jonpais

Sorry to barge in like a bull in a china shop, but those skin tones are not at all representative of the colors the Fuji X-T2 is capable of. Pardon the YouTube compression (just kidding!)

And when Panasonic releases Dual IS Mk III in 2018, all the earlier lenses will be worthless too. ?

Do you think being able to use X-Rite with Color Finale is worth the extra dough? I am really looking for something that helps get white balance so I at least have a starting point for light grading. Has anyone here used a color meter for video? I'm sure Don must have...

I wish I could watch the video, but I'm stuck at the coffee shop with my crappy iPod, about to go out and shoot with the X-T2. Concerning the display issue, Lee over at Zed ProMedia said yeah, the Fuji has a bunch of quirks, which is why he's sticking with Sony for video. Which I thought was ironic in a way. Anyhow, the X-T2 has inspired me to shoot stills again for the first time in five years.

So, definitely a bug. When Eye Sensor is enabled in View Mode and initiating recording while looking through the EVF, when moving away, the LCD will be off, and vice versa. Hope Fuji issues an update to fix this.

Even so, I believe it was Andrew who said even with in body stabilization alone, the G85 performed well, and I'd expect the GH5 to do the same or better, so I'm not getting my panties in a bunch.

Thanks, OliKMIA.

Let's stop the name calling.

So you're saying it won't be backward compatible? I find that highly unlikely. Listening to Matt Frazer, manager retail services Panasonic, talking about the 12-35mm f/2.8 v.2 at CES, he says that the new lens will have a new aperture system so you won't see dithering when zooming as you're working with video. I never noticed this, but then again, I seldom zoom in or out once I've hit record. When asked about the original 12-35mm f/2.8 not having Dual IS v.2, he does not say the lens will not have any dual IS capability.

Let's try to cool down a bit here guys

That's my understanding as well. Anyhow, I've been shooting Dual IS Mk 1 with the Nocticron and G85, and some think I used a tripod, so I wouldn't sweat it. A new, more flare-resistant lens coating would be welcome as well. One of the reasons I hardly ever use my 12-35mm f/2.8 any longer is because it doesn't do well against bright light. In fact, LensRentals.com recently posted an article on third party wide angles, and Roger Cicala believes that flare resistance and vignetting might be more important than MTF charts when it comes to wides, which is how I feel after seeing so many of my shots ruined by veiling flare.

The Nokton 17.5mm f/0.95 has a smidgen less maximum sharpness than the renowned 25mm, but it is still relevant for 4K shooting. It can even be balanced on a pistol grip gimbal, though with a little difficulty. AFC has not worked well with my Panasonics; when using a gimbal, I prefocus and try to maintain the same distance from the subject. The sample video is by no means the sharpest image I've ever recorded - I might even have mis-focused - but I think it shows you can get nice 4K video with the Voigtlanders. In-camera sharpening was turned down to -4. The Sigma 30mm f/1.4 is a sharp, featherweight, inexpensive, no-frills AF MFT lens. I realize many prefer to use wide angle lenses with a gimbal, but a longer, faster lens allows you to throw the background out of focus more easily. All the shots were made using the Zhiyun Crane. And here's a charming look at a cafe in Tokyo shot with all four Noktons in 4K, no grading in post.

From the info box of the video over at Vimeo: Nick Driftwood sent me a 'GH5 ISO in the Dark' test exclusively for Newsshooter to check over. Its another take on the one he shot last night at 30p which is over on his YouTube channel. In this test, Nick used the following settings;- 4:2:0 8-bit 60p mode (59.94fps) in 4K UHD, H.264 Level High 5.2, 158 Mbps, married with the new 12-60 Leica f2.8-4.0 ASPH lens. Nick tells me he believes the Lumix GH5 definitely has big improvements over the GH4 in DR and even though 2 thirds of a stop is probably where its at, it definitely appeared perceptually to be around a stop better. 3200ISO in particular looks really useful with not too much noise at all - nothing that NEAT video cant fix. "Indeed, 6400 ISO is pretty darn good" he says. From the low light tests I've done with the G85 over the past couple of weeks, I'd say there is little difference here. Noise processing may be improved on the GH5, resulting in less softening of detail at higher ISO settings, but it's difficult to tell from this test. Of course, the GH5 was shot in 8-bit 60p, so perhaps there is an improvement in low light at 24p? Anyhow, if I wanted super duper low light, I'd either shoot with a lens faster than f/2.8 or use an APS-C camera.

That's what Nick says at the beginning of the clip.

I recently noticed that when I begin shooting, if I look through the EVF and move away, the LCD is black; when I start shooting while viewing the LCD, if I look through the EVF, it's black. I set Viewmode on eye sensor, and before shooting, I can switch between LCD and EVF no problem. I didn't notice this before. What am I doing wrong?

I got a lot of emails after purchasing some of his LUTs. I unsubscribed, no more emails. I'm going to get Color Finale tonight, maybe X-Rite in the future.

Yeah, later on this week I'll be sure to try it out. I work in FCP, what do you think of color finale? wolf33d seems to like it.

Dan Watson has been encouraging me to give CineLike a try, so I might do another test later this week; but I would only use it where you wanted to do some grading, adding LUTs and so on; and I've already proven to myself after 4 years that I pretty much suck as a colorist.

I saw one test where there was no discernible difference in quality between Pro Res HQ and Pro Res with the GH4 when outputting 4K to the BM Video Assist, and I don't have unlimited storage, so the latter would be preferable to me. I also thought that just dragging 4K clips to a 1080p timeline was not only faster, but the quality was also fine.

Like Mr. Neumann himself says, if you need extreme low light performance, one of the Sonys would be preferable. At least, that's what I think he said. It's getting hard to follow all these threads.

From tests with the G85, I found that with contrast dialed all the way down, midtones became washed out, textures and details were lost. However, when I tried matching both the -5 and 0 clips with the basic luminance controls in FCP, I was able to get them pretty close, so if you were an expert colorist working with curves, you might be able to get them to match perfectly in post. So I wouldn't claim that lowering contrast all the way 'destroys' midtones, it's just going to take some fiddling around to recover them. In the video I made, if the subjects had been lit properly to begin with, no adjustment to contrast would have been necessary at all. A simple reflector or flash fill would have opened up the lost shadow detail. I am actually beginning to like vivid colors ?, so for my own work, I would no longer lower saturation in camera. That can always be tinkered with in post. On the other hand, and I confess to knowing nothing about this, but I believe some users reported that Panasonic cameras had a habit of clipping the red channel and that lowering saturation a touch was helpful. I'm pretty certain that the G85 and GX85 don't have this problem, I've never seen it on my scopes anyhow.

I can't watch this because I'm on my iPod, but Nick Driftwood shares a low light test on the GH5.

Not sure if I can or not. Customer not king in Vietnam.

I haven't received it yet. Expecting it by the end of this month. Also expecting just a few hours of battery life.

That's just the texture of the finish.