mercer

BH has the G85 Body Only listed as discontinued? Hmm. Does that mean a new model is coming out soon to replace it? https://www.bhphotovideo.com/c/product/1280825-REG/panasonic_dmc_gm85kbody_lumix_dmc_g85_mirrorless_micro.html

Nah, only on my Zeiss Master Primes.

Man, that sucks... you should have just used toilet paper or a sheet from a dollar store roll of paper towels. I like to use Kleenex... especially the kind with lotion built in. No, but seriously I've used a Q-Tip before too but only after I used it in my ears and picked it out of the trash the next day...?

Competition? The FS5 has it. The Ursa Pro has it. Without it, what benefit is there to get the Panasonic? And unless the camera is going to shoot 12 bit 4K at high frame rates, what would be the benefit of paying $4500 more for this camera when you can get a GH5?

Yeah 48fps would be great. I tried it the other week and although I did get it to work, it was at such a low resolution, I almost think the 60p from my D5500 would have looked almost as good... probably not... but it definitely didn't seem worth the trouble. Have you tried matching the 60p Micro footage with ML Raw? I wonder, if it is simple enough to color match, if it would be good enough for short shots... especially close ups, B-Unit shots?

Our conversation got slightly side tracked, but even if most amateurs can't afford to shoot Raw, it doesn't negate the fact that Panasonic should include it in a $6500 camera. Either way this is all conjecture at this point and we will know more in a few weeks.

I know I am in the minority here, but AC or DIT duties do not exist in any kind of production I am currently working on and to be honest, the idea that people like me, with all of the available equipment to make a professional looking movie, at our fingerprints, are treating their productions as if they were filmed on a Hollywood lot is completely nonsensical to me. But whatever, not really my place to judge other people's scenarios. But again I'm a hobbyist that works with friends and first time actors. The goal is to get in, get the shot and move on... a 3:1 shot ratio at most. I have enough cards to get an hours worth of footage and it's highly unlikely I will ever need anymore than that on a day's shoot. I get why Raw would not be possible on low budget films when you have a Line Producer breathing down your neck, and every minute is scrutinized before lunch is called... but I don't have those limitations. But I also see your point for my scenario where a simple production workflow could be more beneficial... it all depends on the project and schedule. So to get back on topic, I still believe with the rumored cost of $6500 for this cineX Panny camera, it should output Raw, especially when every other camera, at that price range, shoots external or internal Raw. Just my opinion of course.

That's not too bad to get that look... especially in FF. I assume you shoot in 2:39 or 2:35 to assist in the faux anamorphic? The screengrab of your daughter in the foreground looks great by the way. I swear ML Raw can make any shot look cinematic. After having it for a few weeks now, how do you like the 5D3 compared to BM Raw?

Yup all of their best material they have been honing for years shows up in their first album... if they can make a halfway decent sophomore attempt, they have a chance.

Definitely. I almost think I should preface every opinion I have as... I'm a hobbyist with dreams and no real deadline.

Haha, we are still talking about two different kind of no budget productions. The kind I am referring to has a budget of a grand, follows Dogme 96 rules, is literally a ONE MAN band production, from writing to shooting(I am the crew) and editing. If it takes an extra 20 hours to process the footage, it's my time. So for me Raw makes sense... or a camcorder... LOL. Seriously, I would shoot Raw but if I thought that would slow the production up too much, I'd shoot it on a bridge camera... 65mm or S16... LOL.

Not really if you think about it. If the C100 Mk ii is selling good, then why update the model? Now it's time, I guess. As easy as it is to release a new update every year, it cannot be a sustainable business plan for the likes of Sony. Even a two year cycle goes against tried and true product line development over the last 50 years. It really wasn't until electronic corporations that were cross marketing products between different divisions did this business model change and it only started happening in the past... 10 years or so. If Canon doesn't want to release a new camera every other second, they shouldn't have to just because Sony does. Slow and steady wins the race.

Your first example with the through the glass rack focus is a wickedly cool shot and completely impossible with any AF... I don't even think Canon's DPAF could do it, but that's the only AF that would even come close to what you're describing... but we already know that nobody on this site would dare shoot with a Canon DSLR even if it's their best bet for the AF they apparently need and require. If their work requires AF, then get an 80D because the GH5 will not help them. I work in the trade show industry and the overwhelming majority of videographers I see shoot with a Canon DSLR... the reasons are obvious. Hell, to be honest, if AF is important to a narrative filmmaker, most likely their work will be shown entirely online, a place where 1080p is more than enough, so get an 80D and be happy with great AF and place your efforts on story. Or if they still desire better IQ and great AF, then get a 70D with ML Raw.

Always the voice of treason...

I think you forgot a few "smalls" ? But yes I completely agree with your statement. I don't mean to pat myself on the back here, but without shooting Raw on the 5D3, I never would have gotten an image close to what I've been getting. And when you're shooting completely guerilla style as a one man band... every little bit of IQ helps. For instance, I know this isn't the best image in the world, but I would never get this level of skin texture with an h.264 codec... Even zoomed in, the actor's skin looks better than anything I've ever captured. So for someone like me, a shooter and colorist with a minimal amount of skills, and productions like mine, with a minimal amount of self-funding, to be able to do a minimal amount, or a simple but extensive amount of LUTS and still get an image that doesn't break proves just how effective Raw is for no budget productions. IMO. YMMV.

I had a BMPCC and an RX10ii as well. I never had any luck with the two BMPCCs I had... the first one was defective... it got blazingly hot to the touch and the second one I bought on eBay from someone who said it was new but when it arrived, it was definitely used and not worth the price of admission. The RX10ii I really liked. With the GFilm settings or the Flaat settings, I was getting okay colors but as a whole, the camera just wasn't a perfect fit for me. The GH5 should be awesome for you and for anybody serious about video. I wouldn't recommend it to a beginner, but since you obviously aren't one, it should be awesome. I just decided I didn't need two $2000 cameras. Most of the features that intrigued me most about the GH5 are in the FZ2500. But I don't make a living doing video work, so I guess I kind of have the luxury of trying different cameras every now and again... sometimes out of boredom and sometimes out of need. I hope these two cameras will fulfil my needs for the next year or two.

Thanks but I don't use AE and to be honest I decided against the GH5 for the time being. I actually just bought another FZ2500 on the cheap. The 5D3 already fills most of what I need in a camera and then for anything quick and dirty, I'll use the high bitrate, all-i, 1080p from the FZ2500.

So if you were shooting a no budget indie feature on a BMPCC/BMMCC today, you would shoot it on ProRes instead of Raw? It's like someone else wrote on another thread. Most productions shot in 4K are either big budget or extremely low budget.

The Voigtlander 25mm may be one of the nicest lenses I've ever used. The mix of modern/visual IQ with such a fast lens can be both breathtaking and utilitarian for a single lens. Would love to see the 17.5mm or 25mm used with an LS300 with the prime zoom function... hmm... maybe I should make that happen.

Really nice work here. It has that classic Panny look... the good look. Which lens(es) did you use and what picture profile?

Looks great! Speedbooster? Is that a push/pull zoom or does it have a zoom ring?

The colors look good but the skin is the issue... not the skin color but the texture. Otherwise, it looks great and I suspect some really great work done with the GH5.

Multi million dollar productions don't need Raw because they have so much other budgetary freedoms. It's us indie filmmakers that need every little bit of IQ help we can get. How do you compete against the FS5 and BM Ursa Pro at the same price range when they both shoot Raw? After using Raw in my current short, I don't think I would shoot anything but for a serious project. For smaller 2-3 minute pieces, yeah I would love a good solid space saving codec... probably 4K but that may even be overkill.

I am not here to knock the GH5, as I don't own one and cannot speak first hand about its quality. I may still purchase a GH5 someday. I cannot deny its allure. I have seen some insanely great work from it, yours included. The motorcycle video that Emmanuel posted the other day is also some of the nicest video I've seen from it, but there seemed to be a growing consensus, based on your labor, that the GH5 is better than a 5D3 with ML Raw and I believe they misconstrued the point of your work here. Or maybe I did. Either way, nice job. And food for thought.

The 80D is just about price reference and how Canon gets hit with a double standard more than Panasonic or Sony gets hit for the same tactics. The point of my post is not what is better, it's about what you are getting for your money. And in my opinion $6500 for a cinema camera that doesn't shoot Raw is not that great of a deal. The G85 is also a great camera. But there is a major price gap between the G85 and GH5. It almost seems like Panasonic doesn't know what they're doing. It benefits a lot of people, but these price gaps could also have a negative effect on brand loyalty. Take Canon for example... if you are a Canon shooter and you started with a Rebel series camera, you've bought into their ecosystem with some good primes and zooms but you're ready for an upgrade, you can buy an 80D. When you're ready for another upgrade, you can buy a 7Dmarkwhatever, then a 5D? Or a C100mk? Or a 1DX, etc... With Panasonic you can start with a GX85, then go to a G85, then you have to take a big jump to the GH5. At this point most buyers have accrued some native lenses and maybe they're ready for another jump... but the next logical jump is this cine camera that is $4500 more than your current camera and it doesn't use your lens collection... UMM?!?! So, JVC here you go...