mercer

Well if these specs are correct, we now know why it’s only $2499.

Unless the GH5s shoots ProRes or Raw, it isn’t.

Yes sorry, I misspoke... there is no color science per se but the RGB filters on the sensor will affect the overall color of a Raw image. Take the same exact image shot with a Pocket cam with the same exact image from an ML Raw camera and with the same exact post workflow, the colors will look different.

@kidzrevil yes they make all of their lenses in the F Mount... that last one is a Tokina 24-40mm f/2.8 in F mount. Here’s the same lens on the NX500. This was when I would just slap a LUT (multiple) on everything, but you can see how it looks with a 2.5x crop... And finally here is a screengrab with that lens from the D5500... so a S35mm crop. I was going through a tint phase, to try and find a simple vintage look... so the colors are kinda weird... I actually like it, but I am probably one of the only people around here that will...

@JordanWright I had that lens back in September. I didn’t have a great copy of it though and found I liked the image from my Tokina 24-40mm better and it’s much smaller. However if I can find one at a good price I may give it another try eventually. Here are a couple I shot with it on the 5D3... And here’s one I shot on the 24-40mm... With all three of those, I was testing some different looks rather than just normalizing the clips, but all in all Tokina has some great vintage lenses... even their old RMC prime lenses have some interesting character.

Idk, I’m pretty sure every person has stated that the GH5 is a better camera... hell... it’s not even the point of the discussion. And no, obviously I don’t have the time, or the inclination to do that, I’m in the middle of doing final polishes on 3 screenplays before I send them out into the world at the end of the month. Idk, maybe @IronFilm is right. Those guys who started with the GH2 in the golden age of DSLR filmmaking have moved onto better cameras and although the GH5 is an amazing camera and capable of way more than the GH2 could do, those really talented operators are operating much higher end equipment and the next generation of filmmakers will now sow their oats with the GH5. But just to be clear, as not to offend you... the GH5 is the best filmmaking tool on the market and anyone who doesn’t use it to shoot any and every video project is a moron. And no camera before it, and since it, is worth discussing or admiring the great work that was/is produced with it. ?

@Neumann Films... what?! You’re probably one or two indie features away from a Hollywood deal. With the publicity you have from the GH5 fans alone you could Kickstart a feature and have a built in audience to watch it. Hell you could probably get Panasonic to fund it if you use whatever their next big camera release is, after the GH5s, to shoot it with.

Honestly Jon, I think this reply is the very reason why this discussion began. You’ve very astutely listed all of the reasons why the GH5 is a better camera than the GH2... umm... every single person who has commented has agreed with you. But if it is that much better (which it is) then why isn’t the work floating around Vimeo and YouTube that much better? I think the discussion was formed because there is some truth that creativity can be born from limitations. The GH2 is a legendary camera with limitations, those limitations forced people to be creative. And trust me full frame is amazing.

Yup, for Panasonic to get to that next level, and really compete with Sony and Canon they really need to embrace a larger sensor. I believe the EF Mount is public domain, so maybe they will start making some aps-c lenses. Hell, I saw the other day that Canon filed a patent for a Micro 4/3 lens. Now I know Canon has stated in the past that they’re a lens company more than a camera company, so maybe they’re planning on using their lens tech to make some money in the Micro 4/3 market... or maybe they’re planning to release a Micro 4/3 Mount Camera. Interesting times.

@anonim well I chose ML Raw over the BMPCC/BMMCC due to sensor size, color science and DSLR ergonomics, so yes... if Panasonic can pull off Raw in a GH5 body with IBIS... it will be an amazing feat... but I don’t think that is in the cards for Monday’s announcement... maybe in 100 Monday’s from now.

Good to hear. I watched your EVA1 slider video on Vimeo and it looked pretty good. Do you know when the 5.6 Raw will be released?

I will say Bloom’s example video, “The Telescope,” is some beautiful work and definitely shows what the camera can do... Not the 5D3? Your footage was gorgeous! Some of the nicest ML Raw samples out there.

Well, Philip Bloom’s review is up... http://philipbloom.net/blog/eva1review/

Well, I know there have been some theories that there may not be IBIS in the GH5s, so I guess my question is... if the IBIS is replaced with internal NDs (I doubt they could fit both) would that be an acceptable alternative... or is IBIS a must have for the most interested of potential GH5s buyers?

Yep, it is my experience that those who throw out the word fanboy are usually the most guilty of the behavior. Now I’m sure the GH5s will be an amazing camera and the majority of this forum will make quality work with it, but it still won’t match what can be achieved with a FF camera and it will never be as good as an Alexa or even the lowest level of actual cinema cameras. Although, judging by what Luke has been sharing, it should bridge that gap. But Sony, Canon or Nikon could release a FF, 10bit, video monster tomorrow, if they wanted to, and the nature of sensor size would leave Panasonic with their dork in their hands. But for today, in a lot of respects, Panasonic is narrowing the benefits of a larger sensor with the benefits of video features. Now if Panasonic pulls a rabbit out of their hat and gives us internal 1080p Raw or 4K ProRes with exportable 4K Raw and IBIS (or built in NDs) then it will be a very hard camera for me to ignore and I may trade up when I am finished with my current project. But at only $2499, those things seem unlikely and I suspect some software/hardware magic will be delivering the best lowlight camera for Micro 4/3. And for those invested in Micro 4/3, or those who enjoy the benefits of the sensor size and freedom of the mount, it should be a great upgrade. It won’t be long now.

@kidzrevil well said! Unfortunately, consumers are impressed and motivated by bigger specs. For instance, 10bit video... although great for a lot of users who want to bend and shape their color in post, for most users, 10bit video is overkill and the benefits are minimalistic at best. To be clear, the footage I’ve seen from members of this forum looks great but Panny is right, if you scour YouTube and Vimeo, the overwhelming majority of footage shot in 4K 10bit, should be more visually compelling. And the majority of those folks’ videos would look just as good if they shot it in 8bit. Hell, I’ve asked almost a dozen times on the various GH5 forums about the 10bit 200mbps all-i 1080 up to 60p and all I get are crickets. To me that is the most interesting spec on the GH5. Actually, I just found some casual 1080p footage from the GH4 that is as good as a lot of the casual GH5 videos floating around... Now I’m sure that guy would make great GH5 videos as well, because obviously the GH5 is an amazing camera, but I can’t wait until more of it starts popping up. For now, I’ll continue to check out old videos from forgotten cameras.

Well, until Panasonic moves up to a larger sensor size, specifically full frame, one can argue they’re two steps behind Sony.

Probably not too great if he’s giving them to a bunch of needy kids... Seriously though, Pentax primes are amazing... especially for what they go for.

I always thought it was odd for Sony too. But when did we start excusing Panasonic for pulling the same crap that Sony does? This reeks of the A6300/A6500 releases. Either way, I’m sure it will be a popular camera and I really don’t care all that much... or at all... lol.

You do realize you just confirmed that the GH5 is better than the Arri...

Are you in still mode on the dial?

Yeah, the whole thing just seems odd. It would have made more sense not to name it GH5 at all and go with a different Gxx name but now I’m confused if this is a cine camera or a hybrid. Should I be annoyed if it doesn’t have ibis? Should it export raw or shoot internally on ProRes? Is it not a cinema oriented model because it is putting too much emphasis on lowlight and traditionally cinema cameras need aren’t the best in lowlight. I don’t know... I just don’t know...

Yeah, I must say that the timing of the GH5s is quite frankly just weird. This couldn’t have been an afterthought and it must have been planned for at least a year, so why release it so soon after the GH5? So if the rumored price is correct, I can only imagine that the GH5 will be getting a permanent $500 price reduction. Now if the GH5s had a S35mm sensor, it would make more sense, but there is no evidence of this and I would assume that the price would be higher than $2499. So I am thinking there may be something more, maybe it will export Raw. Or maybe it won’t have IBIS to separate it from the GH5? I don’t know what they’re doing over there... the EVA1 doesn’t have any all-i options yet and it’s limited to 4K 30p as of now. I’m sure it will a work out on the end, Panasonic usually makes a good product.

I feel the need... the need for L.Monochrome.

Thanks for posting, Goose... It would be really maverick of you to post some video when you get a chance. Lol. L.monochrome and IBIS is one of the only things I miss about the GX85.