mercer

Man, I would love to be able to get the high bitrate all-i 1080p on a 5-axis camera. I recently tested the FZ2500 again and I just love that 200mbps and CineLikeD, but I'd love it better with interchangeable lenses, on a bigger sensor, and 5-Axis IBIS... and the big AND... less than a thousand dollars.

Fair enough. How many more stops of DR does VLog give compared to Like 709?

Why not just use Like 709 Profile?

Can't you just use a preset WB, film the grey card at the beginning of your take and then use the picker tool in Color Finale Pro to give you middle grey... or 18% grey... whichever it is?

Nice work, John... I loved the second to last shot. I really enjoy the intimate stories you portray in your films. If not for you, I would never know of this couple in Hiroshima or the Harley subculture of Japan.

Okay John, one last question about the 1080p... did you use Digital IS in this video along with the Sigma's OIS? If so, is there any crop?

I don't remember if this was asked, but can you also change the parameters of CineLikeD... dial down sharpness, noise reduction... ?

Gotcha, that makes sense. That a7s is a wicked tool. Some of the nicest 1080p video I have seen online was shot with an a7s. I came across this video a few weeks ago. I'm already heavily invested in Canon and ML Raw, but if I hadn't been I may have picked up an a7s based on this video alone. This guy used sLog2 without any profile modifications... He used a Minolta 35mm 1.8... which is one of my favorite lenses of all time. I had to sell it a few years back because I needed some extra cash... I still regret it. That 24mm of yours would look good under similar lighting, I would think? It may look nicer.

It looks nice. Good separation and pop for a 24mm in low light. I watched the duck video earlier. Same thinking as this one. Smooth zoom too... that clear zoom is pretty slick. That's also some pretty good color... what profile are you using with your a7s?

It seems like it has every command for every camera. I saw the 200mbps mov options in there. I assume there is some piece of code which communicates which camera the app is communicating with? I wonder if there is a way to trick it if the code could be singled out? I assume a GH4 would be needed to figure out that one line of code... plus a whole lot of time. Pretty cool stuff. Good job @BTM_Pix !!!

VLog is there. Is it possible to change the enable option between <> from no to yes? I assume you cannot change the HTML code, just enable what's available?

Haha, not a bad idea. You could probably just use the picker tool in Color Finale Pro on your white t-shirt and get a pretty accurate balance.

There's that damn 24mm f/1.4 FD that's been haunting my wallet. Do you have any videos with that lens?

In my opinion vintage glass has more character to the image. Sometimes that character can lend to a more cinematic look. Different lens brands are known for different properties. My recommendation if you want to try out vintage lenses, the first get is a Takumar. They're inexpensive and insanely well built. The 50mm 1.4 is a nice lens and also the Takumar 35mm f3.5 is an amazing lens. If it's too slow for your tastes, then the f/2 version is really nice as well. Minolta lenses are amazing. Just the right amount of sharpness and character. The 35mm 1.8 is probably the silkiest, creamy lens I've ever used. Also the PG 50mm 1.4 lens could be the nicest 50mm lens ever made. The next step up would be Canon FDs. Their L series are epic. There's a 24mm 1.4 that I've been drooling over for years. FDs are known to have a very cinematic look. The next step up and in some ways the most cinematic of the photographic lenses at a modest price point would be the Nikkors, then the Contax Zeiss. I didn't even mention the Soviet lenses or the East German lenses. Just be warned... when you start using vintage lenses, it can easily become addicting and there is a very good chance you will not be interested in those modern, clinical lenses of yours any longer.

Or possibly if a DSLR had 15 stops of DR with filmlike highlight rolloff... plus everything else you listed...

Again, under the right circumstances, specifically a good shooter and a great colorist, the GH5 is awesome. But those videos did nothing to prove to me it's as good as a Red. In fact, I thought the Red was staggeringly better... specifically in the shot that showed the cloudy background. The color separation and depth in the Red shot blew the GH5 away. With that being said, I'm sure the GH5 is a more enjoyable shooting experience, so if you want to put that into the equation (I wouldn't) then yeah... the GH5 is better than the Alexa too. Anyway, I am going to politely bow out of this conversation because it is starting to go somewhere mythical.

Do you have an LX100? I wonder if it's possible to get CineLikeD on that one. Also, I believe it shared a sensor with the GH4, so maybe the high bitrate, all-i 1080 is switchable via wi-fi as well. Now that would be cool.

Haha, nice one. Is it difficult to switch it on, via wi-fi, if you cannot make it permanent? I did a test last fall with the GX85, L. Monochrome and a Rokinon 12mm lens. And the combo was great handheld. It almost kept me from selling the camera, but a $700 camera + a $300 lens was a bit much to justify a B&W only camera... I don't really like any other Panasonic color profile, other than CineLikeD... so if this is possible and permanent, or easily switched on when needed, I may have found my simple 4K camera.

This is the first video that OliKMIA posted by Wolfcrow in this thread and the video I have been referencing. As far as curing the banding and magenta blobs, yes obviously 10bit fixes that... we've known this since VLog was released for the GH4. The question is... is the bitrate actually high enough to yield all the benefits 10bit is supposed to provide? 10bit 4:22 video wasn't designed to merely fix banding and magenta blobs. But maybe that's the only reason Panasonic included it internally with the GH5. But yes... compared to a Red... the GH5 is an iPhone.

So, this is really cool. When you turn it on, does it stay on, or do you have to "flip the switch" every time you turn the camera on? Also can you try, over wi-fi, for a mic input to appear...

Definitely, that's one of the reasons I'm excited to see it come out. I think there's enough room for a 5D4 and a GH5 in today's market and both are great tools for the right job.

Man kidz, you really make that Panny sing. You should be shooting features with that thing. I think we could use a 2017 version of mean streets shot in your style. I'll probably get booed off of this thread, but I'm even intrigued by the 80D and its 96mbps all-i 1080p. With Canon color and DPAF, it seems like a great camera in the right hands. If only it had 5-axis.

Yeah, I will say that CineLikeD on the G7 was wonky but on the FZ2500 with the all-i 200mbps mov it was gorgeous. I wish Panasonic would give us that 1080p on a $1000 or less camera with interchangeable lenses.

Honestly, I am not versed in the intricacies of compression and I am totally out of my depth here, but mjpeg may be inefficient but it still is a solid codec that edits easily with good motion cadence. I am curious about the 8bit vs. 10bit argument as well and I am eager to see the high bitrate firmware update... as I said earlier, I think it could be epic. We will see. The whole first half of the video went over the calculations in graphic detail. Now maybe that is fuzzy math, as I said, I am no expert in compression, but that math seems awfully similar to the math used to negate the benefit of high bitrate all-i in the GH4 and GH3 before it and it was treated as gospel if I recall. But also, let's be honest here... the GH5 is not as good as a Red or an Alexa... it is merely the best sub $2000 camera ever created and I am sure there will be AMAZING work produced with it... that should be enough.

Countless people used the same math to argue against the benefit of high bitrate all-i on the GH4 and GH3 before it... why is that math no longer valid? And just because Wolfcrow is not supporting the narrative you want to believe doesn't negate the dozens of tutorials and contributions the man has given the video community over the years. However, on another note, I do find it humorous that so many people are commending Panasonic for giving us high bitrate all-i 4K, but when Canon did it, they were condemned for the huge files. But honestly, in the end it really doesn't matter what I or Wolfcrow or Max Yuryev or anyone else says about the GH5, if you're happy with your purchase and your results then that is all that matters. There is no doubt the GH5 is capable of helping to create great videos. It is a groundbreaking tool and probably the biggest gift to indie filmmaking since the 5D2, t2i and GH1/2.