A7s years ago, but beauty in Cinematography comes from light and how a good Gaffer shapes that light....being able to shoot in the dark may work for a brief emergency shot you have to get (referring to narrative of course) but as ugly as a midday image without the correct shade and bounce is, the equivalent is true for shooting practically in the dark...just the other side of the spectrum to shooting in noon sun...the image in both cases is flat and uninteresting...it's light in whatever form you use it, that creates the beautiful imagery we drool over in the Cinema...the camera comes fairly far behind that...that's maybe the biggest reason for me not rushing to get in a pre order....I don't shoot in the dark and the GH5 gives me a more than adequate night shot, of say cars moving by in a wide city street shot....if there are people in the shot and they are significant to the story, there would be lights too.

You mean, like... I'll be informing the authorities about this!

Next time I’m standing out in -30 filming the aurora borealis at ISO 25000 I’ll console myself with the knowledge that I’m impoverished... There are times when a high ISO makes a genuine difference - I’m not interested in the GH5s until Sony have confirmed what they might do with the A7s3 (or I persuade myself that I can afford a C200).

You are thinking of the new Osmo which is $129 However: "Pricing hasn’t been set for the Ronin-S" No way will it be $129 as well!

...a close second is being potty trained.

There we go! We're finding a solution already :-D lol

A waterproof gimbal? Haha

I feel the need... the need for L.Monochrome.

The audio made me cry :-(

Hi guys, so I was looking for a new camera to shoot some documentary style / independent film stuff and I was about to settle with the BlackmagicDesign Ursa Mini 4.6K (which I had my hands on at #Photokina2016) until I stumbled upon Kinefinity and their recently announced Terra 5K. Unfortunately I need the camera in the next few months so I have to make my decision pretty soon since the Ursa Mini is out of stock almost everywhere and the Terra 5K probably will be once its shipping. https://vimeo.com/180674180 (Kinefinity Terra at BIRTV 2 months ago) I really like what I have seen from the Ursa Mini, especially for the price. The sensor does deliver! I really fell in love with the menu, its so simple and beautiful (really makes you wonder how shitty almost all menus from other manufacturers are). It's also nice that it comes with DaVinci Resolve Studio, has dual XLR-inputs with 48V, shoots RAW (compressed and uncompressed) and ProRes at various compressions. But the specs of the Terra 5K look also very promising (attached). Having both rolling shutter (with 15 stops of DR) and global shutter (13 stops) is awesome (although the rolling shutter of the Ursa doesn't look bad at all). It's nice that you can shoot RAW (lossless compression with KineRAW which needs to be transcoded in post, atleast from what I understand) and ProRes (even with oversampling so you don't have to crop like with the Ursa). Also you can get it with a Speedbooster (Canon or Nikon) and make it almost Full Frame (1.1x crop) if you want to. It records to regular 2.5" SSD's which are far cheaper than the CFast 2.0 cards the Ursa uses. Its very lightweight and small aswell, 920g for the body only... easier to use with a Gimbal like the Ronin MX. I do like the look of their KineMax 6K sensor, which they are also using in the new Terra 6K. Its very filmic and grainy (in a good way). The problem is there is no footage of the 5K sensor, so it's quite a gamble to buy it now. Although most people are very happy with the Kinefinity cameras. It is supposed to have a dual gain sensor (like the Ursa Mini does), thats why it has more DR than the 6K sensor and from what Kinefinity is telling us less distortion while using the rolling shutter. The Ursa Mini 4.6K would cost me ~5000€ for the body + V-Lock plate 100€ + 2x V-Lock battery (98V) and charger 700€ + 2x 258GB CFast 2.0 cards for ~700€ which makes around 6500€. The basic-package of the Terra 5K would cost me 6499€ + VAT (~7740€) which comes with 500GB SSD, KineGrip (+30W battery set which lasts for 60+min), 5" Kine-monitor ... ading a 500-600€ KineEnhancer (Speedbooster) = 8340€ "TERRA 5K will be shipped at December." thats what they have told me. Since "estimated" is missing I am hopeful. Making an investment of 7000+€ is not that easy............. but I am leaning towards to Kinefinity 5K. What do you guys think about that? Have you any experience with Kinefinity cameras or with the Ursa Mini 4.6K? Thanks in advance for any advise & co