Zak Forsman

No, when you move away from a base/native ISO, you lose dynamic range the further away you get. With the GH5S, the dual native ISO reclaims those lost stops at 2500, that you would have lost on the GH5 if you were just gaining up from the native ISO 400. So a GH5 at ISO 2500 will have less dynamic range than a GH5S at 2500. But put them both at ISO 400 and they will both be the same. That's the thing many are missing about the dual ISO function. It's less about noise, and more about maintaining equivalent dynamic range at two ISOs.

yeah, I'm sure someone will eventually. but we have some hard facts we can look to. numero uno being that V-Log L has a limit of 12 stops. In this chart, you can see the difference between V-Log which can hold 16 stops, and the green box that illustrates what V-Log L will do.

I agree. but it doesn't add up to 14. say you can see 12 steps on a xyla chart, but the bottom 4 are so noisy they are unusable. then another camera sees the same 12 stops on a xyla chart but only the bottom 2 are too noisy to use. that's the difference we're talking about. the range is still 12 stops in both scenarios.

in the forum here, I believe Luke said he was told "2 additional stops". and I think he and many others made an assumption and added that up to 14 stops. i think that's where the confusion comes from. Luke also noted he didnt see a difference in the dynamic range between the GH5 and GH5S other than better highlight roll-off. That's why I think the "2 additional stops" refers to two more usable stops due to the cleaner image.

I know this has been debated but I don't see how you get around what we know about the two different versions of V-LOG. EVA1 has 14+ stops of dynamic range and the original incarnation of V-LOG. The GH series' V-LOG L is limited to 12 stops. The GH5S certainly has more useable stops than the GH5, but it's still maxed out at 12. What I believe is really happening is that 2 additional "usable" stops have been reclaimed in the GH5 and used for better highlight roll-off. But it's not a 14 stop range overall. Here's the EVA1 on a Xyla chart form Adam Wilt's review... https://www.provideocoalition.com/review-panasonic-au-eva1-4k-cine-camera-part-3/ And with regard to RAW, the EVA1 will not do RAW internally. It has two SD card slots and an SDI out for RAW to be captured by an external recorder.

Here it is compared to the A7SII

This must be how Filippo Chiesa felt when his short for the EVA1 was released. He did his own re-grade and released it a few days later. Sorry, man.

official press release https://www.43rumors.com/panasonic-gh5-press-announcement/ Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers • Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO. • Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments. • True “Multi-Aspect Ratio” Function in Both Photo and Video Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations. Packed with big features to satisfy demanding photographers and videographers alike The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions. The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. This is a color subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD. Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs. The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format. DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution. Achieve outstanding footage in any environment, especially in low light As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated. In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface. Exceptional image capture without concern The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation. The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection. For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9 The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $2499 (body only). *1 RAW files are in 14-bit even when 12-bit is selected. *2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017 *3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study. *4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card. *5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps. *7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water. *8 5GHz Wi-Fi is not available in some countries. *9 In MOV only

i don't know what to tell you, then. keep those fingers crossed for the GH5s, i guess.

the camera does offer a 1.4x crop mode, maybe lobby Wooden Camera to make a swappable MFT mount for you.

You'd likely need a dedicate MFT sensor for that. Mitch Gross, the Panasonic rep for their cinema camera division has said part of the argument against a MFT mount was that many of Panasonic's own line of MFT lenses would not cover the S35 sensor.

No, I've been using the Metabones speed boosters for years and I'm very, very happy to leave them behind. They always required locking down to a cage because they'd shift on the MFT mount during focus pulls which made the rig less flexible. They would exacerbate blooming and other aberrations of my lenses (contax-zeiss, leica) when wide open, negating the benefits of the added speed. And I like Super35. Being able to reduce to a Full Frame equivalent would be fun, but not essential to me. And yes, everyone IS different and there are already plenty of cameras that suit users with those small, compact lenses. I don't like tiny lenses. I don't like the image shift I get pulling focus on MFT mounts. When it comes to lenses, something the size of the Contax Zeiss 28mm f2 (about the size of my fist) is an ideal size and weight for me. It's light and a great size for my hands if I'm going directly for the barrel to pull focus, and the focus ring sits far enough from the camera body that I'm not struggling to squeeze the follow focus in there. I had some lenses for my GH4 that couldn't use a follow focus because it would run into the camera body. Noted, I'd just say that "more light" comes at a price if you're using vintage lenses, like I am. I'd have to stop down to reduce the added blooming older lenses exhibit wide open (which Speed Boosters make worse). And I am comfortable shoot up to 5000 ISO if I need to, but man, what am i doing if I need to go there? If I were shooting docs at midnight on moonless nights, then yeah, I'd want to squeeze as much as I can out of my glass, but I use minimal lights and find myself between 1000 ISO and 2500 ISO 99% of the time indoors. I don't see a speed booster's need on that front anymore. And a nice touch is that the EVA1 has a 1.4x mode that switches from the 5.7k downsample to a straight 1:1 4k form the sensor (they call it D.Zoom) so you have two focal lengths per prime and you don't have to unmount the lens and switch adapters. You just hit the user button you've assigned that to. I use that quite a bit.

NOTE: This is not a counterpoint to anything you wrote, just using it as a springboard to share my thoughts on the EVA1, as an owner. The image is definitely what's most important to me -- color, skin, DR, highlight roll-off... it's all handled beautifully. I think the perceived shortcomings are being blown out of proportion because none of them have gotten in my way. Bad LCD? I wouldn't shoot 4k with a 3.5" monitor in the first place. The Panasonic LCD stays at home while my SmallHD 502 or 702 take the LCD feed over SDI. EF mount a bad choice? Not for me as every lens set i own (contax-zeiss, leica, sigma) has an EF mount. Bad build quality? Plastic shell, yes. But it has a magnesium alloy frame. I've owned the EVA1 since November 8 (my two month-iversary!) and have shot with it nearly every day. Haven't suffered any build quality issues. No DPAF? I don't happen to shoot the sort of content that I'd risk relying on autofocus for. No EVF? I think built-in EVFs are a pain to use because they're placed at the rear. My Gratical Eye is much more flexible. Noise at higher ISOs? Compare the EVA1's very fine, tight noise character to the splotchy, clumpy noise you see with the Sonys and Canons. Also, the internal noise reduction works well, but even better, the EVA1's noise pattern lifts out beautifully with no perceivable loss of detail. Where I work, a lot of FS5, FS7, & A7SII material comes across my desk to be graded and it's always a bit of a fight for one reason or another. Comparatively, the EVA1 is a joy to grade as you guessed, much like the Varicam. This camera is so easy to work with, and I was so happy after the first month, that I bought the extended 3 year warranty. I'll be shooting with my "baby varicam" for a good while. Truly the only complaint I've got for the EVA1 is that it doesn't offer RAW output or 400mbps encoding yet. Soon, I know. But not soon enough. And one little thing that I really love is that it shoots 2K, not just HD. It is a cinema camera afterall, but most in this class only do 1920x1080. And as I often have my films exhibited in theaters from a DCP, it'll be nice not to have to do a little blow-up to make up for those missing 128 pixels on the side. It's a small thing, but appreciated.

that update has been touted as "1st quarter 2018" so i'm guessing end of march.

keeping the 5D3 for sure. full frame RAW for $1600 (bought a used one) is hard to beat. selling my BMCC and BMMCC.

I didn't. I'm very happy with EVA1. so happy i bought a 3 year warranty and am selling off my other cameras.

Yeah, I've had an EVA1 for quite a while. It's a plastic shell around a magnesium alloy frame. You can see it if you watch Wooden Camera's video for swapping the EF mount with their PL mount. No complaints about build quality here.

An S35 GH5 would be a nice companion to my EVA1 for mounting on cars, handheld gimbals, throwing off buildings and into volcanos. If it’s still m43, can’t say I’m as interested. But that’s just where I’m at. I’m sure this will be a popular step up whatever it is.

I bought these semi-permanent mounts to from Leitax. Well worth the money, perfectly solid. No play like you'd get with an adapter because it's basically bolted on. http://www.leitax.com/conversion/Contax-Canon/Contax_AE/index.html I have a tiny bit of play. It's never come unlocked though. That being said, Panasonic announced they improved the side handle and will ship replacements. I would join the EVA1 Facebook group if you haven't already. Mitch Gross (the Varicam and EVA1 rep) is posting details in there.

I just rigged my EVA1 up with my Kowa BH (in a Rectilux housing) using my Leica Summicron 35, 50 and 90mm set as taking lenses, and it is awesome. Was also happy to note that i can get away with a 35mm taking lens without vignetting given the fact that I'm doing a 2.39:1 center extraction. Received mine 10 days ago. I honestly thought I'd be posting a bunch of footage with it, but the truth is, I'm having so much fun with it that I haven't had any spare time for uploading to vimeo. Hopefully soon, during the holidays. But broad strokes for me is this is a fantastic cinema camera. the two most important factors for me are color rendition and dynamic range and this excels at both. here are some quick pics from the day I received it, all rigged up and stripped down to almost nothing.

I had a friend whose GH4 had something similar. Was a piece of dust. I turned it over so the sensor was facing downward, and blew air into it with a rocket blower. Dust fell right out. Good as new. My friend was convinced I had just saved him hundreds of dollars.

An extensive review of the EVA1 by Newsshooter... http://www.newsshooter.com/2017/11/01/panasonic-au-eva1-hands-on-review/ As color rendition is a top priority for me, I was happy to read Matt's assessment: "In my personal view (feel free to disagree with me in the comments!) the EVA1 has the most accurate colour rendition of any of the sub $10K cameras that are out there. The colours are very reminiscent of the Varicam LT and you would struggle to tell the two apart." Camera's not without its flaws but I expect I'll be pretty happy with it. Here's a short doc Matt shot with it.

And at the high end, the Avatar 3D DCP was 276GB. The DCI spec allows for up to 250mbps.

Great comparison video by ProAV here... Carl also made some of his clips available for download. https://www.dropbox.com/sh/wwa5kx5e4r9f8v8/AAAFDUA7OIXYRrK82FvtaZUXa?dl=0 I ran them thru ACES (Panasonic V35 -> Rec.709) in DaVinci and only made lift/gamma/gain adjustments. No color adjustments. First thing you'll notice is the scooter in the background appeared orange in Carl's contrast/saturation correction from V-Log. Here it is back to a more accurate red. Attaching a TIF of the ACES version here as well. EVA1ACES_1.1.1.tif

Not with those, but I've been looking at the C200 closely and after watching tons of reviews with sample footage on it, I think what we've seen from the EVA1 is that the noise is marginally less pronounced, tighter, finer and generally more attractive. I also don't see any of the cyan/magenta macroblocking that turned me off from the GH4 and GH5. the C200 delivers a beautiful image but I've seen enough of the thicker "blobby" (it's a word now) noise in its shadows for me to feel pretty confident that the EVA1 is (while still having its own noise issues) the better option for me in that regard. We'll see how I feel when I actually receive mine and put it to the test.