zetty

Footage is good enough already! When? DR and ISO performance are probably most interesting to me right now as lots of other details have already been announced or (potentially) leaked. The other thing that I am wondering about is the codec.

Usable DR

Many of us prefer that form factor and modularity -- in fact being a documentary filmmaker, I don't need any rigs at all, just use it on monopod or gimbal most of the time. Being inconspicuous often is the only chance to get your shots and it's always a convenience; plus size matters a lot for a single/small crew production, especially when shooting abroad. Sure, there's no built in NDs, decent audio preamps and useable AF that would improve its run and gun capabilities, but that's not really related to form factor (although it is to the size). Handling wise, it's as convenient as it gets. My previous camera was EX1 and I've never looked back since getting GH4 in 2014. There are plenty of camcorder-type video cameras, why do you want every one of them be like that?

Computer's binary ways can be confusing -- for a moment there I almost started to doubt myself I also hope for a bitrate of 200-250mbps if it's x264 as well, should cover all the extra data and still be a decent increase in overall detail and motion smoothness over the GH4.

Maybe I am wrong in absolute data increase cause I don't really know what exactly goes into describing each pixel but certainly 10 bit value doesn't take four times as much storage as 8 bit value. Computer memory is measured in bytes, each consisting of 8 bits. You can read the whole value as well as specific bits, so to store a 10 bit value, you'd use a byte plus 2 bits of another byte, still having 6 bits of that byte available for the next value (of course, you have to keep track of where your bits are as there is no address in the computer memory for separate bits, only bytes). At most, if you just leave a full byte for the extra 2 bits, it will still take only the double of amount.

Thanks for the insights. From the point of view of how the data is stored, 10 bits is only 2 bits extra over 8 bits -- thus, while providing immensely more values to work with, it doesn't take as much space when in memory. So it doesn't matter if there are more possible values for each pixel, what matters is how much space does it take to store the actual value(s) for the pixel. From your chart it appears that 4:2:2 indeed doubles the chroma information, however the amount of luma information still stays the same. As about the compression doc I linked, it's talking about two things, first about 10 bit source with 10 bit compression being more efficient in attaining the same level of quality than having to pass through an 8 bit codec, and then about 8 bit source being more efficiently compressed in 10 bits due to higher threshold of acceptable error -- but not necessarily about 8 bit output. But indeed, it isn't saying much cause the colour resolution would be lost using an 8 bit encoder anyway, so it's unclear against what quality standard are they comparing this to. I am by no means expert in video processing and codecs, just have a coding background (assembler) and those things interest me (even if not anally so ).

How do you figure? 10 bit certainly isn't that much more from the point of view of how information is stored digitally -- and according to this even saves bandwidth for the same quality result: http://x264.nl/x264/10bit_02-ateme-why_does_10bit_save_bandwidth.pdf And 4:2:2 would only double the vertical colour resolution, so it should only be a fractional increase?

Thanks for the explanation. So I guess the "overhead" values that the camera records must be in the 235-255 range, meaning it is in fact recording up to 255 but marking the files as 16-235 (which is the 100% for the format). Good to know, as I'm about to invest in GX80 as a B/backup cam.

So from what you said, GX80 does actually record 16-255 or 0-255, and Premiere maps it as if it was 0-235 or 16-235.. which seems to be an incorrect interpretation of the data as what's the point extrapolating 235 to 255 and the real values in that range put beyond 255.. 255 is still "illegal" for broadcast anyway.

How it is possible that the GX80 records values beyond 255? That's more than 8 bits. Or does Premiere map 0-255 or 16-255 as if it was 16-235, pushing the values above 235 beyond 255?

Clearly that means IBIS is top-notch.

Judging from the graphic, yes, focus adjustment only on GH4.. Power zoom on Sony.

Interesting addition, a cable that goes into the remote port of GH4 and allows to adjust focus and shutter (why not aperture?) from your phone via bluetooth connection. There is a version for some smaller Sony cameras too. I wonder if the joystick and/or the bluetooth remote could be used for control as well..

Bit late but yes, I have one and it works great since a couple of firmware updates back. The motors are powerful and my GH4+12-35mm even with the most basic balancing flies nice n easy. The balancing is a breeze, especially since you don't really need to attain the perfect balance for smooth operation, perhaps unless your payload is close to the limit. I am not fond of the levers used for adjustments though, and in particular the fact that there are two of them for each adjustment. I have been taking DS1 around on travels and although build quality isn't perfect, I found the gimbal quite reliable and robust while using outdoors in various weather conditions. Although one of the motors did break once (I suspect it turned on in my bag accidentally, have been always removing batteries while carrying since). It was relatively easy to arrange the repairs through TRD and the service itself was inexpensive too ($25), however I had to ship it to China, which cost me like £50-60 back and forth but was surprisingly quick. Maybe if you buy from a local dealer they will do it for you, however mine was already bought second hand. Pondering if I should upgrade to Crane at some point.. The long handle being the biggest turnoff. I am quite happy with DS1 except that I am hoping I could gain even more stability with Crane: the rough ways I use my gimbal could benefit from encoder technology which supposedly makes it less affected by disturbances.

True, but if you're going for a hackjob might as well just watch the levels or turn on the limiter.. As about scratch track, I have been able to sync easily even with subject being quite far from the camera (mind you, only manually though) -- under really windy conditions though it might become a problem. But what are we even talking about here I agree, it's better to have the mic jack, all I am saying it's certainly far from a defining feature or deal-breaker for me. Now, the new GH5 hotshoe audio interface looks really promising, as it seems to feed camera directly with already digitized data. Is the standard hotshoe capable of data transmission like that? If so, it could potentially work on GX85 too, perhaps with a firmware update?

Not in my experience, at most I have accidentally pressed DISP on GH4, while on 5D I've pressed REC on and off at the most inappropriate times during run n gun shooting. I think GH4 is the most ergonomically sound mirrorless/DSLR type camera for video shooting including the "mental ergonomics" of it -- there's no quirk that drives you crazy like with some others.. It's very solid throughout and it looks like GH5 has built on it, which is great.

I don't see anyone, who cared about audio would record through any mirrorless' ADC/preamp. And even if they did, GX85 could be a great B cam which makes absence of common profiles even more regrettable. It's smaller and cheaper than G85.

While I agree completely about the resolution, isn't motion entirely dependent on the framerate and shutter speed? What else there is to "get it right"? 24fps is just naturally very limiting in what kind of motion can you do..

This is about Lumix Vario 12-35mm but might apply to other lenses as well.. After heavy use of a couple of years, the focus ring has became somewhat rusty and uneven. Is there any way to make it smooth again bar returning for servicing to Panasonic?

Actually mine was scratched and it cost very little to replace -- obviously they didn't need to replace the whole of it, just the plastic "glass". Can't recall exactly as I was paying for other repairs and it was nothing on top of that. Labour here in the UK was £50+VAT though, so you always pay that regardless of the cost of parts. Also £20 to ship it back n forth..