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But the colors! My god everyone! THE COLORS! THE COLORS!

"I would say – be prepared for disappointment – and a heavy crop." To be disappointed you need to have expectations.... I would add to the list: - 4k that look like 2.7k at best - Weird codec (MJPEG) - Crappy bitrate - Moire and aliasing fest - No AF for some video modes - Crop - No high frame rate - Zero assist features such as peaking and zebra - No IBIS - No LOG Best case scenario they don't fuck it up too hard and it might become a decent camera for Vlogers and gimbal work. By the time Canon implements acceptable 4k30 with little crop, everybody else will be doing HDR, 10 bits, 4k120 and 8k30...

Toot, toot! All aboard the hype train! Final destination, disappointment junction! I hope they prove me wrong though

My attempt, It's what I would have for a thriller. Resolve: Basic Correction with dropped mids -> Resolve's Rec 709 fuji LUT at 25% -> Color and sharpening to face.

I wouldn't be surprised to see a 5x crop, 17Mbit MJPEG and 30i, which you have to deinterlace in post Got to stop all those C300 II PL mount owners being tempted by a compact!

Thats not one word. Its an abbreviation of three words

I've had a bad headache tonight and messing around with this provided some nice distraction Glenn so thanks. In no particular order we have- The quarter pounder with cheese: Didley Scott: Let's kick some ice: My only attempt at subtle: Mr Anderson: Aaaaand finally, "Michael get-out-of-my-edit Bay"

I like the lift of the shadows on the third one by @Stathman Might not be brooding enough though... somebody remind me where the "Pensive" slider in resolve is again... Just pointing out you missed the perfect opportunity to write, "And stop calling me Shirley!"

Speaking of inaccuracies! I think you missed the point. There is HLG content now, in fact, right in this thread. And many cameras now can create HLG video directly - it's a standard among creators. This whole forum is about creating video, not watching Hulu, or Neflix or Vudu (or Voodo). Go to some TV forum, wherever that is, to make your case to stick with your outmoded TV. That forum is for watchers and couch potatoes, not creators. There is plenty of whining there about standards and which service providers supply which flavor of HDR. You can also argue about which HDR mode is better! What is relevant here is that if you get an HDR TV that has HLG or HDR10 you will be able to watch HDR videos you create and those created by many videographers all over the world, including some posting here. By not getting one you will be stuck in SDR land, inclusive of any videos you create. You just have to shoot in some log gamma with an extended color gamut to create HDR videos, and you may already be shooting in those modes (when you are not watching Amazon Video or Netflix). But you won't create HDR videos as long as you can't watch them. So, you are missing out creatively; and the fact you do not have an HDR viewing device means that you are unable to even make an informed decision as to whether shooting in let alone viewing HDR is worth it. So, your SDR TV means you are missing a lot, unless your only purpose is to watch commercial TV. Too bad.

In theory the NX1 is the best here H.265 is double the efficiency of H.264 and it cranks to 160Mbit reliably with the hack. That is equivalent to 320Mbit/s IPB H.264. It's a very stable image.

@mercer I played a little with your file... Better click on it I think i prefer the first one.

Either the 4k is gonna look like 1080 or it will be heavily cropped, or both.

I've heard a rumour that all the court's members were NX1 users, and that Lee promised to launch the NX2 if he is released.

Ehh, on the video side they may not have the most cutting edge features in terms of frame/bit rates, because they're still very much like Nikon - more focused on stills. I'd say the XH1 is superior to any m43 cam outside of the GH5's on the video side. And its certainly competitive with every other APS-c camera on the market. It can give Canon FF a run for its money too. As a stills camera Fuji is - IMO - far better than anything m43. If you're a heavy stills/video shooter, I'd take the XT2 or XH1 over any m43 or Canon body until you hit the 1dx2 or 1dc. But even that's subjective based on your needs. And personally, as a natural light travel shooter, I hate higher ISO noise. NR has an impact on fine detail. Lots of debate over skin tones here, Fuji's are sublime in a few of their film profiles. Plus Pro Neg can be dialed to match Canon pretty well. I guess it depends on what you're looking for. Like most here, I'm looking for the unicorn. The perfect camera isn't there yet, and even when we do have a 4k60p, 10-bit body with IBIS, great AF, global shutter, and shoots amazing stills - there will still be warts. My definition of great will be different from you or anyone shooting narrative, because I'm very much a run-and-gun shooter that often doesn't have time to grade hundreds of clips for a 2 minute video. I like the final product to be as close as possible in cam. For me that point is much easier to reach with Fuji - despite its quirks. I have a love/hate relationship with Sony too, they still refuse to put two UHS-II cards in any of their bodies, even the $4500 a9. Its part of the reason I'm not buying the a7r3. The Xpro2/XT2 had them for a couple years, I can shoot to both cards without any card-writing delays. The Sony shutter sounds like a car slamming into a light pole, Fuji's is so much better, and the XH1 has dramatically improved on the XT2's already pleasing shutter with its floating mechanism. It goes on. Panasonic gives pre release until to lots of experiences video producers and it shows in pieces like Neuman's robot film. Fuji gave the XH1 to a few, they put together more release videos highlighting the video side of the XH1. They're definitely moving in the right direction. Adding 20 more pages to this thread is just shouting in a vacuum IMO - hit Fujiguys up on social, comment on their videos, comment to the Fuji honks that get test units to pass the word to Fuji, or even Fujirumors with your list of fixes. I do want to continue hammering Fuji to improve the video shooting experience, because they can make a lot of progress with FW updates. The last sentence quoted is accurate, Fuji has cultivated a user group that's very vocal about things like the exposure comp dial, and not about zebras. Just look at comments about a forward facing LCD, its all about the narcissistic selfie generation, not about its usefulness. Same goes for touchscreens, video, AF shooting video, and so on. Pick your poison... Chris

This is just a little something I shot on the subway, absolutely nothing special. But it made me think. I used to shoot a lot of casual video on the streets. But ever since I became passionate about stills, more specifically street photography I never do it. Mostly because when recording video I feel like Im just missing out on great stills. An this was no exception. In fact its 1.5 years since I shot casual video out and about if we don't count "test shots" around the house. The irony is that I started shooting street photography to become a better videographer. I used to love shooting video. The best part for me was composition and grading. So I started taking Raw stills in order to get to practice bigger quantities of grading. The plan was to eventually make a video about it and recommend all aspiring videographers to shoot a lot of stills. Just like the DP's in the Zacuto shoot out says (forgot which). But along the way it completely switched on me. I started liking stills more. Specially the challenge. To capture a whole scene, the entire atmosphere, all the feelings in one single frame. Compressing an entire story into one single moment. 
Im not in anyway implying that Im good at it. But I love trying. Now when I watch vlogging street shooters on youtube, you know the type, Gopro in the hot shoe and a montage to hip-hop beats, I just get annoyed. In the video montages they miss out on so many great images. 
Same thing for me today. In this short video montage of nothingness I see at least 4 potentially great images. So, thats it. I still recommend all here that are aspiring DP's to shoot more stills. With something like a GRii you can always have it ready. Look for light, composition and story.
 Just be aware that you might switch to the dark side like I have. Don’t underestimate its power. What about you guys? Who shoots stills, why, why not? (btw, really soft lens in action here. It looked awesome with gorilla grain on my computer but I removed it since youtube always messes it up imo. And therefor its pretty darn soft. A couple of focus misses doesn't help either.)

Very rare 1954 scope by Chrestien. Been sitting in a shed in France for 40 years and normally the grease gets solid like toffee, but with this one the grease has actually crystalised, wow!   Anyway its undergoing a careful teardown for a lube and I found a ball race....   Looking forward to the super smooth focussing when its back to spec  

This was a lot of fun, cheers Mercer. Great still, even if the background is hella busy.

In a world where image quality is an endless pursuit to match the human eye, I would say it's another stepping stone on that path.

Thank you for your suggestions and contribution to this exercise. Your “cool” version was amongst my favorites. I am a zero budget filmmaker, and wear all of the hats of my production. I started filmmaking in pursuit of another outlet for my screenplays. Meanwhile, while attempting to acquire a modicum of skill, I was bit by the filmmaking bug, but I would never consider myself a cinematographer or a DP. I really have no interest in being one. I’m hoping to be a competent camera operator before my film is finished... But somebody needs to film my movies... so I guess it has to be me. With that being said, I appreciate every bit of info I learn from you guys on this site. To add, I tend to think of cinematography more like Kubrick or Polanski would (obviously not nearly as talented) from a director and writer’s view. I respect the traditional role of the cinematographer but the film is the director’s... visuals and all. Just my opinion.

Human nature wouldn't you say? I think some of you need to remember change does not come easy for everyone. In fact, we are part of an industry that is considerably hostile to and is currently going through a lot of growing pains, especially at the upper echelons of the business chain. It's uphill all the way, but berating people into change is never a good idea. It just gives them more reason to remain hostile and indoctrinated. At the end of the day, no one interested in image performance is going to reject more dynamic range. But everyone comes into that differently.

Fair enough. I hope you don't think I was being adversarial, I was genuinely curious.

I like this game.

@webrunner5 Right click on Resolve's monitor --> Grab still, then in the gallery panel right click on saved still --> export.

@mercer thanks. To be honest, I think the same angle with the same grading would look awesome with a lot of cameras. The light was really beautiful. But it directly hit the lens so I had to crank the contrast all the way up. There are a few reasons I considered just now: 1: It was my moms camera (she didn't like me taking it to the desert, haha), so I was deciding between a new sony 6000 and gx80, at the moment, both cameras are at the same price in germany. 2: For pictures with heavy grading as well as 50mbit fhd the sonys are great, but I think the panasonics have better color space, which is important in compressed video. 3. The lenses for sony are overpriced, so I chose to go for a cheap camera and invest more in the stuff around it (like lenses, speedboosters, microphones and stuff) 4. The sony overheats, so it is not futureproof if I work for serious clients :D 5. The gx80 has IS. I think that could be really great when using old glass and tele lenses. 6. The gh2 sundance winner and Andy Lee got me sold on panasonic, even though I don't think that Andy Lee's movie was finished :D To be honest, if I happen to prefer the sony, I can just sell my gx80 used and buy the sony6000 so that is a maximum loss of 100 dollars Also I shoot everything manual, so I don't care about any kind of autofocus tracking. I will try to shoot events with the gx80 (pictures) and see if anyone notices that I am using a tiny camera with vintage class. Thanks for your tipps: I am really bothered right now because the lens turbo md to m43 is out of stock. Also I don't know if there will be problems with the lenses hitting the glass of the lens turbo, so I don't wanna ship it all the way from USA and then have to return it. How did you solve that problem with the minoltas? I am looking at the 28mm 2.8, 50mm 1.4, 35-70 3.5 md (4 glasses) and the 135mm 2.8. Fun Fact: My gx80 is already kind of famous. I already have a dump adapter and took my minolta lense to a movie festival. A television team from german 1st. programm was there that wanted to finish their scene but ran out of time. I was like: I have a 4k camera, I can finish it, so I did. German actor Götz otto was there. I asked him to sit down on a sofa on the event, and gave him directions from 5 different angles. He was like: Man, you are giving a lot of orders for a director, and started laughing, but he really gave me all his acting skills. In case you didn't know, he was the bad guy in james bond, tomorrow never dies. I guess that makes me one of the few people in the forum that already directed a hollywood actor, haha. Will post a short clip if anyone is interested. (sorry for writing so much) Cheers

S-curve, slightly desaturated and secondary skin tone correction towards orange. eoshdii.tif

How about 22.5fps 4K? From now on, every Canon should come with a picture of their smiling CEO in the box.

Word. Some are only innocuous tests like the customary flowers, children and cats, though : ) On the hardware differences, there's nothing we can't obviously do but as already stated, nothing some other workaround gear may not solve within certain limits. For some reason we need to couple some piece of glass there to begin with ; ) Not really convinced there are substantial differences on the Dynamic Range level or even highlights rolloff. Dual ISO is there, is real and sweet, not mere marketing as I could read here by Sony clientele basis, despite that. I believe the problem for the other fellow here or under that respective angle is not the 2500 mark but the difference (500 for the case but could be another one) the buyer doesn't feel like to afford. Not because the client can't or have no clue how to pay for it : D but certain principles still apply. It is not a matter to discuss if a firmware will or not to overcome it. Panasonic followed Sony. Why? Is it possible to overwhelm that with the next upgrade GH6 series step? Only then? What about adjusting the price difference between both versions of the same camera model? Well, to begin with, they are not actually the same camera, but two distinct ones. They share the same market range anyway. Only a nonrestrictive strategy on the market segment or a new pricing policy might be the answer. However, as a few have already predicted, it is even possible their GHx series price will end higher once as you Jon have fairly pointed out now and many of us have been restless to defend here and everywhere: 2500 bucks is a no-brainer deal for what this acquisition device delivers at this level. Last but not least, the prices are beyond the traditional 4/3" format framing because of their video abilities. The ease of cheap adapters to couple practically any single mount system also help this to happen. A certain thing is for sure though: they would have to rethink their margins if they would feel their competitors are coming tougher and closer to them. To my view, that's where they still end their decisions as far as we've seen on their GH5/GH5S dichotomy so far. Much more than large pixels size vs higher resolution sensor or lack of IBIS with ridiculous excuses or as you wish, they start or could end exactly there.

@anonim Yes, keep the regular GH5 inside the ISO1600 limits with fast glass and an affordable focal reducer adapter like Viltrox as for instance and you'll have the same GH5S performance for that piece : ) Finely shot as much as that one by Filippo, of course :-)

Yes! Even on my Samsung S8, where I can switch between HDR and SDR while watching a video, one sees an enormous difference. Anyone who compares would have the same reaction; it's not like 4K vs HD, which relatively speaking is marginal to many.

We are talking about the following: Can we upscale 1080p 8 bit footage to 4K 10 bit if our method is noise reduction and diffuse banding with grain? Sounds like a magic trick... or im just sceptical.. Im using this method for a while now anyway but i dont think we can talk about 10 bit color information here.

@anonim Indeed. Thanks for posting! : ) From Fujinon glass... hehe Filippo, old dvxuser fellow and the filmmaker chosen by Panasonic to promote EVA1 from his footage skills, is one of the most delicious digital painters known by us geeks of a certain kind to offer the best each release he puts his hands-on. This camera is a hit. Pity they had charged a premium 500 bucks though. No excuse will avoid you of that way as you wish anyways. I put my hopes on the upcoming a7SIII but I guess Panasonic will still be a most secure choice, no matter how much they will try to overcome certain issues as overheating a smaller tight camera design won't give so much room for.

I'm not sure where to post it, so here also... It seems to me the best so far done/looks (at least what and how I've seen) achievement of GH5s...

It seems to me the best so far done/looks (at least what and how I've seen) achievement of GH5s...

Actually Canon are very canny, as a business, when it comes to releasing new cameras. Here's the thing - we all know that Canon have the resources and the patents to bring to market a stunningly advanced mirrorless camera. We all get frustrated because they continually fail to do so and we wonder why. Well. If Canon were to produce such a camera it would, undoubtedly, dominate the market and sell in the millions. But for how long? Canon know that they have a number of very hungry competitors snapping at their heels who are apparently willing to spend pretty much whatever it takes to build market share. Any amazing camera from Canon would only have the market to itself for what? A year? 18 months? By that time PanaFujiOnyUs would leapfrog them and the cycle of huge R&D investment would start all over again. Where is the benefit in that to Canon? They know that they can release cameras that tick a few boxes and are 'just good enough' for Mum, for Dad, for the kids on their gap year trip to Thailand and sell oodles, getting a great ROI - and they can do that year after year, model after model, because their market position is such that the vast majority of people's first 'proper' camera is always a Canon (see also white lens effect). The moral of the story is - don't waste emotional energy expecting anything ground-breaking in a Canon mass market camera. That's not their segment.

One word: LOL.

My workflow Premiere insert your clip add adjustment layer add official V-log to Rec709 adjust your contrast wb etc according to Waveform after you done go to creative tab and apply rec709 luts not Log! Link http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/enhance/gh5/index.html have fun)

You don't need a particularly high resolution for a billboard.

Sorry to spoil the party, but I don't like Any of the grades! Don't have my Apple Laptop here so... They all look thin and brittle, lifeless. I don't know if it is the lens Glenn but your earlier grabs looked a whole lot better?

@EthanAlexander those are great. I like Let’s Kick Some Ice the best. But Didley Scott is the best name.

@kidzrevil How are you upscaling to 4K? Was this covered already and I missed it? Is it something that Neat can do? Thanks and sorry if this is a dumb quesiton(s)

@kye This is what i was thinking also. I don't know nothing about the movie, story, scene etc. Don't have a clue what feelings wanted to be expressed on this scene. I was just playing... @mercer The 1st one is warmer and the 2nd is cooler. Combine them and you are at point 0 again. Just kidding Lovely frame btw. And what about this bokeh!

Surely if we were to attempt a grade, it would be helpful to know what kind of movie it is? Rom-com vs psychological thriller might attract a different look surely!

Yep, it's predicated off the original rumor and this particular tech blog site has just gotten wind of it. Look, you guys know me by now, I love the NX1. But I refuse to get worked up in any sense or fashion over this rumor. If Samsung does it, they do it and we all will be pulling out those credit cards, if not, they don't, end of story. This is incorrect. Mirrorless rumors reported that Samsung is testing an retrofitted NX1, which suggests to me even if they have an NX2 slated, it's not anywhere near development as it's own model.

Canon fires a warning shot across Nikon's bow... ...and across Sony's, Panasonic's, Fuji's and Samsung's sterns???

I've got too many cameras and yet not enough somehow. With BM Micro 4/3 and super 35 setups I've been missing the full frame look on a number of image/commercial projects. So much so that I've been looking at the 1DC for months and keep balking at the codec and dual card restrictions. But the IQ, I think, is still at the top of the hill for 4k and HD. So now I'm (holding fingers close together) this close to grabbing an 850. I've got a set of nikon ais primes and zooms and (my preference) Sigma Art lenses w/nikon mounts too. Plus, we're often providing high res still work for corporate client shoots and our 5D has developed the dreaded mirror lock up so it's that much more of an incentive for a real 4k hybrid.

Another huge reason that pushed me towards stills was also the ability to shoot film every single day without spending much money. Cinestill even makes Kodak Motion Picture very available for still shooters. Raw and Film in your bag at all times. And it also opens up the door to very affordable medium and even large format. It's intoxicating

@Matthew Hartman Maybe, we'll see... I'm slowly warming-up Jester with broken English BTW How nice is your surname - I immediately imagine of whom of to-me-dear creator are you descendant - the Nicolai Hartman, the Heinz Hartman, the Karl Amadeus Hartman...

I dunno cantsin. I can't get past the codec limitations. For me, all this process doesn't really add anything. If you look at the hand there are terrible compression artifacts in both images, without any differences in color. Here is a comparison of few places with boosted saturation (top orig, bottom neat): I see mostly different compression. Here is the difference between the two frames: