hyalinejim

If it's any consolation, having been through this issue with the XC10, ghosting is a hell of a lot more noticeable in a still image than a moving image. But once you see it, it's hard to unsee it. I don't have a GH5 yet so I can't corroborate for you. But if you'd like others to test if their units are affected (and my guess is that it's universal) then you need to tell us what ISO you're seeing ghosting at. To minimise it: 1. Keep ISO low where possible 2. Turn NR to minimum (theoretically this should decrease it) 3. Find the profile that has the least ghosting 4. Keep movement to a minimum 5. Try not to worry too much about it. 99% of the population won't be able to see it.

@tonysss nice colour and great tonality. Is this using the settings you posted in another thread: Have you tried adjusting knee for 709L? If so, what is the result?

Cool. Will don my pixel peeping glasses later and check them out. @zmarty Took a quick look at the V-Log and yes there is some temporal ghosting. Have you tried turning Noise Reduction all the way down?

Post frame grabs. Does it happen at all ISOs?

The colours are different and possibly more pleasing than the other profiles. The "knee" is adjustable (highlight rolloff) so there's the potential for retaining more dynamic range than the standard profiles. Plus you get to use all of the 1024 bits, whereas V-Log is truncated. But, to date, nobody has shown comparisons extensive enough to draw any solid conclusions on colour and dynamic range. There is a handful of tantalising vids on YouTube that merely hint at its potential.

I'm no colour expert but to the best of my knowledge you should calibrate your external display to Rec709 or SRGB (which is quite similar) for video stuff. If you grade stuff on a display calibrated to Adobe RGB it will look a little washed out when viewed on a TV or on a general PC.

I've been saying this for years (well... days)

My favourite part is the part where I get to hold hands with her through the screen... twice!

100% agreed. I start getting nervous when I have to go to 3200 on 5D3 MLRAW, so the fact that that 3200 on the GH5 is more than adequate absolutely delights me. Pop a Speedbooster on there, as has been mentioned many times, and it's outperforming a full frame camera. What kills me with 5D3 noise is the very low frequency banding which looks entirely unnatural. The GH5 noise, on the other hand, just looks grainy - and that's fine.

Thanks! Checking it out now. Would love to see some Rec709L samples, if at all humanly possible. PS: What happened to the fine weather? It's the same over here in Ireland - glorious over the weekend and now back to business as usual!

Nice work on the colours. Filmconvert? I've read, and seen from samples, that Arri luts play nicely with GH5 VLog.

Yes, Exposure, Temp and Tint are fine to use. Maybe check out Cinelog C for ACR. This will give extract the most info from the DNGs in a log format. Very good highlight retention.

Most of the sliders in ACR are image adaptive and should be left at the default for developing video frames, particularly Whites, Blacks, Shadows, Highlights. Exposure and curves are OK to manipulate though.

Looks like 1.4 ETC in 4K retains full resolution:

I'm also really interested in the colours of the Rec709L profile. I'd love to see more footage using this, if you can upload something. Also, how is the dynamic range in Rec709L versus V-Log?

I agree that this lut looks promising. A lot of test videos to date have looked video-ish. I also really liked the colour and tonality of the Rec709L vid posted a few pages back. I'm very interested to see how forthcoming luts for VLog, or a modified Rec709L, can push the image feel of this camera into higher end territory. I had great results matching my XC10 to Magic Lantern Cinelog-C. Looking forward to knuckling down to the GH5 with a Colorchecker and 3D Lut Creator or Resolve.

I think I understand your question. Are you asking if full frame 2.35 has a similar vertical FOV to APSC 16:9?

I'm extremely interested in learning more about Rec709L picture profile, based on the small number of samples that have touched on it. Panny designed it specifically for video, so perhaps it is the equivalent of Canon's WideDR. How is the colour and dynamic range in Rec709L?

@Orangenz 1. When using a view assist lut, are zebras and waveform based on the underlying V-Log, or on the lut? 2. How is dynamic range in Rec709L versus V-Log? Cheers!

Yes, I think everyone wants the kit. In Ireland the Leica lens is only €560 more - makes a lot of sense. Should be easier to get body only.

It's the same in Dublin - stores are getting 2 kits only on release with more to follow whenever. If you're not top of the pre-orde queue you're going to be waiting a little bit. In other news, I'm very much liking the possibilities of Rec709L, a picture profile we've heard very little about to date:

Impressive real world stabilisation. Check from around 45 seconds when water droplets appear on the lens to see the action of the stabiliser. This footage would be unusable on a camera with less stabilisation and more rolling shutter.

This is the first I've heard from them indicating that their testing methodology may have been less than comprehensive, but it's a welcome admission.

+1 for a static camera. If you can make a good composition it's hard to go wrong with this tried and tested approach with a rich pedigree. See Chantal Akermann, Tacita Dean, James Benning.

Should have typed "GH5" - too late to edit post now.