austinchimp

Apologies for off-topic, but the concept of this video is very reminiscent of this video, which is also much better in my opinion.

I own the GH5, Fuji x-t20, and the Sony A7Rii and have used the Sony a lot for stills, the GH5 as my main photo camera on a few trips, and the Fuji from time to time when I want to throw a small and light camera in a bag. In my opinion the GH5 is a fine photo camera. Lately when weight and space has been an issue I've been finding myself selecting the GH5 to do both photo and stills as a compromise, as it does both jobs to a high standard. If you're looking for pure quality then the A7Rii is on another level. There's something incredibly smooth and organic about the image. Creamy and deep. When I have to take photos professionally I use the Sony. But for personal use the GH5 is fine, although it feels more crispy and contrasty and perhaps over-sharp. It feels more digital and Panasonic-y where as the Sony could almost be medium format in terms of its quality. The Sony is also great in low light, where as the Panasonic crushes the blacks a lot even in raw, and needs more light. Personally, in my limited experience, I'd put the GH5 and Fuji almost on the same level. The Fuji has naturally nicer colour and perhaps better dynamic range, but I don't feel there's a massive difference. In terms of ergonomics and ease of shooting the GH5 is probably the best and fits in the hand nicer.

Nice work. What stabilisation did you use? Loved the smooth tracking shots.

Looks great @Sage. I'd love to see a graded version with a bit more weight and contrast. Colour looks spot on apart from that though. Is this the newest version you've released publicly?

brilliant. Can't wait to try this out. The over sharpened and processed look from the GH5 is the main thing that keeps it inferior to proper cinema cameras in my opinion. Looks very close in your examples. Thanks for your work!

Wow that's a big difference. I do find myself frustrated by Premiere's grading controls but can't bring myself to move to Resolve seeing as my day job requires me to be fast at Premiere. Due to work commitments I haven't had much time to play with GHa much yet. Haven't even cut together a single video using it. I also have my Bolex D16 lying around unused these days too - must make time for more personal creative projects! :-( If only Panasonic would allow internal LUT recording, then we could replace the Panny colour science with GHa straight out of the camera.

I applied a simple curve to this in Premiere. Brought down the mids and lows and it looks much better I think. Great colour.

Holy shit I've been waiting for this for ages... I wonder why none of the other big manufacturers have made one of these adaptors for Fuji.

I've managed to collect a few good c-mount lenses of different and unknown front filter sizes, and I was wondering if anyone knew of a good solution to mounting filters without a large matte box and without having to get unusual filter step up rings. Is there some way of attaching filters with a resizable or adjustable attachment on the front of the lens? Ideally I'd be able to use a 62mm filter for example, on multiple smaller c-mount lenses. Has anyone tried using anamorphic lens clamps for example?

No easy answer to this really. In the pressurised, high speed run & gun situation I use the histogram or waveform, and zebras, and with experience you should get better at getting exposure relatively consistent. I also shoot with everything on manual, usually setting my desired aperture and shutter speed and then constantly riding a vari ND to keep exposure under control. Shooting log also helps as you can adjust a lot of exposure issues in post and rescue many shots. Largely though it's just experience and getting used to what your camera works best with, and knowing your controls so you can do it all fast and intuitively.

@PannySVHS I think think what you're noticing is more a change in the type of projects you're finding on Vimeo over anything which reflects the cameras themselves. Everything you mentioned in your original post is to do with behind the camera or in front of the camera, not the camera's actual capabilities. The GH5 is obviously a vastly superior camera in virtually every aspect. However it has become more common to shoot and upload short, no budget, aimless camera tests / home movies these days than it was in the days of the GH2. I know because I do it myself. I also think it's very hard to judge a camera based on what you find on Youtube or Vimeo. The projects where the camera is used most professionally are probably commercial or professional productions for brands which don't put 'GH5' in the tags. Again I know this from experience. None of the higher level professional work I do goes on my own channels, and the last thing big brands are concerned about is tagging the make of the camera it was shot with. Speaking for myself, if you do this for a job, 5 days a week, what goes on your personal Vimeo channel tends to be a bit more slapdash and aimless because you're doing it to experiment and relax, rather than produce your best work. Having said that, I was looking at some old GH2 footage the other day and was struck by how natural and beautiful the colour was straight out of the camera.

Some quick test frames from home movie footage I got this week using V-Log. First impressions are that it's having a very nice effect. Very natural and the management of the light is very cinematic. I haven't used an Alexa much but have used an Ursa mini 4.6k and Canon C200 a lot, and this kind of reminds me of the Canon Wide DR profile. I just threw a few clips on a timeline and spent a minute or so adjusting each frame so this is pretty much ungraded, just with the daylight LUT. I'm looking forward to editing something together. I recently got hold of a Digital Bolex so I'm into colour and skin tones, and this looks very promising. Lens was a EF Tamron 24-70 f2.8 with Metabones speedbooster. I also used a Tiffen Vari ND.

I just decided to take the plunge. Will share some frames soon.

Isn't there a suggestion that HLG has more dynamic range than shooting in v-log?

Sorry to ask an off topic question, but how do you shoot in 6k open gate with v-log? I was looking for it yesterday and couldn't work it out. I can get into 6k mode but not able to select v-log profile.

Looks nice. I like what it's done to the highlights, and the skin looks great. How does it compare to how you'd graded it before?

I honestly believe we'll see cameras like this on the market in the next 5-10 years, and by then everyone will not only take it for granted but still be moaning over perceived shortcomings, pixel peeping into imperceptible problems with the 6k 120fps Raw, and wishing for smaller/larger/more ergonomic/more feature packed/more minimalist form factors at lower prices. And instead of 'everyone in the world' queuing up to buy it, it will still only be a relatively small amount of people on these forums who actually care that much.

Looks pretty great! Next time I shoot something substantial on the GH5 I'll consider using your LUTs.

Just bumping this topic to see if anyone has used it yet. I'm interested to see some examples. I haven't been shooting with my GH5 lately so have no need to buy it yet, but I'm curious to see how many others have taken the plunge.

Having used the C200 for several long run and gun days, I would not call it lightweight! The form factor is nice, but if you're used to DSLR cameras it's significantly heavier, with all the advantages and disadvantages that brings. For me personally, though I love the quality and look of a larger heavier camera, smaller lighter cameras have proven better with my way of working. For that reason I stopped using a Ursa 4.6k and moved to the GH5 as my main camera. Still miss the Blackmagic image, but the GH5 can get surprisingly close after grading, and I don't miss the pain in my arms, back and wrists! My dream camera is one the size and weight of the GH5 with the image of the Blackmagic Ursa Mini 4.6k. Here's hoping for Raw in the GH5s...

I agree - I'm not sure how much of an 'upgrade' you expect from your NX1 in terms of the quality of results as a hybrid photo/video machine. From what I've seen the Nx1 is more than enough quality wise for somebody starting out. Might it be that you're thinking in terms of looking more pro to pick up additional work? In which case a Canon (C100, 1DC, 5D) does look more pro, without giving you any significant quality increase from the NX1. Personally I've found more and more that one camera doesn't cover me for top quality stills and video. I now use a dedicated photo camera and dedicated video camera, which isn't ideal. As you're at an early stage in your career and looking to improve your craft, I'd say any modern hybrid camera or DSLR should be good enough. One thing you should think about is frame rates - if you're hoping to recreate some of the modern styles of travel vids and promos, slow mo is used quite heavily as is hand held camera movement. Perhaps something like the GH5 with decent slow motion and decent stills, along with great IBIS would work for you? The 1DC is great but doesn't have good slow motion, while I personally find the 1DX ii too heavy and big for travel, and it lacks a little flexibility without a Log profile. Just my thoughts.

If the EVA1 sensor thing is true, or if the camera is significantly upgraded from the GH5 it will feel like a bit of a kick in the teeth after spending a significant amount on the GH5 recently. I'm all for putting the best tech possible out there, but unlike Sony there was no indication Panasonic would release another model so soon after the GH5. I'm hoping for a firmware update but... Maybe it's time to stop visiting these forums and just be happy with what I've got..

This looks great and your demo footage is beautiful. I would be sending you my money right now but it's WAAAAAYYY too expensive for a lut. I think many of us have been burned before with Luts promising to transform this, or fix this, or make our lives easier, and the truth is I've never found any of them to completely live up to their promise, so it's hard to splurge this much money. If it were 50% cheaper I would try it out and reward you for what has obviously been a lot of work, but this is just too much right now without any way to test it myself on any footage. If there were more demonstrations on other people's footage in a variety of different circumstances then I might be persuaded. Your results do look fantastic though.

Thanks, I've been waiting for some tests like this. I can actually see quite a clear difference with some compression artifacts in the ipb. Having recently gone back to some of my old BMPCC footage I'm still amazed by the fidelity and weight of those prores images compared to anything coming out of the GH5 regardless of data rate. I'm not sure what the difference is. Perhaps the GH5 internal processing gives it that slightly brittle feeling?

Fantastic colour - any chance you can share that LUT?