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An interesting suite of tests, but the way they count stops of dynamic range is a bit odd. Their stop number "1" (which is clipping) should be "0". If you're running a race and you're still at the starting line then you've ran exactly zero meters. You can choose to call the starting line "1 meter" but you haven't ran one meter until you've ran one meter (ie: their stop number "2"). Or, to put it another way, we should count the gaps between the lines on the waveform, not the number of lines themselves because the first of those lines represents zero dynamic range.

WOW Marty! You know very well what I think of your cinematography ; ) When did you shoot it? That beginning is one of the most beautiful interesting ones I've ever seen! Go figure... ; ) Those variations from same "visual tune" follow, when looks like you're repeating the shot you're obviously not. Who's that girl BTW?

Here is a music video I did with my beautiful GX85. It now has dethroned my GF1 for photography pleasure, loosended my bonds with my eternally appreciated and now disfunct G6. GX85 earned no1 place in my heart. It was a bit of a way to go for this cam. It has pleased me with nice footage, great personal short cine verité extravaganza, BCam as last resort.. But only until now it has reached my heart completely. It is a true treasure. The road to love was slippery by the slipperyness of the camerabody, the soon to become disfunct back wheel and the mediocore EVF. But still, it is almost as pretty as the GX7 or my GF1 and it feels good in the hand and now even better in the heart. So enough talking, time to let this camera speak. Used Fujinon 12mm in 16 to 9 and ind 1:1 4K photo mode, Tokina 25-50 in the mix. Shot in colour and graded with love in BW. 🙂

https://vimeo.com/476151248 This is a small video I recorded at home about a year ago. I used a crappy vivitar 28mm F2.5 with the F3. I still have some videos that I need to upload from the time I owned the F3. Hopefully can come across another one at a descent price at some point. Still a beast of a camera. oh the password for the video is 1234

@Josue Nunez Looking great! There is a certain mojo to this image! The nice edit, grade and framing in your piece helps to appreciate the image from this camera, of course.:) What lens did you use? My mini SDI to SDI cable ripped so I got a good exuse not to use this camera, since I need that tasty external 10bit.:)

@Emanuel Well, actually I shot and edited it around March 2019. The talent in front of the camera, like I mentioned:) is the artist and songwriter herself who did this song and was one part of a music duo. The character following her is a friend of us. Yeah, I had the editing almost nailed within less than a day back then. But I put it away and waited until now to finish it to my liking. So I sat dowin yesterday to straighten out a short part of the piece which I was not satisfied with. I also did the grading yesterday as well. @webrunner5 I hope that´s a good thing, Don. 🙂

You're starting to scare me Marty. 😬 Well done as usual.

Gotcha LOL : ) Ain't we going towards something fresh more prone to be movie related and very well recommended no less (film) referenced where figurative speech is yet most welcome than ever? ; ) We need then to pay attention to the etymological meaning: good+fellas from informal plural of fellow instead... In the Portuguese speaking world, Scorsese's movie received as local title in original Portuguese language "The Good Fellows" (Brazil) and "All Good Boys" (Portugal) -- no idea how occurred in the African countries of Portuguese language or East Timor though, so let's go in the vibe and try something new : D

After reading the original article I bought a GX85, and an adapter for my Panaleica 14-50 fourthirds lens. It was my first cam that could do video. Years later, I have now shot several concert (live or production) video's, up to 10 cam (mainly P4K), 3 manned cams. I currently have 3 fourthirds lenses (adapted to m43) and 8 mft lenses and 14-15 Samsung T5 ... The GX85 still serves (mainly photographs, or as a fourth cam when I am in a pinch). So, a big THANK YOU to Andrew. Without getting into video for music, the last two years would have been a personal disaster ...

Love the video! The GX85 is still a little gem. The back wheel failed on mine too a couple of years ago but I sourced the part on eBay and replaced it myself.

Goodfellas, hehe, you´re sure you named us right? @Emanuel

We could do a GX85 challenge, including GH2, GH1, GH3, G7 and GH4 aaaand the LX15. The Seven Sisters 8bit Challenge! Let´s do it 🙂

Anyway, black and white lovers. Here is a musicvideo I did. Again in cinema verité style. It can be exhausting to create all spontaneously, with the flow of conciousness. But it can be big fun as well. Talent in front of the camera is the awesome artist and songwriter herself. Her shadow following is a kind and kewl artist as well. Shot in 90min. Edit was done the next day. BUT, I completed some itsy bitsy 20seconds and final grade only now, two years later. Crazy how long some things take which started off super high energy and fast as lightning up to 90% of the final result! The last 10% can be a sucker. So here is the final result, turn up the volume and enjoy! 🙂

I've always been a fan of CineLikeD. It felt like a designed version of ProLost Flat as opposed to just optimal settings to get a flattish profile. I have a BMMCC as a pseudo second camera (which I never really use) for its ProRes capabilities (FCPX user) so I wondered if it would be worth selling the micro to put that money toward a GH6... I'm still really happy with my 5D3, so I probably won't. Haha. Anyway, just curious. Thanks.

I think it's 800 but I don't know if the difference in highlight detail and/or shadow noise will be quite as noticeable in a Rec709 profile compared to log.

So far I get sense it is working at the Sony level, and much better than GH6. I've not gone deep into it, but AF features are many many pages in the menus. Such a mistake for Panasonic not to have this but OM-System does. Can't seem to find an ALL-I codec mode though anywhere.

@Andrew Reid, what @ZEEK our fellow member here has been doing is something truly unique (a new camera is reborn every new build!) no matter how hot fresh changes on this project of a decade will be implemented... This serves the world of pictures in a very exclusive way to my book. Many places to talk about pictures, not so much one-of-a-kind like this one is : ) Where else we found it with the chance we all have to share it with goodfellas like Don and Marty are, humm? :- )

yeah man, sorry! as au8ust said, if I knew it I would have gladly sold it to you.

He sold it a few months ago.

Awesome! I was obsessed with the Andromeda hack a few years ago. I member offered me one with PM iirc, but never answered my questions who it was from oringinally. 720p 3ccd 10bit uncompressed 10bit to a mac with a stabilized pana-leica zoom lens. Yeah, DPing shorts and longer pieces even on a no budget level is a rough thing to do artistically.:)

As I recall, the noir SD piece was shot on a Panasonic DVX-100A, but this 240P trailer is all I ever saw of the footage. In regards to the clips from the short, a Panasonic AF-100 captured the interior sequences, and the exteriors of the woman on the street were shot with a Canon T3i and vintage Nikkor glass.

tiny SD:) What camera did you use for the second clip? @tupp I like the vibe, looks like 90ies neo noir without neon and without Neo.:)

I found a couple of black & white projects that I shot awhile back. Here is a noir trailer that was made to raise funds for a feature (sorry it's tiny SD): Here are some random (and highly compressed) clips from a black and white short cut to music:

I've actually been processing a lot of footage as B&W lately. Here's a frame from the other day that turned out pretty good...

More playing around.... CineD -> CST 709 to ARRI Alexa / LogC -> ARRI Alexa LUT (worse match) CineD -> CST 709 to ARRI LogC -> Fujifilm 3513DI LUT (worse match) CineD -> CST 709 to ARRI LogC -> Kodak 2383 LUT (worse match) CineD -> CST 709 to ARRI LogC -> Kodak 2393 LUT (worse match) I also tried a bunch of CST / LUT combinations, but none yielded any promise.

That would make sense. I have noticed that "sharpening" tools do this in-camera or in post. I always turn off sharpening and noise reduction as much as possible- I've always preferred the image. You're right as it's a question of taste.

i bought one two months ago because i love the size and ibis but i haven't really tested it out yet. i would love a gx85 style gh5

Ah crap - I was taking about the GX9. Stupid typo! I'm half-way through reading the Cine-D GX85 thread. Funny how every time someone finds a hack there's someone who turns around and asks for 12K120 12-bit internal, like somehow once the genie is out of the bottle you can ask for whatever you want 🙂 I worked this out last night. Long story short, it's about edges. The world has infinite resolution, and therefore edges are 100% sharp. Everything in the real world, ie, physical processes, will only make edges softer. Film has limited grain size and thus blurs the edge slightly, lenses are imperfect and have blur, etc. If you shoot RAW you will get edges that are slightly blurred because of de-bayering and limited resolution (no camera is infinite resolution). If you get a nice compression algorithm and give it enough bandwidth you will also get edges that are slightly blurred. All good so far. Where it all goes wrong is when you have compression that makes the edges more sharp than reality. ie, the pixels on the darker side of the edge are darker than the object itself, and the pixels on the edge of the lighter side are lighter than the object itself. This NEVER happens in the physical world. It never happens with film, it never happens shooting RAW, it is a completely artificial process. This is why some footage looks "organic" (ie, of the physical world) and some looks "digital" (ie, not of the physical world). Note the "halos" around this image I found on the web: You either like footage to look natural, or you want it to be hyper-real. It's a matter of taste.

I posted 'Soul of Tokyo' more as an example of a filmmakers 'review' as in he actually went out and shot a shit ton of material and made a film with it. And not just shot it, but scripted it first so there was intent with most if not all of it. Compared with 99 other YouTube reviews which are basically; un-box in purple/blue back-lit room wearing a baseball cap backwards because that's what someone with the initials P.M. does. Or used to do. Quote specs. Go outside and wave it about without even trying to fine-tune any settings. Say the AF is shit (because you have to by international law), then put it back in the box and return to sender before making your next bit of 'content'. Just had a look at Russell's (above) stuff and it's OK. The only 'issue' I have with it is the same issue I have with so many others work is that they take a profile, destroy it and then add a heavy-handed LUT back on top that takes the colours too far when IMO, a subtle tweak of the profile SOOC seems so much nicer to me. I think it's because some people just feel they need to fiddle just because. Not knocking the guy, I looked at some of his work and longer stuff on his website and liked a lot of it.

Well my initial thoughts will be slightly shorter than your much more detailed report @herein2020 but I will add more as time goes by. First, why did I buy this camera, where was I coming from and intended use? Long time Fuji XT3 user, hoped an XH2 would have been with us by now but no signs and though the XT4 would do the job for me, the lenses do not. Great images, both stills and video and though the bodies are very video capable, I feel the lenses are not, so it was time to change. I have 4 basic requirements: 1: a personal/travel camera relatively compact that delivers very high quality results. 2: a camera that can do 50-100mp landscape photography. 3: a static video unit that can do 4k 60p for 30 minutes at a wedding and doesn’t have overheating problems. 4: a pair of hybrid units each with a prime, 4k 60p 10bit internal, IBIS. The S5 for me definitely ticks 3 of those boxes and all 4 if I can live with the focus for video in the hybrid role at weddings. So far so good and though I initially had some buyers remorse, I have none now and love the thing. I love the grip, but then I came from an XT3 so nuff said! The AF has so far proved to be erratic but I already knew that and for 95% of my use, I can and will be using mf. I do have a need for AF though if only a few times on a shoot and that is a potential issue that I may avoid completely by getting and using a pair of Nikon Z6ii’s for my use need 4: AF accuracy on a brief photo shoot scored 71/72 and the single oof was user error. The quality of both stills and video is stunning. I am not big into grading and though I shoot raw for stills, prefer not to shoot log for video. I shot all the video material on the natural profile yesterday for a promo video and SOOC it looks gorgeous. I have yet to edit it and tweak it, but I can already see it’s very good. I had a couple of very minor issues yesterday but pretty much all due to lack of familiarity with the system and user error, but nothing that is going to be a problem that I can see so far. Re. lenses, I only have one and that is the 20-60 which was surprisingly decent in lowish light and not too shabby with DOF. For the price, this lens is really good and though it does not replace a set of primes, especially for my hybrid wedding work, for my other 3 case needs, it’s perfect. Summary, so far, 9.5/10 and it would be for me a genuine ‘perfect’ camera if it had PDAF. OK, I wasn’t that short... 😉

I shot some handheld test footage outdoors yesterday, all on the Sigma 18-35 with Metabones SpeedBooster and Standard Profile (-2,-5,-5,-3). No grading applied.

Some screen shots from my ipad, Olympus 45mm f1.8 Panasonic 45-200mm Voightlander 25mm f0.95 Panasonic 20mm f1.7

I didn't see anyone post this: