Mmmbeats

And just to state the obvious, in case anyone had overlooked it, you could also use a 'smart' adaptor (with electronic aperture control but no optics) for the same reach advantages, but at a heftier price.

I feel like a bit of a 'dumb adapter' myself, for only just realising the potential of the 18-35 on a non-speedbooster adapter ?.

Useful info, cheers. Yes, after giving it a bit of thought, I'm now leaning back towards the GX80. Unfortunately the GH4 will have to go to part finance the GH5S (it's all a bit complicated!). Useful advice in the rest of your post, thanks.

I'm all manual focus, no auto, would that work with the 14-35? What does BiF stand for?

Thanks. Well, yes, as well as the upgrade (GH4 ---> GH5S), I'm also looking for a backup/ b-roll/ carry-about camera. I had my mind set on a GX80 (GX85 European naming). Can't believe I hadn't considered the LX100. Am now reconsidering.

Nice. But I think the 24 - 70 L looks superior for what ends up being a similar range. Totally agree about getting a non SB adaptor. Can't believe I only just considered it. Looks like a nifty compact. What thread were you discussing it on? Thanks. Yeah, that pretty much confirms my list really. GH4 / 5 also have Ex Tele Conversion mode, which extends view by cropping in to the sensor. Can get a bit noisy though. I think there's only a limited version of that on the GH5S ?. Thanks, yeah, I had listed the 12-40. Strong contender.

For events and fast-unfolding coverage I currently use the trusty Sigma 18-35 f/1.8, and a Samyang (Rokinon) 85mm f/1.4 on a GH4 with Speedbooster (S version, similar to Ultra). That combo has served me well, and I'm happy with just about every aspect of using them, except - lens changes is now driving me crazy. It's an inconvenience at best, and at worst means either making creative compromises or missing vital shots. I'm looking for a general (widish to portrait or even tele) zoom to take their place. I'm upgrading to the GH5S at some point soon, too. I have the following requirements: Manual focus (no focus-by-wire) Constant aperture Minimum f/2.8 (f/2 or more even better) Weight, size, not really an issue (within reason!) Zoom range replicating as much of my current available field of view as possible Apologies in advance if the following contains mathematical or conceptual errors! For reference, my current set-up covers: 18mm - 35mm on the Sigma w/SB, so that's ≡ 29mm - 56mm (FF), and 85mm on the Samyang w/SB ≡ 136mm So, here's some lenses that' I've considered so far: Olympus ZUIKO 14-35mm f/2.0 w/ 4/3 adaptor ≡ 28 - 70 This is an out-of-production FOUR THIRDS lens that I got interested in. It's the only viable f/2 zoom I could find. Bit of a scary purchase though, as it is both expensive, and out of production (there are a few around though - B&H lists it as new!) Sigma 18-35 f1.8 w/ Active adaptor ≡ 35 - 70 Then I had the inspired idea of taking my Sigma off of the Speedbooster and sticking it on a regular active EF-MFT adaptor. That would give me extra reach at the cost of some light sensitivity (not such an issue moving to the GH5S), and save me a ton of cash compared to buying a new lens. Samsung16-50mm f/2 -f/2.8 S w/ (sadly non-existent) adaptor ≡ 32 - 100 This breaks my 'constant aperture' rule, but I'd be willing to make an exception as it essentially adds in a bonus f/2 where ordinarily there would only be f/2.8 through the range. Despite being theoretically possible, I don't think there are any Samsung --> MFT adaptors out there ?. Olympus M.ZUIKO PRO 12–40mm f/2.8 (native) ≡ 24 - 80 On to the more obvious choices. Nothing wrong with this lens, of course. Only thing holding me back is the f/2.8. I'm not one of those people that plasters everything with shallow DoF shots, but I like to have (and have become used to having) the option when it enhances the production. Canon EF 24-70mm f/2.8L II w/ SB ≡ 38 - 112 I think this is currently my favourite option, because I like the zoom range, though obviously the f/2.8 limitation is irksome. So, any thoughts? Any lenses I've missed out? Am I going about this all wrong? Does one of the above stand out as a winner?

4K? 10-bit? Low-light? Budget limit? Surely that's a no brainer. The GH5S is the only fit (until the BMP4K arrives). Don't know what you've heard, but it's a fantastically capable camera.

Do you have any detailed info or a link about the differences between the 5000 'Classic' and the 5000 RF? I'm thinking about getting the classic, but want to know more about the CRI change you mention.

Getting quite tempted by these. One note though - don't go diving with your 8000, as unlike the 5000, it's weather-proof rather than waterproof!

I did some measurements that confirmed this. The Stella 1000 is significantly lighter. Stella 1000 : Fixture alone (including internal battery) - 310g With Fresnel and AC power supply - 530g Boltzen 30W (Daylight) : Fixture alone - 990g With AC power supply - 1550g With Sony battery also (NP-F770) - 1770g However the Boltzen is a much more powerful light, so perhaps the comparison is a bit redundant. Except that people are using them for a kicker / accent light, so if weight is a major concern (as it is for me) then you might find yourself looking at these two units in competition. Lux at (1m / 3m) : Stella 1000 @ 25˚ - (1000 / 113) Boltzen 30W 15˚ - (18784 / 1889) I've used the manufacturers claims for the output, rather than my own measurements.

I think for a kicker / accent light the CRI (90) is fine. The thing about the internal battery is that it's so light you can almost forget about it's existence. I haven't verified this, but I imagine the Stella with internal battery is lighter than the Boltzen even without an external battery attached! As to the personality of the CEO, I couldn't comment. These things put me off companies too from time to time, so I can sympathise. As you may know, they are bringing this all to film from their origins in scuba lights, and I think there are some innovations emerging as a result.

I've actually gone with the Stella 1000 for this purpose, because of weight. I had originally gone with the boltzen, but it's just a bit too heavy, especially when you add on batteries. The Stella was a pricey buy though.

Would it be possible to use a SATA ---> USB 3 Caddy enclosure, so everything stays permanently in place and you're just swapping out drives?

Yowsers!

If I'm understanding this correctly it actually sounds quite interesting. Are you proposing a strap or sling that would alleviate arm fatigue in a hand-held (or, I suppose, chest rig) setup? Got a diagram?

Does anybody have any experience / info on the battery life of the GH5S compared to the GH5 and GH4. The GH4 has *insane* battery life, but the GH5 has significantly less, which we were told was largely due to feeding IBIS. How does the GH5S rate on that scale?

Any chance you could explain in simple terms what the difference between the two methods is?

The author admits that his resolution calculations are speculative. That won't have affected the outcome of his tests though.

I don't have time to go back and like all those posts, but just to let you know - I like all those posts!!!

One thing to note about Mitch Gross is that he's the *cinema* production manager at Panasonic, and as such has no responsibility for the GH5 or GH5S. I don't know what the context of that comment is, but I've very rarely seen him drawn into comment on the consumer range. He is someone who would likely know what they're talking about on this topic though. I believe he spent the previous while working for atomos on their recorders.

I don't think you do. Never used the codec, but as it's fully supported I imagine you can just import the files like any other format.

As far as I know ProRes is not supported in Windows via any properly licensed means. There are a few apps that convert or support it, but I don't think they use an official licence (from Apple) so it's all a bit dodgy.

No, I think you were right first time. It's ProRes that is difficult to implement on Windows, not QuickTime files themselves (which work just fine in Premiere). I'd learn about DNxHR flavours if I were you, as it is no longer just an Avid-facing format as far as I am aware. I use CineForm as an intermediate codec, which works very well for me, but would add a transcode to your workflow that you probably don't want or need.

I'm excited by the GH5S to the point that I'll probably pick one up this year. But one thing does trouble me a little... Somebody on here a while back (sorry, I have searched but I can't find the post) was ranting about the noise reduction leaving a soft, waxy image. I kind of dismissed this, as I'd seen, and am continuing to see, so much excellent footage from the camera. However, some of the images that I see that have been marked as being 6400 ISO and higher do seem to suffer a bit from that 'noise reduction smoothness look'. Any thoughts or experiences?