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I guess mileage varies depending on how you look at the footage. What I see in it is: pretty heavy grade done but footage looks consistent and hues look right, including skin-tones this indicates that the sensor and profile behave well in the grade and don't get pulled around in unnatural ways - this is a lot less common than you'd imagine and many of the grades I've done end up making different tonal or colour regions of the footage don't look coherent with each other.. saturated edges look fine this is very difficult because doing a strong subtractive saturation operation is very challenging as it stretches tones apart significantly based on their hue. this is especially difficult on edges where if you have an edge of a coloured object against a neutral object then in the space of a few pixels you go from saturation being low to being high, now this wouldn't normally be a challenge because maybe they're at a similar luma level but after the subtractive saturation operation the saturated pixel is now significantly more saturated but more importantly its also now dramatically darker. this will ruthlessly reveal compression artefacts on edges, and is the primary reason that I have to go B&W and blur the absolute crap out of any footage I shoot on the cheap action cameras etc for cheap camera challenges greens look good shots like the dog at 0:54 show deep saturated greens in the foliage in the background, which have clearly been significantly altered. in real life the graduations in greens amongst footage like this are very subtle, and yet the colours in the video look dense and the opposite of stretched low-quality footage, they have a density that is reminiscent of the things that the 5D with ML does very well (but I'm not saying this is at that same level - this video isn't enough to judge that) anyone who has declared war on yellow-ish greens like I have and tried to grade them back into looking lush (or even just not dead-looking) will know the whole thing exists on a knife edge. the fact that you're cooling the shadows and warming the highlights (which this grade does quite considerably) also stretches the greens too shots look to have usable DR in outside scenes in full-sun on surfaces that would be blindingly-white there is an effortlessness to the colours when you look at film there is an effortless coherence to the whole thing, like it was always going to be this way that it would be silly for it to be any other way - the colours in film look like this was their destiny - you don't question it. this coherence is incredibly rare for digital and especially smaller sensors when not given enough light, so although the outside sunshine pics are great, it's the inside shots with the deep shadows that show off a coherency into the lower registers of the tonal ranges. the colours don't cheapen, they don't thin, they don't shift, or become glaring or dull, etc. etc. Hollywood colourists can work low-level miracles, but will be the first to tell you that if the footage is lacking then there's a limit to what they can do - more would be asking for high-level miracles! Either this footage is good and the colourist was a super-star, but considering this is a YT video, I'm leaning on it being a good-to-very-good grade on top of very capable footage. The more I colour grade my own footage, the more I see when I look into the footage of others. -
if you use c4k raw mode on gh7, coupling with a Zeiss s16 pl 10-100mm, it is about 28-280mm ff. there should be no vignette on the tele side. on the wide side, very possibly there is no vignette neither.
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If you using an 8mm lens on your GH5, it will be the equivalent of about an 11mm lens on the GH7 in DCI 4k RAW mode. Open Gate 5.7k RAW will have the same FOV as there is no extra crop in that mode (so an 8mm lens will still be 8mm).
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