jonpais

Good to know

is this a high school science project?

Are you for real?

Yes, a in few of the shots I violated the 180 degree rule, but I really dislike the look, and a few of the clips where people, motorbikes or cars are moving in the background gave me a headache while looking at them on the timeline. I almost always shoot in the shade, some days I use a UV filter, others, a Hoya ND8. Not many of the shots are at f/1.8, but I don't keep track of the apertures, so not really sure which I used for each shot. When shooting m43, as a rule, I usually try to avoid closing the lens down below f/5.6 because of diffraction. Concerning your shooting at f/2.8-4, with such a long focal length, it will still give nice soft backgrounds, and that's probably the sweet spot too. At the same time, there is no point in buying ultrafast lenses like f/1.2 if you're not shooting wide open much of the time, because when stopped down to f/5.6 or so, those lenses probably don't perform much better than slower, less expensive glass. As far as manual focusing goes, since I'm mostly a street shooter, I don't have time, so I use autofocus. I set the camera to manual and press the AF-L button, this way I can confirm with focus peaking. The G X Vario 35-100mm is a beautiful lens, I guess Panasonic is making a few changes to their two Vario zooms, like the smoothness of the aperture blades when zooming or something, and a few cosmetic changes, like the color, but I really wish they would consider making their lenses out of metal rather than plastic. On a side note, I could never have made that video if it weren't for IBIS.

This left me breathless, almost in tears, so I just had to get this up here before anyone else. Your work looks great.

Agreed, if buying for m43, best to steer away from the slow consumer zooms. Any of the lenses you mention will be far more versatile than the PL 42.5mm alone; in fact, I would never attempt to create a reel of my daughter with just one prime of any focal length whatever. As far as the elusive film look goes, that would depend more on the OP's experience, artistry, color grading ability and so on than the camera itself. A GH2 could do it. So could the Sony RX100. I would also advise the OP not to get the GH5, but instead look into a less expensive camera and use the extra money to invest in good glass, a microphone, a brushless gimbal stabilizer and possibly some lighting. A Lumix GX85, Sigma 18-35 + MB SB, Rode mic, Crane gimbal and Aputure 120t + Light Dome would come in at around the OP's budget, and he could always upgrade to another camera in the future, since there is no end to G.A.S. anyhow.

Agree with the part about not pushing ISOs too much with m43.

And for those interested in technical stuff, and zoom lenses in particular, this makes a good read.

You're probably right about that, but I really like being able to shoot with a small, light, fast, longer focal length on a gimbal. It allows me to throw the background out of focus, and since most single handed stabilizer work seems to be shot with wides, I think it differentiates your work from some of the rest. I've even shot with the G X Vario 35-100 f/2.8! But it does make framing a moving subject pretty difficult. ? I shot my entire Fuji Acros video with a 50mm equivalent lens (35mm f/2) and X-T2 on the Crane. But I guess I wouldn't recommend that to everyone.

There's no such thing as a cinematic looking lens, and the word organic doesn't mean much either in my book. Switching from a 12mm to a 14 or 15mm makes no sense (15mm is way expensive). If 12mm is too wide, go with the inexpensive Panasonic 20mm f/1.7. Then concentrate on lighting, content, white balance and exposure.

Personally, I haven't been impressed with what I've seen so far of the PanLeica 12-60mm, and since I already own the G X Vario 12-35mm f/2.8, and v.2 is essentially the same thing, I would avoid getting any of these overpriced zooms. Recently, Olympus released the brilliant 12-100mm f/4 for those who absolutely must own a universal zoom and don't want to sacrifice quality, and that is the lens I would recommend without hesitation to those who want a lens to record travel. But not a single zoom in the m43 lineup can compare to the native primes. And while it's not a one-size-fits-all lens (no good lens is!), the Olympus M. Zuiko 75mm f/1.8 has impressed me no end: it is all metal construction, spectacularly sharp, has gorgeous bokeh, it balances nicely on m43 bodies and it is quite simply 2.5 inches of nirvana. There have been many in the forums recommending lenses, but it doesn't mean a thing if they can't back up their words with some images. So here we go... Music by Eric Matyas www.soundimage.org

The Olympus M.Zuiko ED 12-100 f/4 IS PRO performs brilliantly.

The noise reduction on the G85 is pretty aggressive at higher ISOs as well, so I can't say this comes as a big surprise or anything. What would be really shocking would be if the GH5 were as good as the Sony. When I saw the title, I thought the OP was referring to using a denoiser like Neat Video on some clips he downloaded. Maybe they are the same thing, but I would change the title to GH5 Noise Reduction @ high ISOs Simply Sucks... Tolerance for noise and smudging of detail is a personal matter, but I don't think I'd ever shoot at ISO 6400 with a u4/3 camera.

hahaha

Well said for someone who believes the video movement is dead.

These samples are not so much color graded as they are color corrected. There's a difference.

Exactly what I've been saying now for months. I think a lot of people are blaming their cameras for the the color, noise and so on, but most of today's cameras, if you expose and white balance carefully, can give a great image, provided the lighting is good enough to begin with.

Hi Sebastian, I've never owned a camera with a top LCD display, I'm sure it would be fun to have on any one of my cameras, but aside from when you're shooting on a tripod, how is it so functional? I mean, you'd still have to take your eye away from the EVF to use it, wouldn't you? Also, I've only used the camera for a couple months, and I've never encountered purple flaring, but I've read several places online, including MirrorLessons, that the problem can be avoided by simply moving the camera a touch when you're composing. But the camera does suffer from a ton of issues, some of which I've gone into here.

From everything I've heard, it's Nikon's lithography department that is being axed, that it's a great idea they don't manufacture the DL cameras and no, they are not going anywhere anytime soon.

I don't know about the M, never used it, but I'd never travel with the Crane (a) with the batteries inside, or (b) with the camera attached. I usually do like you, though, and wrap the two parts separately with T-shirts, and put them in my carry-on. I'd like to know if there is an easier way as well...

I was watching Birdman the other night and couldn't stop thinking to myself, 'if only it had been shot on film!' If only Andy Warhol, Robert Motherwell and David Hockney hadn't used acrylics...

Panasonic is definitely going down if the GH5 doesn't take off, no question about it.

OMG! I don't know anything, but it looks like the noise is from underexposure.

I don't see any reason to come down so harshly on DPR like a pack of bloodhounds. We've already seen much worse, at least I have - and more is yet to come. Correct me if I'm wrong, but I thought DPR was a gear review site, not a production studio, so it's not fair to compare their work to that of Griffin Hammond. 'Wobbly!', 'Fail!', 'Shaky!', 'Atrocious color!' Actually, I can count the number of camera reviewers who even know how to shoot on one hand.

Probably a good idea, whenever possible. But I bought my GH4 here and still the local Panasonic service is sub-par.