majoraxis

Thanks! The GH5 can't touch the cameras you mentioned but I think the choice is a little less clear when comparing an adapted b4 host camera with the F23. I can shoot on a BMCC with an adapted b4 lens and get at least a 1080p image with 13 stops of dynamic range in a 12bit raw in camera format. The form factor will be a lot lighter and cheaper to rig up. My money is on a 4K 1" bmpcc with global shutter and 12 stops of dynamic range hopefully introduced at NAB 2018 to use with Digi Primes and other such b4 lenses and optical adapter.

The F23 has a B4 mount so a B4 to PL mount is not required. If you have B4 lenses like the Digi Primes they can be used with the GH5 in 4k EXT TEL mode with a number of optical B4 to PL adapters and then a PL to m4/3 non optical adapter. The Abakus 132 is and example of one such a B4 to PL optical adapter. Here's the product info on BH Photo https://www.bhphotovideo.com/c/product/580779-REG/Abakus_120_132_Converter_Lens_B4.html The Abakus 132 sells for about $1000 on ebay when they come up. So the question is for about the same price do you go with a F23 at 1080p without rolling shutter due to the CCD's and 444 12 bit color 12 stops of DR or do you go the GH5 with 4k 60p 10bit 422 color and rolling shutter with ? stops of DR - both requiring an external recorder... thoughts?

OK - I'm looking forward to however you choose to implement it. Thanks!

Right! I am using the new 6K anamorphic mode without de-squeezing it in camera and its 4/3 aspect ratio and works with v-log. @Sage Looking forward to what you come up with. I would like a LUT that works with 4400k high CRI LED (that is a blend between white (~5600k) and yellow (~3200k) sets of leds). Good luck with your shoot.

@austinchimp it works for me... system frequency 24p, record format MP4... @Sage any chance of having a mix lighting LUT at around the native white balance point of the GH5 sensor? I am guessing it is between 4400k and 4500k. Thanks! Mark

Looks like I won't be needing the Atomos to record 4k 10 bit 60p. Though I should really wait until I see what comes out at NAB, I don't think I can resist pre-ordering, if this feature set is true.

@ SAGE - Looks great! I think I might prefer the HLG GHa Tungsten Main version as compared to the VLOG GHa Tungsten Main version. Seems like there is a slight bit more gradation information than with the VLOG render in the highlights and the shadows. I think this is a limitation of VLOG rather than your LUT. Really looking forward to what you come up with next!

That makes sense! It's going to be an interesting NAB this year... oops - too soon to starting think about what Blackmagic and others can do the latest Sony sensors... 1" global shutter ... back on topic. Looking forward to whatever new Panasonic GH announces early next year.

Maybe the lower resolution STARVIS sensor with the pixel shifting tech of the G9, to get higher resolution photos would be an acceptable compromise for the photo side of the GH5S. Seems like weird timing to release an upgraded GH5 right before Christmas if it has basically the same sensor, why not wait until CES or some time early next year to keep the GH5 Holiday sales number up.

@sage Great work! When not recording in RAW, there are many choices/compromises that have to be made in post to make the footage look as good as possible considering the limitations for the recording format etc. I have stopped looking for perfect and have been hoping to find good enough. I think we are there with your LUT. Please take good enough as big complement. I have also found that the Logarist input and output LUTs combination significantly help the footage hold together better with color correcting. Any advice on using your LUTs with Resolve and Logarist? Thanks!

I had the NX1 and it looks great in daylight. I struggled with NX1 in lowlight, so the speedbooster is a great way to help with the lowlight. This speed booster overcomes the odd choice of the NX1's flange distance as compared to other mirrorless cameras. If my NX1 and 50-150 was not stolen out of my car I would still be shooing it today because l love the way it handles ergonomically. Regarding it's capabilities as a 4k camera, depending on what you are shooting the rolling shutter maybe a deal breaker, it made me move on to the GH5 rather than purchase another NX1, but I'm not a: "must have shallow depth of field person" so I am not the target audience for this NX1 speed booster anyway.

Is this correct with version 2.0 firmware: 6K 24p at 10 bit 4:2:0 full gate 4/3 aspect ratio Long GOP H265 4K 24p at 10 bit 4:2:2 400mb/s all-intra 4K 60p at 10 bit 4:2:2 via HDMI. 4K 60p at 8 bit 4:2:0 internal recording. 1080p at 10 bit 4:2:2 60p 200mb/s all-intra 1080p at 8 bit 4:2:0 180fps slow motion. Please correct me if I'm wrong. Thanks!

@ Andrew Reid - thanks for your excellent articles! I appreciate how you provide analysis that makes me see the significance of details as they apply to film making. Thanks for your comment about 24p intra motion cadence, depth of field and 16mm film. I will consider the benefits of deeper depth of field and intra as way to get that shot on film experience. It's liberating to have another tool in the film making tool box as identified by you.

@jonpais I was trying to solve that same problem for storing lens by putting a single lens in a zip lock bag with a SeaLife Moisture Muncher Desiccant. Is there any downside to have this type of product in a bag with an air tight seal with your lens. I try to get as much air out of the bag before sealing it etc... Thanks!

Reaper here as well. Eventually I hope it will be on the Fairlight Audio tab of Resolve 14, but I have yet to explore and test it.

@cantsin that was really organic. Nice grade - it just looks right. I would have believed it was shoot on film and transferred to video, if you had not said otherwise (less the inconsistencies of film of course).

I had an NX1 and used it for a shoot in the hot afternoon sun and it did not over heat or seem to care that it was really, really hot out that day. So, heat wise the NX1 would be better. As far is image quality, the dynamic range of SLOG may be just what you are looking if your subject is not facing the sun. If you can manage to light the subject with a reflector or some how manage to reduce the dynamic range then the image coming out of the NX1 will be excellent in the sun. Also, if you are shooting 1080p, I found that auto focus and rolling shutter where better at 120 fps, the lens that tended to auto focus the best at that frame rate was the 45mm 1.8. I struggled with the fact that my 7" external monitor was not bright enough so I had to put a t-shirt over my head to see OK. Anyways, if you have access to one of the new super bright monitors (Atomos Flame or SmallHD 5") then it will be easier to judge exposure when out in the sun.

The key to getting the good video editing performance out of the iMac is having Late 2014/2015 iMac with the GPU video card with 4 mb of video ram and good amount of memory. The Late 2015 iMac with the AMD Radeon R9 M395X (the X version has the 4 gb of video memory) and 32 mb of memory with an internal SSD is great. The Late 2014 iMac with the AMD Radeon R9 M295X 4096 MB and 24 megs of memory is very good a well with Resolve 14. That's what I'm running and it of course it could be faster when you add plugins and multiple nodes of color correction, but for editing without effects if is a very good performer. Just remember "X" is best when it comes to 2014/2015 iMac video cards.

I know what I want for Christmas - iMac-Pro. The Apple product page mention 10bit color monitor and a brighter screen. I love my 2014 iMac with the GPU graphic card - it runs Resolve 14 well enough, but the magic for me (besides the screen) is I can carry it around from work to home and back in the original box and treat it like a laptop so to speak. Anyways, having that much power in semi-portable system is fantastic... am I the only one who carts their iMac around (daily)?

There are many great cameras that give great images under the right use cases and with the right accessories. What camera and lens combinations do you feel leads to making better creative/production decisions because of the shooting experience. For me the GH5 with old c-mount and adapted lenses is a great shooting experience. Lens that I was able to use hand held with manual focus are now not a wavy jitter unstable mess. So I can use a 50mm f.95 and it's stable enough with low enough rolling shutter that it can be stabilized in post if need be. It's nice not to have to pick stability over character anymore. I also enjoy shooting with the Black Magic Cinema Camera and c-mount lens. Though I would not want to shoot all day hand held, the weight of the camera, focus peaking and LCD, make it an enjoyable shooting experience. So far this has been my best looking footage, but that also has to do with the sensor. And I really like the view finder on the NX1 - that always drew me into the what I was shooting and made me feel connected to the shooting process, and the rolling shutter in 1080p 120 is excellent. So what camera makes you feel like you're watching your movie as you shoot it? And why?

I bought 2 pack of the 128 Lexar UHS-II cards a year ago and one die, the other one works without an issue. I would not buy them again. I also have 4-5 San Disks cards and have used the much more and none of failed yet and a few are a few years old...

That was a good read - thanks! Mark

Speaking of headphones... Waves has an interesting plugin that makes your headphone sound like you are listing to speakers in the room. You can also monitoring up 7.1 surround mixes virtually in headphones as well as stereo and 5.1 etc. I bought the version with headtracking blue tooth hardware and should have it to check out, next week. The pair are on sale for $69 for both the NX software and hardware here: http://www.waves.com/hardware/nx-virtual-mix-room-nx-head-tracker I bought from BH Photo and that offered free shipping. Not sure how long the sale will last, but from what I heard the combination is wroth sale price to check out and hopefully it will be a solution that will save me from having to install a surround sound monitoring system. There is also a plugin by Sonarworks that will equalize your headphones (the MDR-7506 are a support model) to make them as flat in frequency response as possible. http://www.sonarworks.com/headphones/old Both plugins are phase linear so they introduce very little coloration to the signal. The recommend order is WaveNX before the Sonarworks Headphone Calibration. If you add the Penteo Composer 5 for stereo to 5.1 up mixing software you can hear your stereo mix turned into 5.1 surround in just your headphones.... http://dev.perfectsurround.com/penteo-5-composer/

Thanks for sharing this! On the video, what is the order of the camers? Thanks!