jonpais

Strange that someone should know to the decimal point the precise number of clips they shot on vacation two months ago. I usually measure the amount I’ve shot in a day in terabytes. ?

I like it!

@mercer Is Canon listening to indie filmmakers?

something BIG, huh?

Panasonic, like all Japanese companies, has a corporate culture and business philosophy. Andrew Reid posted it here somewhere I believe, but I can't find it. Nevertheless, I think we can be pretty sure that the folks designing the cameras and lenses at Panasonic have a deep commitment to their job and I think we can safely assume that several are enthusiast filmmakers and photographers themselves. They take pride in their work. If I remember correctly, one of Panasonic's principles is to create products that are good value for the money. Another reason behind their success is that they listen to photographers and filmmakers and work closely with them. Of course, another guiding philosophy is that their business must be profitable. Like Sony, Samsung, LG, Dolby, Netflix and some thirty other companies, Panasonic belongs to the UHD Alliance, a group charged with promoting the benefits of UHD and HDR content. The industry as a whole saw the need for changed standards as a result of the immense advancement in display technology. It would be inconceivable for Panasonic to include HLG as a feature if there were no monitors or television sets capable of displaying as many as twelve or more stops of dynamic range. Whether they operate out of the goodness of their hearts or from some diabolical ulterior motive is quite frankly not something I've ever thought about. Suffice to say, that it doesn't make me lay awake at night in a cold sweat wondering whether my GH5 is a blessing from heaven or the very embodiment of evil. But you may be certain that my iPhone does! It's not so obvious to me. :=) I am in no position to know whether Panasonic included HLG in order to sell television sets, but since there are probably more GH5 owners reading this site than anywhere else, please leave a comment below if you intend to purchase a Panasonic HDR TV because of the GH5. I kind of doubt it.

@mercer Not sure I agree with any of the above, but we can still be friends, right?

Oops! haha

@IronFilm @eleison I call BS. Categorizing people by what kind of camera they shoot with is the worst sort of narrow-mindedness. Ruben Latre was honored at the Director’s Guild of America in Shoot’s New Director’s Showcase for "The Conductor", a film created to promote the National Museum of Hip Hop and shot with the Canon 5D. Apparently, the Director's Guild of America doesn't discriminate based on cameras. Neither should we.

I already shared this over in the lenses thread, but what the heck.... Just buy the GH5 already! he

I'm going to wait another year till they fix all the problems with the GH5....

@Cinegain The Optikovs look great - sharp as heck, brilliant oval bokeh - but next to impossible to find anything concrete online. Works of art that would not be out of place in a museum. Maybe only available for rental. Precious little information. Edit: As of March of this year, there was only one set in the USA.

I'm still not overly fond of that hard-edged bokeh, but different strokes for different folks. Waiting to hear back from John Barlow re: the Rectilux and also trying to track down a fellow here in Vietnam who can make a clamp for me. All of which has me thinking it's not going to fly... And again, even if I got John to ship me the Rectilux, it's gonna run into thousands of dollars all told... Nevertheless, here's a fellow who shot with the Kowa 8-z and a Nikkor-H without a diopter. GH5. No teal and orange bullshit. No Super 35. No RAW. Just beautiful lensing. hehe

At least he uses a pop filter. ?

+1

On its own, it’s a lovely look, like golden coins suspended in air, but it’s competing for our attention with the in-focus snow-covered bicycle in the foreground. By f/2, the effect all but disappears - so if the photographer feels the look is distracting, they can always stop down the lens.

You have a good point there, Glenn. ? As an aside, I realize some cynics (and I’m not saying you’re one of them!), accuse Sony or Panasonic of adding ‘useless’ features like 4K to their cameras only in order to be able to sell TV sets, but as everyone knows by now, the reason our cameras have been shackled to rec 709 is precisely because of guidelines drawn up for 30 year-old display technology. And a full frame Panasonic would be awesome. Where can I preorder?

I used to eagerly anticipate watching Caleb Pike’s videos for his useful tips on inexpensive lighting, microphones, external monitors, cameras and just about everything under the sun. It may seem churlish to complain, but lately, the number of uploads and frequency of notifications just became overwhelming, and I was beginning to lose interest. After all, can’t there be too much of a good thing? And then, like so many others are doing now, he started live streaming, which I personally find is a less efficient use of my time than a scripted 20-minute video. Most livestreams I’ve seen are long and rambling. Be that as it may, Caleb’s most recent video is beautifully produced and benefits from nice lighting and good audio. And his setup looks pretty rad.

Glenn - if it got RAW, would you buy?

@Vesku Yes, it is vitally important to share your work. If you don't have a website, a blog, a YouTube channel, a showreel or anything tangible other than a year-old ten-second video of lens jitter, then your comments cannot be taken seriously. Over the years, you've catalogued dozens upon dozens of the supposed failings of Panasonic cameras; and more recently, you've made all kinds of wild claims that defy logic about the dynamic range and sound quality of your videos, but haven't shared a single one of them. So while in your mind, you believe you're making an invaluable contribution to the filmmaking community, in fact, your posts carry no weight whatsoever. 2+2=4, but you continue to insist that your calculations tell you that the answer is 3: that isn't sharing information, it's just plain trolling. So, rather than sitting on your sofa waiting for Panasonic to issue another update, why don't you just go out and shoot?

@eleison, I take it you don't consider yourself a 'real' dp/director, but why is it that someone using a mirrorless camera can't be considered a serious filmmaker? If someone were to shoot the next Citizen Kane or Raging Bull on a GH5 or a6500, would they be any less deserving of the title of filmmaker? Thomas Vinterberg’s 1998 film Festen (Celebration) , among the most powerful films in my experience, was shot on Hi-8 videotape; Wong Kar Wai's decidedly lo-fi Chungking Express was shot on film as far as I know, but could just as easily have been shot with any of today's prosumer cameras (with much better quality); Nicholas Winding Refn's brilliant crime trilogy Pusher, ditto; and there is no denying that the precocious Canadian filmmaker Xavier Dolan's I Killed My Mother and Lukas Moodysson's compelling drama Lilya 4-ever (shot on 16mm film), could just as well have been shot on one of today's mirrorless cameras. I would try to be a little less condescending toward filmmakers who choose to shoot with whatever they can afford.

@Vesku You waste all your valuable time looking at 400% enlargements, looking for grain, macroblocking and other artifacts. You devote 24 hours a day watching tests and sharing them on half-a-dozen websites and debating about the results. And if you can't find the proof you're looking for, you curse the Web for not having the video you're looking for. You pose the very same questions on those same six websites, knowing full well what the answer will be - then proceed to contradict whatever anyone says. If an expert like Curtis Judd recommends using an external microphone, you say you should be able to capture the sound of waterfalls and diesel trains on a built-in microphone smaller than a fingernail clipping. That's right - have you ever noticed how tiny that mic is? And have you noticed its placement? That's right - it's on the camera! And everyone knows that you've got to get that microphone off the camera for good sound. It's a known fact that rec 709 was made to contain five, or at most, six stops of dynamic range, yet you insist that you're able to shoot 8-bit and see twelve stops of dynamic range on your television - six stops more than anyone else on the planet! People generously offer advice, and without fail, you tell them they're mistaken. You did not immediately tell joe12south that you'd buy the microphone he recommended. You started out by talking about how your GH4 had a better built-in microphone. In other words, a built-in microphone should be capable of professional audio quality. Every time a new Panasonic camera is released, you do your best to find fault with it. You nitpick everything to death, like the neck strap of the GH5. Or the lens cap. The lens cap, for crying out loud! But you don't have a single finished project to show for it. Not one. You deleted all the videos on your YouTube channel save one - a 10-second clip of lens jitter with the GH4. I understand you want people to look up to you. But experienced photographers don't waste all their time and energy on forums pointing out what's wrong with their camera. They go out and shoot. But you're not a shooter. You're a whiner. You're not even being productive. You say you're responsible for so many improvements in Panasonic cameras, you're so filled with self-importance, but you're not helping the online community with your constant complaining.

Try using an external microphone. I recommend you watch some of Curtis Judd's excellent videos. Your response to Joseph Moore (joe12south) over at dvxuser, who tried to be helpful by suggesting you use an external mic: Actually internal mic can be quite good and I have some decent concert recordings with GH4. The sound with big surround system is very realistic and pleasant with strong deep bass and good atmosphere. A big diesel train passing my GH4 slowly or big waterfall in a hike are impressive with big speakers. It is a pity that GH5 does not record that. I cant normally carry external mics, tripods or other additional stuff when experimenting the world. And after @kidzrevil patiently explained to you how rec 709 works, you had this to say: Lets forget SRD, HDR, rec709 and rec202 for a while. I shoot with my GH5 a 8bit file. I record about 12 stop dynamic range. I watch it and I can see that 12 stops dynamic range in my TV. There is texture in highlights and shadows. Image looks stunning and vivid in highs, mids and shadows. How is that possible? So now we all know you can shoot 8-bit rec 709 with your GH5 and see an incredible 12 stops of dynamic range on your SDR television, and that you're able to get professional sounding audio with the built-in microphone with your GH4. It's a wonder you can shoot at all with your camera, considering all the problems you've been having! Here's your list from Personal View: the blinking record dot blinks too slowly and when stopping recording it disappears so quickly that I some times wonder if the recording was even on at all. when changing iso only the back wheel works. It would be easier for me to use front wheel for iso adjustment. Why not both wheels adjust iso? Auto iso limiter for video should have more steps. Now iso2000 or 2500 are not possible. iso100 clips highlights. Maybe FW 2.0 will fix it. 50Mbs fullhd would be useful some times. Video autofocus menu item on/off is not assignable to FN-button. Even better would be working AFS/AFC lever. Why cant it work Exposure values (aperture, shutter speed and iso) are not visible in automatic video exposure modes. Why hide them? iDynamic and wind cut filter has no symbol in screen (GH2 had those). AFS/AFC lever is not working with 6k photo. It uses always AFC. And from DPReview: I was in a long hike with GH5 and figured an issue. The neck strap positioning is wrong in GH5 (and other cameras too). When hanging in neck the camera should set its position so that the lens points down. Now the camera hangs so that the lens points forward. The EVF hits chest and is in danger to get scratches and the lens collects dust and rain drops or moisture. The lens hood also hit in rocks when I was climbing in difficult places. It would also be better to change lenses outdoors when the lens points down in neck strap. Less danger of getting dust inside. Factory made EVF cover would also be very helpful in wet or dusty places. I have now a home made EVF cover. Every other optical instrument has an EVF or ocular dust cover. Why not a camera with high resolution multi coated sensitive EVF? And on and on...

A shop here is going to hunt down a Kowa 8z and Helios 44-2 for me. I can play around with that first, see if I like it, before asking John Barlow if he can make a Hardcore DNA for me.

I still can’t help but wonder how the Fuji clip might have looked had I been shooting anamorphic.

What’s really bewildering to me is filmmakers who already own the gear asking others to do comparisons for them.