sanveer

If it has the same sensor as the Sony A6300, it should have similar rolling shutter. Maybe the algorith tries to compensate for that, jumping between faster shutter speed and doing the opposite effect of Twixtor, and thereby having a mini circus in the camera. Very amusing. Also, the battery grip has 2 power options, the higher one being able to use higher volt or something for 4k, as well as have a higher burst rate (or just longer battery life, which I doubt). Adding a headphone socket still doesn't justify the much higher battery cost.

Nice camera. Though the only thong weird for me is moving from one system to another. I like Panasonic best. Better than Nikon and Canon. The Olympus systems look quite confusing too. I feel the VLog in thr GH4 still has a long way to go. Also, if Fuji the video really right in this one, and theGH5 doesn't have far better VLog (than now) and atleast 1.5 stops improvement in Low Light (from ISO1600 to about ISO5000), then a lot of other people might eat into its share. Also the burst rate on the GH5 needs to be better for continuous shooting. Maybe Panasonic pushes the GH5 prices to $2000+, considering the demands of users.

Thanks, will msg you for it.

You photos look like those taken from early phone cameras with resolutions running in 1 and 2 Megapixels. Even the one from the GX7. What could be the secret?

I had seen this one. Though, it's nice to see it again. Matthew tests stuff quite well. Though, I find the CameraLabs.com photos to be some of the sharpest out there. Thanks for posting this. I wish someone would hack the GX85, and get VLog and CinelikeD on it. Apart from log profiles and a mic input jack, it seems to be perfect for the price.

Wow. I'll be really looking forward to that one. I read a few user reviews of the GX85, and US users said that they got almost or over 1 hour, with the camera, until the battery drained. The time limit is only applicable for Europe. Anyways, I am eagerly awaiting for the review.

I am on the fence wrt to buying the Panasonic GX85 or the Sony A6300. Here the Sony is available (while the GX85 isn't), and it costs as much as the Panasonic would. Prices are all erratic around here (the Rode Video Mic X costed as much as the NTG2 here, a little while ago, and if it didn't have those horrible 9V Batteries and such a crazy wide pickup pattern, I would have probably picked it up). I hate the fact that the Sony does not have touchscreen (have become used to that), and that it overheats. My city isn't too hot, but I have traveled for film work to places that go above 40 Degrees Centigrate (upto 46-47). The Sony could almost certainly explode. It may even injure people around. Also, the Post Focus and Dual Stabilization seems pretty stellar. One can easily add upto 4 stops, which can be great for landscape or non-moving subjects. It makes up well for not having very high ISO. I dunno how many people use 24MP photos. 16 seems sufficient for almost all purposes to me. I know a lot of film people who use Canon 5Ds and they crop a lot, so the extra megapixels help them. Also, I wonder what lens has Optical Stabilisation and is reasonably fast (and not too expensive) for the Panasonic GX85. I may do some night videos. I like the older Leica 25mm f1.4 for the look and bokeh (it doesn't overdo the Leica boken effect like the 42.5mm), but it doesn't have stabilization in the lens

I have a huge collection of short films from big Film Festivals, and most of them are Absolute Rubbish. I am guessing, it's more of creating hype and propaganda, and getting an agent, or becoming one, that gets you through. For most things. Also, while some films have excellent cinematography, or other technical bits, their stories and direction are good for toddlers, at best. Start systematically. Ensure the edit is good. Most often, faster cuts (and large angled camera shots, where faces aren't so visible for bad actors) can make an average film seem good. Also, ensure the sound is good. Check ADR as an option, and put in a good background score. Good coloring and grading are also necessary. Also, good posters, and working stills (along with a good trailer) would be a great idea. Make a list of Film Festivals like this: 1. Ones closest to your house. Like within a radius you can travel to (like 100-500 kms) with your parents or friends. 2. The ones that are Free. Or have very low entry fees. Sundance charges $40 for early bird entries for their Short Films. SOTC (short of the week) charges $29. The $11 isn't exactly huge, by any standard. And, many famous film festivals charges almost nothing, many even less than Sundance. Do your research. There must be atleast 30-50 like these. 3. The ones, whose owners, producers you can meet and discuss, and get some mileage out of, for showing in their festivals. 4. Film Festivals where you can meet and intereact with people for showcasing of your film, and taking their feedback. Sundance seems like a great place for meeting people, learning from them, and maybe even collaborating with them. 5. Do a round of as many film festivals as you can. Give yourself a budget. Of like "$100-whatever" to do a round of all possible film festivals. Don't spend more than 50% of that cost for the big ones, because they may or may not take a film (read my first para above). There is no criteria for them selecting a film. 6. Rejection means nothing. I am quite dismissive of many famous people. One should never discover how they made it big (as opposed to their version of the truth). Also, most people in the films festival circuit didn't either think much of Paranormal Activity or hadn't even heard of it. As a matter of fact, Sundance rejected it outright. So, like I said, rejection means nothing. 7. Show the world your film. You job is not to sit in judgment of it. Let the others do that. Just push it down everyone's throat. Whether they want to, or not. That's your job. I hope this helps with the timelines, and the Fee/ No Fee option : http://www.thetakes.com/festivals/#.V3zbhbh97IU

Thank you for your replies. I thought the GX8 exhibited huge shutter shock too. That's what I read online. The 14-140 (the first version especially) is (in)famous for creating shutter shock. Maybe it needs re-programming, or it needs its mechanical parts to be re-worked on. I asked cause I was thinking between getting a G7 or a GX85 (or even a Sony, since their pricing is similar to Panasonic's here). Have been without a camera for quite a few months, and I have become restless.

IMHO (random order, except 1): 1. First let an unbiased friend, preferably with some film knowledge judge your film, for what can be re-worked on, in post (sound, editing, effects, etc). 2. Work on what needs to be worked on above. 3. Send it to one of the Big Film Festivals. Nothing like a Big name to a Film Project. 4. Make a list of All Film Festivals based on the time of the year, and on entry fee. Lots of them are free, and they could be a gr8 place to start. After your film does a round of one of the Big Festivals. 5. Don't put it out on the Internet or sent it to Film Festivals if you wanna send it to the Bigger Ones. 6. Read applicable rules, and send it across. 7. Send it to as many Film Festivals, As Possible. 8. Try to en-cash on the Film Festival names (if selected). Create a commercial model around your film (vimeo/ amazon/ iTunes etc), or just put it on YouTube, and try and make money from the views (dunno how much they pay). 9. Show your film around your town, at some small theatre. Try and make everyone you know see it. Best of Luck.

Can any owner/ use say whether the G7 exhibits shutter shock?

ANDREW REID Your GX85 Review is overdue. Impatience is afflicting my mind. Cannot wait much longer. ;-)

It appears Digital Bolex had a change of heart, and will try and fight for a few more weeks ;-) :P

Sorry to hear about your loss. I hope you have reported everything to the police and the embassy. I doubt whether anything can be recovered.

GoPro have moved from making Action Cams to making Coffins now. They should be jumping into their own coffins first. RIP GoPro. Everyone screwed you. You waited like a h@@ker on duty. You asked for it. I am wondering, now, in Hindsight, was GoPro a Scam like Enron and many others?

Please read this. http://www.bhphotovideo.com/c/product/768816-REG/Panasonic_H_X025_Leica_DG_Summilux_25.html

There may be many reasons why the Sont Lenses are Huge. To begin with they resolve more pixels per sq cm of lens surface area. Canon's f2.8 lenses were unable to resolve the 50MP of their 5D S and R cameras and thus the f4 zoom was the recommended lens. I am guessing the huge lens is because if is pushing the maximum possible detail into every single pixel. I am guessing that for the same megapixel they would seem sharper than Canon and most likely Nikon too.

Panasonic seems be highly confused with regard to pricing. They have the Leica Summilux 15mm f1.4 at $547.99, and they have the Leica Summilux 25mm f1.4 at $597.99. Both of those may be plastic built, and this one is all metal (with a metal lens hood, like the Nocticron). Though, this is now suddenly more than Double the Price. More in the range of the Nocticron 42.5mm f/1.2, that retails for $1,397.99, being similar in built and size (and I am guessing in the more Leica kind of boken). But, it doesn't add another 1/2 stop of light like the Nocticron's f1.2. So, that is where is pricing is all wrong. But, the Nocticron is not weather sealed, though it has OIS. This one is weather sealed, but doesn't seem to have OIS (I could be wrong). Interesting. I wish Panasonic would create an entire range of f1.2 lenses and f.95 lenses (24mm, 35mm, 50mm and 100mm FF equivalent), in collaboration with someone like Sigma or SLR Magic or Mitakon. They don't have to be weather-sealed or have OIS. Only auto-focus. And, price All of them in the $499 range. I am absolutely certain, they would be a runaway success. They would sell in the millions. P.S.: I understand that there is a 'Super Premium' range in M4/3 as well (like the Olympus f4 300mm) that offers per pixel quality better than almost anything else out there. And, those are lenses produced in limited numbers, and that is perfectly fine. I think the Nocticron 42.5mm f1.2 is part of that super premium range. But, a lot more lenses than those are required, and more affordable lenses too.

You could be right, to quite a degree. Did you use a fresnel lens in the front? On the Curtis Judd channe,l he rated it at 750 watts. I guess, a barn door on both of them, and a similar beam angle for both should help settle this. 1-1.5k light equivalent seems a bit much for it. But, I am waiting for Ted from Aputure to clarify and explain the best way to use the maximum brightness.

Seriously. The test is unfair to say the least. The Aputure light is covering between 5 to 9 times the surface area. And barn doors? Also, what are the setting in the shot? The light beam is set to (very) wide. If you were a famous Filmmaker (ala Coppolla), this would have turned into another Zacuto shootout. Though, over here, the underdog (Aputure) seems to be the victim of a bias

@Fredrik, I didn't realise it's you in the video. The wall has some very strange colour. Als, the GH4 has a very strong orange tint. The GX85 also has a tint, but not sure what colour it is. If you have nay other camera (canon or nikon), maybe you could what colour they get the wall. It's like the dark horse for DSLR/ Mirrorless colour science. Panasonic increased the contact points on their hotshoe, which I am guessing could be used for audio too (if the software and hardware allow it). I also realised, that if Andrew (Reid) says that he gets an audio signal via the HDMI port, through the HDMI out, along with video (like on the G7, though along with monitoring in-camera), then there may be a way to (possibly) work around that too. Though, not sure the audio and video signals could be split.

I was also surprised by how disappointed they seemed with the video on the GX85. Though I really liked the skin tones in their video. Also, while a mic-jack is desirable, not having it isn't the end of the world. Also, I noticed they forgot to mention the HDMI out along with monitoring in-camera, being one of the better features (like Andrew mentioned). Though, I feel Panasonic should go the Sony way and have Log profiles on all their cameras. Even if they are paid firmware updates. I feel Panasonic isn't extracting the maximum resolution possible from the sensor. Also, I feel Panasonic needs to work on their RAW photos. They need to move towards the 14-Bit RAW side. And, I have (only) a gut feeling, that it's the processing that's stopping them (and not the sensor). I am curious. What was the real colour of the wall behind this guy???

4k is about 8.3 Megapixels, 5k is about 14.5 Megapixels and 6k is a little under 20 Megapixels (they all depend upon the ration of the sensor, whether its 2:3, 3:4, 16:9 etc etc). While theoretically a 5k sensor should be more than sufficient for stills, there is a race for an Ever-Increasing number of Megapixels (as well as 'k' value resolution). So, now PhaseOne has brought out a 100MP camera with a Sony sensor, which in 5-10 years would sound less less to people in the Megapixel race. Quite Frankly a 12MP photo is more than sufficient for most needs including Billboards and Film Stills. Anything higher shows the weirdest details, which may need to be softened or worked in post (eg:- hair on someone's nose, or skin irregularities etc etc). Also, most cameras don't shoot RAW, so the ability to work in post on those photos (screen-grabs) is less. Plus slower sputter speeds (1/48th or 1/50th) for making things filmic and not the weird Hobbit experiment. So, maybe a middle-ground where 10-bit 4-2-2 detail is what is offered, or a very highly compressed version of RAW may be what's needed. For now, even the 4k in Panasonic's cameras is sufficient under most conditions.

The Robust Canon codec and bitrates was with reference to their other lines (C500, the 1DX etc). Their DSLR and Mirrorless don't really have great codec (except the hacked RAW by MagicLantern). The GH5 should have 10-bit 4-2-2 internal. I am guessing that Panasonic may be looking at jacking up their prices substantially this time around. Considering the features that consumer that it to have. Let's see

Interesting. Ok, so the colour (the Brit spelling) science has been fixed almost completely. I am not sure 1.86x crop sensor may not be a such good idea. Especially considering that the physical movement of the sensor effects the 5-Axis In-Body stabilization. Ideally the sensor needs to have as much movement as possible, and so smaller sized-sensors may be better. I could be wrong though. A full-sized HDMI may have issues with Voltage, and thus much higher battery consumption (among other issues). Maybe USB Type-C may be a good compromise? What do you think? It has reasonably higher bandwidth, and also voltage and other things are not an issue with it. Also, would having a 12MP sensor, make people Not want to use it as a stills camera? I am just curious? Or do people believe, that except for serious cropping, 12MP is more than sufficient (ala Sony A7S and Panasonic LX100)? I personally feel that the 16MP+ photos are all an overkill. Dual pixel may be a sensor thing. I hope Sony has been generous with a new sensor. It may be (even) better for photos. I may be wrong, but I think some of the Canons do 8-bit 4-2-2. The 10-bit would be an excellent, though file sizes could be much larger. I think Mini-XLR may be a good thing, especially for a tiny break-out box (like Andrew said) powered by the Camera. Even if it has 2 x AA batteries, it would be great. I personally hate 9 Volt batteries. They are too bulky and too expensive. The GH4 has arguably the highest Dynamic Range for any M4/3 camera (12.8 stops according to DXO Labs :http://www.dxomark.com/Cameras/Panasonic/Lumix-DMC-GH4), which makes it crash into APSC territory. So, theoretically, the Dynamic Range on most M4/3 cameras (like almost all other cameras), can be Improved. So, basically, VLog can be improved too. Atleast not the clipping that a lot of people reported. Moore information, and smoother gradation. Also, I feel that Low Light too is something that Panasonic may be able to improve merely by tweaking processing among other a few other things. Also, I think there should be 14-Bit RAW in Panasonic Cameras. If not by Default, then an Option for Bigger File sizes with 14-Bit as an option should exist, especially to recover highlight or shadow information. I believe that a Dual-Pixel Auto-Focus sensor can be developed for Panasonic, by Sony. Panasonic (and maybe Olympus), merely need to push for it aggressively. Considering that they lead the M4/3 market, I find it difficult to reason, why Sony would not agree. After all, its all about sales. I think Panasonic should push Features like Post Focus and Light Composition to Larger sized photos (atleast 5k/ 12MP equivalent, IF not Full Resolution Photos). Olympus I believe has the Light Composition equivalent feature for Full Sized pics. For Post Focus, it would require a Higher Processing Power, which I am sure Panasonic could manage. That could add improve photography features significantly.