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The GX80 finally arrived in Norway too. First impressions are really good and stabilizer is truly amazing! If anyone is building a rig with an external monitor please share some images of it.

No I'm good I'm going to release soon

Hi Andrew, I am looking forward to your next part on the GX85/ 80/ 7 markii. If you could please test: 1. Image sharpness with a lens like the Leica 42.5mm f1.2 or 25mm f1.4, especially on comparing it with the GX8 and GX7 would be great. 2. Some high photos from sporting events or any high speed action would be great. Especially compared to other Panasonic or Olympus cameras. 3. Video recorded into Blackmagic 4k Monitor would be greatly appreciated. I am curious as to how well it holds (and grades), including the mic preamps on that one. And, how it compares to everything else on the market.

People always say - if only there was a camera with Canikon's colours, Olympus' image stabilisation, Panasonic's usability and Sony's features. Well we're getting close now with the GX80 and I think I can plug the gap on colours. In the past I have actually shot the GX7 on jobs alongside my d5500 and (now sold) canon c100 mk ii. It is hard matching those cameras up and is part of the reason for why I'm so obsessed with grading and creating LUTs. Anyway with all that said.. I have been spending long hours the last few nights trying to conjure a LUT to end them all. I think I am very close now. It is a LUT that makes your Panasonic video look like it was shot with the Nikon. But I need more footage to work with. If people could do me a favour and send me footage from their GX80 and G7's I would be very grateful. Most convenient places to upload them is to Dropbox or Google drive. Either post them to this thread or send me a private message. I would like unedited clips. Would be helpful to have footage from a variety of lighting conditions too. Please do send well shot stuff though... not overexposed with the camera going all over the place.

Coming from editing H.264 files over the years, editing Pro Res from the BMPCC is a delight. I love the codec, and don't mind the size at all when you factor in the speed and smoothness of editing. I'm a huge fan of the whole Pro Res capture + edit workflow and I can totally see why so many shows still just shoot Pro Res with the Alexa. Agreed that the C300 .mxf files are a good happy medium. Higher quality but still cut like butter.

The Alexa is still king as the Alev III sensor is still the best tech available (designed by Cypress semiconductor, now part of On Semiconductor). It's heavily patented, thus not easy to compete via 'low hanging fruit' (e.g dual voltage sensor read out for high DR low noise). We considered the Amira and Mini, however Canon's PDAF is very useful for our kind of work, and frankly ProRes is ancient tech compared to the latest H.264 codecs (ALL-I and IPB). It's very useful for long-format live shoots to have lower bitrates with very high quality, which H.264 can provide and ProRes cannot. ARRI hardware is very, very power hungry, using custom FPGAs and perhaps not having Sony, Canon, and Panasonic's more advanced VLSI ASICs tech/fabs to reduce power requirements. This means when no AC is available, many large and expensive batteries are required. ARRI is kind of like Ferrari- top of the line, but with significant support costs to operate (don't ask what a brake job costs on a Ferrari with carbon-ceramic brakes (rotors & pads: $30K)). It's interesting to note that most external recorders don't support the Pro H.264 codecs (10-12 bit, ALL-I and IPB). Video Devices just added H.264 support: http://www.videodevices.com/products/portable-video-recorders/pix-e5 . This is a welcome addition, however the bitrate is very low (10Mbps, probably 420 8-bit). So cameras like the C300 II with PDAF are currently in a sweet spot: near ARRI color and DR, but with PDAF, much lower energy/support costs, and super-high quality 50Mbps 422 10-bit 1080p. The FS7 is also pretty good with color vs. ARRI, has small H.264 files, but no PDAF (the next Sony will likely have this feature). For low light shoots, the A7S II is currently an unmatched value (the Varicam/LT is probably the best pro-level low-light camera for the money right now).

Very cool stuff, so you merged together a Canon EF 40mm STM and a Cinelux ES 2x and now you have a working FF autofocus setup? How did you manage to align all of the elements so precisely, I'm guessing this is more involved than a it seems. Did you need any specialist gear or was it all done by hand? Are you going to post instructions or a tear down so that others can try it out too?

Thanks man! works perfectly, even at 2% of grain!

At wider apertures, 45mm also covers the FF 2.40 area.

Once a month I come here update with new shoots and stuff, everytime I get here, im disapointed to see this thread so dead, cmon people! Lets share those incredible NX1 shots!

You can also keep it in manual mode, assign s-af to the back button to get s-af during recording (like the G7 but not the LX100 for some reason). That is what I sometimes use if I lose focus or I am having trouble seeing peaking.

I only own the FD 50mm 1.4, but I used to use the EF version quite a bit in years past. It is not a very well regarded lens. For video use the focus throw will be much shorter than the FD, and of course only electronic aperture as well. I'd stick with the FD.

I attached an example taken with the A7R2. OutofCam, then VisionLog, then VisionLog+M31LUT.

I feel the same way 180mbps I only need as well. Thanks again everyone. Loving my NX1 on 1.40 with bitrate hack Hi forum and community members .I Have a question yesterday I try recording in 1080p 120 slow motion and with the 180mbps using pro mode but the video is not slow mode 120. I was using Sutter speed 1/125 does that restricted the 120 slow mode or is it the bitrate hack. Thanks for the help.

That's a joy to grade. Thanks for sharing!

Just bought a 1DC for an affordable price. Pretty pumped to start shooting with something that seemed so out of reach a few years ago.

Don't it though?! Shhhhhh........secret weapon.

Did a shootout with 1DX II and 1DC in a park today, had a quick look at the files when importing them. Here are the preliminary results: 1. Full frame HD video 24/30p they are the exactly the same quality in terms of sharpness and detail. 2. 1DX II 60P/120p are softer than HD 24/30p, but very slightly better than 1DC 60p. 3. 4K mode they have exactly the same quality in terms of sharpness and detail. 4. 1DX II and 1DC have about the same dynamic range when using neutral profile (0, -4, -2, 0), 1DX II has more chroma noise in the deep shadow but less pattern noise (vertical stripes). C-log on 1DC gives a lot more highlight headroom. 5. In neutral profile 1DX II is warmer and slightly desaturated than 1DC. Original clips from the camera will be available for download.

Always loved this Alexa highlight reel:

Waiting for your video...

I have both the GX80 and A6300, I much prefer the Panasonic so far.

The aesthetic feels empty. The 1" sensor with the fixed lens is soulless. Focusing is a nightmare. Good luck pulling it from subject to subject! Slog2 is only good in bright daylight. Lowlight is terrible. I've read on a couple of reviews it's great upto 6400. More like 400. Slo mo mode is far too limiting and looks pretty bad. It does a lot of things but none of it particularly well. Sony A7SII is a great tool in the bag. It's a difficult camera to use, however really stunning quality is achievable. Major downsides are battery life, white balance accuracy, 120fps mode is heavily cropped and really amplifies noise. I think I'll always have an A7S model in the bag

There's been quite a lot of people comparing the A6300 and the GX80. Here are my thoughts: I considered the A6300 back when it was introduced, but I concluded that it just had too many problems (they have been mentioned before in this thread). The killer for me was the price in mainland Europe... for some reason, Sony wanted us to pay a much higher price. I thought the G7 or even a 3-year old GX7 would have been a better value choice. I ended up getting a GX7, but the GX80 was announced; so, I sent the GX7 back and got the GX80. I'm quite happy with it now. I'm sure the A6300 is a competent camera for stills and video, but at that price with all of its problems? No thank you. One could also make an argument in favor of MFT for the lens choices too. Hope that help anyone looking to choose.

I think the blue filter lets through less light. Another thing is that depending on the light, there can be very little blue.

Got my GX80 yesterday. Switched it to 30p/60p and did a few test shots. Image stabilization is incredible. Used the 14-42mm and the collapsible 12-32 vor the first shots and it s really amazing. Now handheld shots really become usable for me. Continuous AF is for sure not as reliable as on the a6300 or the 70/80D but that is OK for me. Tab to Focus works can be used in two ways which is not really described in the manual: Set Continuous AF to OFF. Set AF to AF-S: During recording or before, tab on the screen to select the area you want to focus at, push the shutter button halfway to engange focussing. Set Continuous AF to OFF. Set AF to AF-C: During recording or before, tab on the screen to select the area you want to focus at and the camera performs a focus transition from the current focus setting to the point selected (no shutter button action involved). The (not really expected but) appreciated behaviour is that the camera only does one focussing action. If you move the frame and your focus selection point to a blurry part of the image the camera will not try to get focus again. Probably because "Continuous AF" is OFF. From what I saw in the first shots the transitions are pretty smooth, especially for a CDAF system.

This is why I like the UM46k so much. Set to Film mode with Rec 709 LUT, and shoot. It's nearly impossible to botch exposure or color.

I work in a rental house and see Alexas, Amiras and Minis fly off the shelves all day long while F55s and Dragons sit in their boxes. And it's only increased as the attention has turned to the newer models and the original Alexa has come down in price. People who might've once settled for a prosumer-style digital cinema camera like the C300 or F3 can now afford to hire an Alexa, and many do without a moment's hesitation. It's the only camera that really operates on a "what-you-see-is-what-you-get basis". The Canons come close, and the Reds and Sonys are a hideous mess of LOG profiles, LUTs and complicated menus. And one thing I can say for certain is that the Alexa is the only camera that is dead-on with its ISOs. ISO 800 on the Alexa is a true ISO 800, seven stops over and under middle-gray. The Canons and Sonys are somewhat faster. The FS7 in particular is way off. I would reckon that ISO 800 on that camera is closer to 1600. Meanwhile, you can take the Alexa out of the box, hit LOG-C on 2K Prores, pull up the Rec.709 LUT on your monitor, light the scene using your light meter like they did in the good old days, and go home with an image that can look good without requiring any special color-correction sauce beyond gamma and color tweaks. And it holds up on a 40-foot screen, And it never breaks or fails. At my workplace, we practically never receive customer support calls regarding Alexas. They come back in perfect condition and our technicians turn 'em around in a matter of minutes. Meanwhile, these Reds are making my co-workers tear their hair out. Simplicity, reliability and raw image quality independent of specs and numbers is where it's at. Arri gets this, which is why they keep winning despite the exorbitant cost of their products.

Try Lock&Load by CoreMelt.

I don't know... Am not really sure why people expect so much from Canon? How many times do you have to get rained on before you bring an umbrella? I mean... They have outright said they are delineating their camera lines. They have outright said their issue with 4K was solving the overheating issues. But one thing is for sure, when they do have all the bells and whistles that Sony cameras have... They will work.

ouch. But the thing is, it's not really "the same in photo"- shooting still photography is a whole other beast than shooting video, in many ways. AF is great for stills because it's one static image. AF for video is irractic, having to choose 24 times a second what to focus on. I'm sure it will at some point get good enough, but there's a reason why focus pullers still exist, why AF isn't used for movies or television show.

so what going on in there

No mater what, you have to adjust both lenses. What I do (or did before I got the Rectilux) is estimate the distance to the object, set both lenses to that distance, then tweak them both until it's sharp.

I never shot at F22, neither F16. I am not doing a paid project here, just a personal project for myself as a travel video. I can see the difference between 1/50 and 1/500 but I do not care since the result of my video above please me and I feel that if all would have been shot at 1/50 with a bunch of hassle ND filters to screw/change all the time then the result would have not made a difference for me to like the video more. What it would have done however is make my holiday more painful and less practical. So don't worry I will go ahead. Sometimes people focus solely on gear and theory and techniques and forget about the rest (experience of shooting and the result you want).

They have been using it for quite some time with great results. Definetelly shows a segment where the camera is great. This is mainly a "film maker" forum. But we sometimes seem to forget that not everyone of Panasony and Canikons customers are. Some are videomakers like Jared and some are still photographers, again like Jarred. Thats why I sometimes have an issue with the "only an idiot would..", "thats crap because..." and "why does Canon..." type of attitude on every single product that doesnt also serve as a perfect tool for shooting a narrative movie.

Apparently RX10 III is not meant to be an upgrade of RX10 II, but more of a second option with different lens