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Looks like the Micro is already going down in price on the second hand market. I got one for under $700. This is my first test, also my first time shooting Raw. Love this little camera. My Micro and Pocket should compliment each other well.

@jonpais, I recently submitted a broadcast file via the Universal Records system and you have to pass numerous quality checks. One of them, is motion cadence. You can't submit a video that has 4:1 cadence, which has 4 progressive frame of video, and every 5th frame is a repeat of the 4th frame. (This is more to do with people using content shot at a lower frame rate (like 24fps), and converting it to 30fps incorrectly). They are preventing the video motion from looking unusual or low quality with this check. I'm in NO WAY WHATSOEVER a camera technician or scientist but I'll explain my understanding. Apart form the obvious frame rate / shutter speed / global shutter / codecs influence on motion cadence, all cameras capture and interpret frames differently. Some cameras may capture in a "false progressive" (interlaced frames which mimics progressive video), frame capture that is made up of some progressive frames or some interlaced, or cameras that have a truly progressive frame capture. Now there's motion blur. Motion cadence on modern TV's is destroyed because they are defaulted to a special motion setting (like TruMotion), which manufactures say makes the images look clearer and smoother. The setting when turned "On" makes the image feel like there's a bunch of new frames thrown in, eradicating motion blur and giving us the dreaded "soap opera effect". With all of this considered, an attractive, cinematic motion cadence is the ability to capture full progressive frames smoothly with intricate motion blur (as long as your frame rate is half your shutter and if it's global then BONUS!). To do this, you must start with the right codec first (the best of which, to my experience, is uncompressed RAW converted to ProRes). It's no coincidence that expensive cinema cameras (and BM cams) have this motion cadence (very high shutter readout, RAW and ProRes, high bit rate) and consumer cameras do not at all (besides the 5D Mk 3 Magic Lantern). An external factor I find is the lens. A lens with electronic contacts with I.S and all that jazz, usually overly sharp and contrasty, hurt motion cadence. I feel it's because they heighten the "electronic" factors (sharpening, aliasing, moire, noise, jittery look). Lenses with a smooth rendering, regarded "creamy", very often manual glass and high T-stop really smooths out the motion of the image and hides the electronic factors that make our images digital looking. So in a nutshell, for beautiful motion cadence, shoot in RAW at 24p and 1/48s with a very fast rolling shutter /global shutter, with manual "proper" cine lenses and finish in ProRes. Come think of it, I now find my post pointless, as I thought we all knew that anyway!!

This is Sony's demonstration of their global shutter sensors versus rolling shutter sensors (presumably also Sony ones ) This one is a comparison between two board cameras with global and rolling shutter sensors. RED's Motion Mount can be quite informing about how this stuff plays with the same camera as it has enables their cameras to have variable ND but also gives them two global shutter modes, which they refer to as Square and Soft. So in demos like this - which is a repeatable pan under motion control - you are able to see the effect on the same camera between ND only (i.e. rolling) and the two different types of global shutter. And from the same user, the effect when filming motion from a locked off camera.

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days. Our best work yet. Movie is still going through post-production. Production company: 55Media Director/Writer: Uche Aguh Director of Photography: Dennis Schmitz (me) Assistant Director: Ukairo U. Ukairo. Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G' Editing done in Premiere. Colorgrading done in Davinci Resolve. Dealing with the usual quirks of this camera, but results are still great. More information: www.imdb.com/title/tt7928156 www.55media.net

I like and agree with these important points but without a gimbal you cannot move with the camera. This may not be something you want to do, but purposive camera movement is an important dimension of video. IBIS is not a complete substitute for a gimbal, and the GH5 (not really pocketable) is really too large for extensive gimbal use. Of course, this new BM camera is no better in this regard, and handheld use is even more limited.

@TheRenaissanceMan I found that comparison test pretty interesting. Didn't you? I also found the tester has arrived to the same opinion your comments point out and I share. Reason why I pushed the 'like' button over your posts and posted that. @jonpais When I was @ law school before to conclude my learning there, I had dreams, you know? I thought filmmaking was much easier to match my own expectations. Then, I went to film school where I could have the experience of 4-years full training on post-production and directing departments. I also realized at that time the post graduate studies in the field of production could lead to better waters for the kind of work I would like to experiment and became a producer. You can find the links in my signature shot with many different cameras. In one or another I had some influence on the camera decision front, as well, some other gear connected with. Without mention some creative choices to make, non-technology-related. On a few others, none of my business for that specific project. On the leftover, I don't find a forum like this one may call the best location for that. I am not a reviewer nor tester in any way other than non-scientific tests I perform when other ones have much more work to show. So, I'd rather post the best I can find to illustrate my own finds. As a still photographer I also much appreciate to shoot, oh well, frankly on that one, follows the same rule in the last paragraph, at least in part. I always praise my work as very personal. There's place for everything in life and life out there : ) The right location.

The color science of these guys coupled to their solid bit rate and truly golden acquisition have no parallel wherever we're looking for at similar range (I even intimidate myself to write price range... WTH it's 700 bucks!)

Thanks for all the love so far. Really appreciate it. And sorry for the late replies. Pre-Production took a few weeks. Uche Aguh wrote it basically while casting and searching for locations to shoot and adjusting the script to it at the same time! I worked on a shotlist, schedule and lighting/equipment. Production took place nearby Atlanta in a small town called Palmetto. A very eary place tbh. We shot over a time-frame of 11 days. We had a crew of 6 people. Right now we are working on post-production. Some bts pictures can be found here: http://55media.net/portfolio/the-house-invictus/ pushed it up to 6400 in some situations. I already added some grain. Sadly the internal NR on the GH5 is very strong and smudges lots of low contrast detail and YouTube does the rest... (Waiting for the Pocket 4K) Here is a link to a higher quality version on vimeo:

Hope they've got a faster 3D printer than mine then, otherwise with all those backorders.....well.....

Hope for more than only that.

Impressive filmography by the way.

Nathan Gabriel asked in topic about BMPCC 4k - but I think that promised samples better fit here... @Nathan Gabriel Do you know how the quality of the SLR Magic 10mm compares to their 17mm? I have the SLR Magic 17 and it's nice, but it doesn't come close to the quality of my voigtlander. @anonim Later I could extract some snapshots from last clips shot with 10mm... I hope that these grabed-stills could give you at least some idea about SLR Magic 10mm - yet unprepared material, almost straight OOC with some skin corrections for this occasion, taken with Atomos proreshq, so obviously lesser sharpening than internal codec... I'm shooting one short about triathlon champion (and painter also), so sorry for maybe boring content from one session of running in the nature, I choose SLRM10 for it...

No.

Crap! The 5D2 is a great stills camera & is also capable of shooting absolutely amazing video with Magic Lantern RAW but also very decent cinematic video without any hacking. Just because there are newer more expensive cameras with even better low light performance & higher resolution that doesn't suddenly make the 5D2 a rubbish camera. Here in the UK you can buy a used 5D2 from Wex for £500 including a 12 month warranty. That's amazing value for the quality of the camera & the images it is capable of. This video made over nine years ago before the 5D2 was shipping is what started the whole DSLR revolution (unfortunately for some bizarre reason there are no 1080p HD versions that I could find online any more) If resolution & dynamic range is what you want then what about this shot with a 5D2 with Magic Lantern RAW?

I’m looking at something like this for the P2. It should fit comfortably right next to my beer...

I agree, GH5 is one hell of a hybrid camera.

You just need the right sized pocket...

It begs the question why everything related to this camera must be discussed in this thread. When a thread is 82 pages long it makes sifting through the post time consuming. Proof in point, I asked Panasonic about this very question. And reported the answer here. Sub-topics are ok.

Yes, it was all handheld. I just had a rod mounted on top with a pistol grip handle on the side, and my Marshall VLCD50 monitor on top, with the Cosmicar 12.5mm 1.9 c-mount lens. It was pretty well-balanced and comfortable to operate, though the rod mostly blocks the record button, so from now on I'll just use the same Krasnogorsk-3 pistol grip + shoulder stock + generic Manfrotto 501 QR clamp that I use with my bmpcc.

The budget is perfectly reasonable. An adapter & decent manual lenses are cheap. I shot video on the 5D2 & 5D3 for years & never used a monitor. The 5D2 was groundbreaking & still produces lovely images. OK it's not razor sharp 4K but that is part of the beauty of the image. The colours are great especially flesh tones. I was blown away when I first saw these clips posted by SmugMug founder Don MacAskill in November 2008 & immediately bought a 5D2 & sold my Canon XH A1 HDV camcorders These videos still look amazing https://cmac.smugmug.com/Photography/Paris-and-San-Franciso-videos/i-NmGTgrh

F35 is global shutter, isn't it? So would explain why it looks so nice.

... Jump to minute 9:23 and you'll see another much acute comparison... Don't forget to take a look on minute 11:12 as well ; ) Well, sharpness is far to be a standard :-)

Don, I think News/ENG camera ops are the real ones living in their own universe still. Zooming, focusing, riding the iris without thinking twice about it. Just experience and muscle memory for these people. Heavy rigged cameras, beefy sticks and head etc, and they do it solo, day in day out. Attached a photo of an old timer in OZ shooting digital for the first time in his life, no drama to get around a problem.

Toss up, between Blade Runner and Shape, but I would go with Shape, it is just beautiful.

Because his budget isn't realistic for having anything workable? What's the point of a hacked 5d if he won't be able to afford any decent lenses, storage or a monitor to see what he is doing? He would be much better served by something like a g7 with a speedbooster. Nobody was being condescending or rude, there is no problem.

I talked to a rep about the olpf at NAB and they said that they tend to not put filters on their cameras and if they do its always minor because they are obsessed with image quality. Kind of a shame in terms of IR pollution. I remember having to put my Hoya IR cut filter on every freaking lens I owned because the original pocket had such bad IR pollution. I think this cam will have the same issue.

Yep, now it looks well exposed and as i can see the colors are better and skin tones looks more correct and bright. Great update

Fair enough, but he also shoots with an Alexa. In my opinion, all of the cameras we discuss aren’t in the same category or on the same planet as they’re using in Hollywood. Putting a master prime on a GH4 isn’t going to make GH4 footage look like The Revenant. What I think these cameras can do, is mimic older film pretty damn good. So I’ve always looked at it as this... there is no way in hell with my resources that I am going to get an image that even minutely competes with an Alexa... even if I was insanely talented. But I may be able to get an image that looks like a 70s or 80s film. And for me, the mere thought that it’s possible with a $2000, or less camera, is pretty astounding. Your mileage may vary.

It has been pretty bad with spammers here lately....

yeah, how do i do 60p?? ? also: guys i got verified on this site by a former member who has been bullied a lot so he doesnt want to reveal himself but pm me if u wanna do it. the western union fees killed me but it was sooo worth it

My best guess is that he was smoking something while making assertions like this: "IMO, The Gh5 (even before the "s" model, SMOKES the C500."

I don’t hate BMD... but I also don’t take everything they say as gospel. For the record I hope this new camera crushes everything including Arri and Red. But I hoped that for the GH5 also... and the Sony’s etc... I own stock in none of these companies

I don’t think 4K raw will go away. Raw is pretty much unprocessed, so should have the least overhead. But higher frame rates might go. As might 12 bit. I think dual iso will make the cut... that is unless they switch to a different sensor. Usually I take well known manufacturers at their word. But BMD has over promised and under delivered many times in the past.

I posted a GH5 vs UM46K sample last year. I prefer the Ursa color, but GH5 and 5s are great. password: test

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts': There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice. I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on. Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3: Easy choice. Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart. Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.

I own the camera. I’ve used it for about 3 weeks now and love it! I mainly do vlogs but I’ve also done some cinematic test with it and it rocked! It’s not an Alexa but it’s still a powerful tool. here is my film test: and here is my latest vlog:

Of course. This is obviously just a quick way to get a basic understanding so one can make an informed choice.

How high ISO you went on GH5 there?

Love to hear more about the production and pre production side of this, & what was the size of the crew you used? Any BTS? And your distribution plans?

Maybe that is part of the cooling system... sprinklers

I think its mis-named a bit. I get why they went with pocket, but it should be a Mini Cinema cam or something - unless someone has messenger bag sized pockets. @Djangosaid RIP GH5 - but its more like RIP GH5s IMO.

With the GH5s Only being behind maybe 1 stop is pretty damn impressive if we think about it. Normally a APSC camera is 1 stop behind a FF camera. For a m4/3 to be 1 stop behind is damn impressive, and yes the GH5s has way more tools video wise than Any A7xx camera out there. Throw a Speedbooster on it and wow, damn near FF sized also.

Most yanks have a gut bigger enough or a mouth to go with it after all it was Anzacs that showed you how to tool up on the Western Front ...ROFL