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My first impressions on the blog: https://www.eoshd.com/news/panasonic-10-25mm-f1-7-first-impressions-sample-shots-from-gh5/ Any questions let me know!

Emotive Color V5 'SPECTRUM' The V5 'Spectrum' update is ready. The V5 emails are going out now (let me know if you haven't received it). It is the culmination of four years of engine development, and I hope you enjoy! Emotive Color Component ('EC709') EC709 component (Full/Theatrical) rebuilt with new engine, allowing accurate, uniform far gamut projection of Arri display table Arri Rec.2020 now used as the color target (projected within EC709 envelope); results in deeper saturated red and blue that are otherwise clipped in Arri's Rec.709 High Scale is now Full Scale (unlabeled); a direct replacement for LogC+Rec709, with notable advantages (aesthetics and gamut preservation) New Classic 'Soft' and 'Hype' variations (like V3-era 'Soft' and 'Main') Refined natural saturation model Core LogC Fully realized uniform far gamut projection from known lower saturation samples (solves issue that caused saturated orange to twist towards red) New rolloff math; allows grayscale reconciliation of high saturation brightness values (only available for interpolated .cubes; not achievable in Matrix) Added final, fourth calculation pass (post-smoothing), which allows absolute accuracy to known sample points in final render (while retaining smoothness) Corrected an issue that allowed smoothing algorithm to clash with a 'safety lock' on grayscale hue, that could result in red-green banding near the grayscale (especially with 33x under Trilinear Interpolation); now fully smooth regardless of grayscale Misc. New Ceiling Modifier [POST] files; allows variable highlight compression New 'Natural' profile [PRE] for GH5 (shares settings with Cine-D: -5 Sat, 200 Iso) Remade all PREs (picture profiles / exposures) Revised Pdf; Important: DaVinci Resolve - Enable 'Tetrahedral Interpolation' under Project Settings > Color Management > Lookup Tables (allows 65x performance with 33x cubes; complete gradient smoothness - FCPX has this as default) Remade Premiere PREs with new measurements (to reflect 2021 Premiere's improved codec color); no 8-bit VLog or Cine-D PREs needed Significant revision to Premiere Pdf guide; Advanced layering section is no longer relevant, use Lumetri's luma curve (improved significantly) Gradient Test is now 16-bit png (compatible with Premiere) rather than tif Entire Matrix PowerGrade now printed directly from the engine (complete reverse-engineering of .drx format): Precise values entered directly into the curve interfaces, at maximal point density Improved engine gamma accuracy enables significantly improved base matrices New LogC Exposures feature (true exposure gammas extracted from sample data) New 4200K PowerGrade variant If you have any videos or stills you've made that you can share, I'd love to see them! -Alex

@Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends 👌🏻

Yes he will be missed! I liked his channel, very much no-nonsense and going about his business with the upmost care. We've lost an artist and a friend. Rest in peace David

Yes, it IS a great lens and a great system... Even Toneh had to admit this recently when he shot with this lens on the GH5-II... He now says it is the best vlogger combi on the market... According to him Panasonic finally fixed the CAF on that camera… It is clear that unsubstantiated one-liners do get him a lot of clicks! Furthermore he is firmly within the group that doesn't understand equivalence. Yes, it behaves like a 20-50 mm in FF terms, and yes it has the bokeh of a 3.4 FF lens, but as aperture is concerned, it DOES behave as a 1.7 as far as the exposure triangle (aperture - shutterspeed - iso) is concerned. Not as a 3.4 lens! How unfortunate that Toneh doesn’t understand this… People get confused by the fact that the light-gathering of this 1.7 lens is lower than with a 1.7 FF lens, but that is of course relative to the sensor size. On a MFT sensor you need less light to cover the sensor. This actually means that you gain nearly two stops compared to a FF 2.8 lens, and this handily does make up the ISO disadvantage that MFT has compared to FF. As to bokeh, it is very dependent on the type of footage one shoots. For my line of work, I am in 95% of the cases perfectly fine with the bokeh of a 1.7 aperture on MFT. Having a shallower depth of field can easily become tricky. My 42.5 mm 1.7 gives me a gorgeous look in the right balance of shallowness. If I want a real FF look, I reach for my 1.2 Sigma zoom (with speedbooster) or my excellent (sharp!) 0.95 17mm Mitakon. Only if one needs extrem bokeh, a FF camera with a 1.4 lens will be the better choice. The 10-25 1.7 zoom is really tack sharp, and it even outperforms most primes in this range. I will be curious to see whether they can make the announced 25-50 1.7 zoom optically as good as this one…

Very, very sad. Liked a lot his reviews.

That's absolutely terrible news. He posted a very short last video, and I was trying to get his contact information. I used to love his reviews. He was brilliant and brilliantly witty. Can't imagine anyone else who was an advocate of the M43 ecosystem, like him. Panasonic and Olympus owe him a thank you note, in the least.

I say NOOOOOOOOOOOOO to noisy generators!!!!

So sad. He was one of my favorite writers and video bloggers. With his unique and interesting insights, he could easily entertain even when discussing a mundane camera bag or consumer lens. He certainly contributed to my love for the m43 format. It's a sad irony that as we find new life being breathed into the these smaller cameras, we have lost one of their most talented advocates.

That’s very sad news. I’ve watched many of his YouTubes.

Hi all, Just wondering if anyone has any input for on set power solutions? In particular experiences with block batteries versus generators. I'm looking for something to power a laptop and a v-lock charger, as well as LED lights (up to ~600W total) when required. A battery seems like a much simpler solution and has the ability to have a data/charging station setup in a car or van. And because my work car is also my family car I like the idea of not having it stink like petrol for a week after every shoot just from carting around the generator and petrol can. No problems with sound either if I go the battery route. However a generator does have the ability to run for much longer because you can keep topping it up, whereas a battery solution would only last a few hours and require charging overnight. Has anybody had this same dilemma, and what direction did you go in the end?

Well he would say that, now vloggers are probably 40% of his viewers. I agree. There is more to aperture than a shallow DOF. Some shots look better with a deeper DOF anyway. Some of the F0.95 super fast super 16mm lenses are a prime example - by equivalence terms to full frame, they're only F1.8 - but they look nothing like a full frame lens, full stop. And sometimes they look terrible wide open and sometimes glorious. This is why people need to get off the specs bandwagon and shoot more stuff. For most lenses, F1.7 on 2x crop sensor looks very different to F3.5 on full frame. Well there are some Micro Four Thirds sensors that are better in low light than certain full frame sensors. It's important to look beyond the catch-all equivalency formulas that pixel peepers like. You can have a large sensor with small pixels and large gaps between them. Blackmagic Production Camera 4K is one of those. The GH5S with smaller sensor would have it for breakfast at ISO 1600. If both sensors have the same pixel architecture, but one is 10 megapixels 4K native and the other 60MP with pixel binned 4K it gets even more complicated. The earlier pixel binning high res full frame cameras do not look as clean as the GH5S with 2x crop sensor. Later, the image processing and pixel binning methods improved and light gathering efficiency per pixel increased. I keep seeing people say that no matter if the GH5S has a 10 megapixel sensor and A7R IV 60MP, the larger sensor will always 'gather more light' and that is just not true. It's much more complicated. When it comes to F1.7, F1.7 is F1.7. It's always going to be brighter than F2.8 or F3.5, and shallow DOF does not make or break every shot. In 20-30% of cases it might hinder the shot. Sometimes I want to see the background just slightly out of focus and not a complete watercolour. It might have visual details or information in it relevant to the story. The advantage of F1.7 on Micro Four Thirds in low light is when you need a deeper DOF without stopping down and harming low light performance. So you can be assured of ISO 800, say, on the GH5 with this lens and be able to get the shot that is right for the scene and not have to shoot F1.7 on full frame with no background detail, or have to move further away from the subject. It is amazingly sharp, as good as a Leica prime. When the 25-50 comes out that is just two lenses that replace all primes from 20mm to 100mm in full frame terms. If you wanted that kind of sharpness and optical performance from your full frame camera you'd have to have primes. There is no zoom 20-100mm that is that good (yet), let alone as bright as F1.7 in low light. 20-100mm is at least 7 prime lenses. 20mm, 24mm, 28mm, 35mm, 50mm, 85mm, 100mm. On Sony E-mount for those 7 at F1.7 or faster, and premium-end sharpness you are looking at about 10 grand!

Just for giggles, i set up the gopro 9 on the mavic 2 pro. I have seen some videos of the mavics lifting stuff and wondered how they'd handle something mounted on top. Surprisingly well actually, didn't seem to be any tendency to tip. Although i flew it slowly to be safe. I think further testing is warranted, however i'll be ditching the mic and cabling as that was a bit of stunt for the camera. I reckon if i mount the camera backwards i can get some for and aft shots that might give an interesting perspective. I did flatten a battery getting it up in the air. First off the mount attachment and strap that secures it is fiddly to install, more practice may help solve that. Then i had sensor problems i think maybe the mavic sensor was picking up the gopro, so i turned them all off, then had magnetic interference issues perhaps i was to close to the house, trying to keep in the shade. In the end had to turn drone, controller and phone on and off three times.

He'll be missed very much. He was so articulate, informative, and he never fell into the click bait trap that has ensnared so many others. Someone said he was the Bob Ross of M43 and he really was. I hope that those that haven't seen or read his stuff take the time to check it out. He was very passionate about it all.

Perhaps a combination of the two or a mix of solar in there as well ? Some of those modern generators are pretty small, efficient, and surprisingly quiet. I see caravans and motorhomes in the local showgrounds all the time with little generators. I have to go past them to get to the local mens shed. After a recent encounter with having a fuel container in the back of the car and the fumes associated it, i have vowed never again. On a separate issue, I'm looking at a 6x4 trailer with solar panels on top. For my modest electrical needs, when i take off for the weekend. I have a mate who has a converted toyota van, he pretty much lives in it due to circumstances outside the scope of this reply. I think he has 300 watts on top with a another 300 watts in one of those folding panel thingies. Pretty sure there's two large amp hour 12 volt batteries in there somewhere. So long as its a nice sunny days he's ok, if not so sunny, he needs to either plug in or run the van for awhile after about three days. Of course everyone's needs are going to be different. I presume nobodies going to want genies running while shooting. At this point i'm almost giggling with the thought of ironfilms jumping up and down in an agitated state 🤣. As mentioned you could run a generator between takes and at the end of a day to counter any issues. If you do get a genie make sure it has a dc output for charging batteries and 240 volts. Is a trailer out of the question ? With a 6x4 trailer, you could get, two batteries, inverter and generator plus fuel and have room for lights and other things. If your running from batteries you could park the trailer as close as you can and run a lead as one option, then fire up the genie as required. You could probably free a bit of room up in the car as well no doubt. I should probably also mention, i recently had a visiting electrician tell me off, for plugging two leads together to extend the range. Apparently that's becoming a no no. Voltage drop and things.

Yes, we're often camping and working out of vehicles - plenty of lights on the 4WDs, as well as flashlights, headlamps, firelight, etc. Plus needing to light a scene does not always mean it is nighttime. I do a 4WD Adventure show and we usually rely on the hero vehicle's dual battery/2kw inverter, but sometimes we're away from the main cars for a day or two (eg somewhere that is only accessible by boat/helicopter) and need another solution. IV - Interview PTC - Piece to camera.

We've got plenty of light off camera. No problems there. This is just specifically for the lighting for remote IV/PTC setups. 600W would be the max if all lights are running but that would not be 100% of the time - just for the 30mins or so to record that piece. If I went the Generator route, I'd be looking at at least 2KW. If I was in a position that I could run a cable then I would, but it's hard to find a power outlet when you're sometimes 1000km+ from the nearest town!

The other thing about the S1H is it's overlooked by just about everybody as a photo camera. I'm not sure how it's marketed without checking, but my 99% of everything coming from everyone who is not Panasonic is that it's primarily a video tool. It's a bloody good photo camera I can tell you! I really liked the files coming out of my previous Fujis, but the raws from this are another level up. And the fact it has an optical low pass filter and therefore is supposedly less sharp, good, - results coming from most cameras and glass these days are far too sharp! I shoot mine with an 1/8th mist filter also and in post, stills get a -20% clarity reduction automatically in Lightroom. The one thing I would not mind though are a few more megapixels... If the next gen has anything around 30-40, that would be fine with me. Anything over is getting a bit too much for my needs and these 60-100mp monsters...well I can appreciate why some might like/need them, but not for me. For 95% of my work that is and for that 5% I do, tripod and hi res mode et voila.

To see if there is a cheaper solution than the CFexpress card type B for the Canon EOS R5, I bought the CFexpress To SSD Converter from Zitay. And a separate 2TB Samsung 980 Pro PCIe 4.0 NVMe M.2 SSD drive. In total, it is still much cheaper then, for example, a Sony Tough 512 GB CFexpress card (For me 6.2 times in terms of storage capacity). Now I can shoot 8K RAW footage up to the time limit of 29:59 minutes without getting an overheating warning!

David Thorpe passed away on May 25th. For those that aren't familiar, David was a huge proponent of M43 and shared his love of photography on his blog and YouTube channel. A message from his family can be read in the description of this video: His channel is well worth checking out. He was a very thoughtful reviewer. His blog is also excellent: https://m43blog.dthorpe.net/