jonpais

@Mat Mayer The G80/85 doesn’t shoot LOG so HDR is out of the question. On the other hand, my videos shot with the G85, when viewed on a 55” OLED, look spectacular anyhow. If you intend to shoot, edit, deliver and view HDR, unless you’ve already got a Ninja Inferno, an HDR capable NLE and an HDR TV, it will end up costing a lot more than just the GH5 body. Just sayin’.

@Gregormannschaft What NLE are you using? Which codec are you shooting with the GH5?

According to Hugh Brownstone, it’s 6.5 stops with or without Dual IS2 compatible lenses. The difference is that the 6.5 stops of IS using Dual IS2 lenses will not dissipate as you move into telephoto range (up to 280mm FF equivalent field of view). (almost word for word from comments section).

Many of us here were hoping for a successor to the mighty G85, guess we’ll have to wait until 2018. As far as pricing goes, I think we’ve seen the last of the $700 body that can do practically everything (GX**)

I predict this camera will be a complete and utter flop.

The Crane 2 can handle a Canon C200, no extra crop, no loss in resolution.

When this was in the development stage, there weren't awesome single handed gimbals selling for just $500 or so. I don't think you can finish in 4K with this device. A waste of money if you ask me.

@sam I’ve got Netflix, I’ll have to check out that show. But don’t underestimate my inability to distinguish HDR from SDR. ? I can’t say I’ve ‘calibrated’ my set exactly, but I do turn off all the enhancements and stuff. Your advice about the decklink, etc., are probably the most sensible, just not sure how deep I want to dive in to all this just yet.

A consumer OLED panel TV might indeed be a better option.

Think about it - if you even had a television that output 10,000 nits (I think that's what Dolby's shooting for, if I remember correctly) - the amount of light reflected off the walls of your average room would most likely just about negate any advantage. I think nits are a linear measurement, and my current set emits some 690 of the buggers - if it gave off 10,000 nits, that'd be around 15 times the present amount of light - maybe it would fry my eyeballs! Now that Atomos is becoming available in Vietnam at last (yay!), I might invest in the Ninja Inferno and give HLG rec. 2020 a shot - even though I'm not working for the BBC, I don't have a Panasonic TV, I can't tell 4K from 1080p and I'm not even sure I'd recognize HDR unless it was shown alongside SDR... The Inferno should arrive on these shores just about the same time that Apple releases Final Cut Pro version 10.4. Anyhow, even for those who, correctly or not, consider HDR just a marketing gimmick, my advice at this point in the game would still be to invest in the very best television set you can afford, because even SDR content looks a gazillion times more awesome on one of the newer flat screens than on any small desktop or laptop. Edit: I guess I'll throw in one more word, and that is that, regardless of whether you think focusing with the GH5 or other mirrorless is good enough just using the built in LCD screen, I'd strongly encourage picking up a 5" monitor for precise focusing. Especially when shooting flat profiles like V-Log, HLG or even Cinelike D, with sharpening and saturation dialed down, I often can't see focus peaking. With an external monitor, I can distinguish whether the camera's focused on the subject's glasses, their hair, their cheeks or their eyes, something that was next to impossible to do with the LCD.

This just concerns the rec. 709 version using the Leeming LUT, but here’s what Paul’s got to say about HLG vs V-Log and dynamic range: I've found that using HLG in a Rec709 timeline/colour space is giving fantastic DR (same as V-LogL) plus more tonal precision thanks to using 5-95% of IRE as opposed to V-LogL's 16-79% IRE. It's my main goto profile now other than when shooting high speed 8 bit, where I switch to Cine-D. and further on, he writes: In all my testing for HLG vs V-LogL, I've found they have the same dynamic range. Both see equally into the shadows. source Incidentally, not only does wolfcrow seem dead set against HLG, unless you’re shooting for the BBC or NHK or own a Panasonic television set, but he’s also pretty militantly against HDR altogether until displays are capable of 10,000 nits. He calls HDR ‘old wine in a new bottle’.

Working with the Ninja Inferno as a secondary editing monitor (1500 nit, 10 bit display).

Precisely. i was just reporting what I saw. I've got no doubt Mark shot HDR. @markr041 Sorry if that wasn't clear.

@Cinegain ? Wish I’d been warned first that this was a wolfcrow production...

I don’t know which YT app you are referring too, @markr041, but my LG C7 (2017) has the YT app, and it flags HDR content with the appropriate type (Dolby Vision, etc); all the videos on the HDR Channel play correctly for me as well...

According to Nick Driftwood, you should always be using 10 bit when shooting HLG, (not that you've got a choice!) 10-bit is where you should ALWAYS be when using V-Log L and HLG because you're making use of the bigger headroom - luminance detail and chrominance depth data levels - that 10-bit offers you. Source

@Fritz Pierre So would say it’s a more valuable use of time actually shooting with your new camera rather than posting complaints every week in six different forums about what Panasonic didn’t get right, or about ‘missing’ features you knew it didn’t have in the first place?

@Fritz Pierre I wonder if those hi fi guys were busy posting the same topics in six different forums at once? ?

@maxotics Pardon me for sounding dumb, since it's obvious you've got more knowledge about this stuff than I do, but why is saturation so important? I'd willingly sacrifice some color saturation for greater dynamic range, if that's actually what's going on here. I seldom if ever add saturation to my own videos, and I just about always dial saturation way down when shooting, yet not a single viewer has ever commented on my YT channel that my videos weren't saturated enough, quite the opposite in fact. And while I typically don't use a vector scope while watching shows on Netflix, it appears most colorists are rather restrained when it comes to deep, saturated colors. I think I would actually find super saturated colors uncomfortable to watch, to be honest. As far as 8 bit vs.10 bit goes, from what I've read and seen, the biggie is in color grading - and according to Mystery Box, 8 bit just falls apart too easily. I sort of consider them authorities on the subject, as they've uploaded countless HDR videos to YT, many of which are breathtakingly beautiful. I also wonder if you've ever even shot HDR or own an HDR television. Because if you did, I think you'd know that just changing the brightness of the display is not going to make the footage I'm seeing from Mark look correct. The format wars you mention, they are a reality of sorts (although I believe a couple can coexist peacefully); for example, the great thing about HLG is that it is backwards compatible, which to the best of my understanding, the others are not, so there's that.... And it was developed specifically for broadcast, which again, afaik, the others were not... In any case, TV sets in 2017 are quite capable of recognizing as many as three or so different HDR formats and displaying them correctly with no action on the part of the viewer required. If content is HDR10, my set displays it correctly; if it's HLG it also displays it correctly, and if it's Dolby Vision, no problem. I think requiring the user to choose the format manually each time a video plays would be quite inconvenient. Lastly, I think it is silly to judge a television picture at a Best Buy shop, I wouldn't even have done that fifteen years ago. Oh, and I can assure you I suffer no eye strain whatsoever watching HDR content at home. Though my TV is only 690 nits, not the brightest around I guess. Edit: One more thing, is that HDR is not at all about oversaturated images, but about showing the world more as our eyes see it. Have a look at Nick Driftwood's Isobel and you'll see what I'm talking about.

So this morning, as I was preparing to do a full review of the Laowa 7.5mm f/2 lens at a local McDonald's, I was accosted by a young fellow, who started moving my equipment around, violentlyshaking the table I was sitting at and asking me to move. While trying to get away as quickly as possible from this deranged person, I dropped my Sigma 30mm f/2 lens on the ground. Because I had no idea where else to go, I took the lens to an authorized Nikon repair shop in district one. The repairman promptly walked up to a chart that looked like it'd been on the wall since the 1960s, took one photo, examined the jpeg on the LCD screen of my G85 and said there was nothing wrong with the lens. Here's the picture he shot.

I was preparing to do a full review of the Laowa 7.5mm f/2 at a McDonalds this morning when I was accosted by a nutjob, and in the process of rushing out of the restaurant, my Sigma 30mm f/1.4 DC DN went crashing to the floor. I was too shaken to shoot any more footage this afternoon.

These guys, who’ve produced HDR content for several of the major players, including LG, Sony and Samsung, who’ve got something approaching 1/4 million subscribers on YouTube, and who’ve published half a dozen in-depth articles on producing and delivering HDR for the Web, explain the advantages of the tech quite well. Mystery Box

How about this mic?

Here's what it looks like.

@markr041 I tried watching your video, but even though it’s flagged HDR, no blacks, and even the bars top and bottom are grey. No such problem with content on the HDR Channel... ?