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The GX80 is meeting my expectations for run & gun. I think this shoot exemplifies expectations one can have of this camera for your quick, set-it-up and shoot style videos… family, street, etc. Here’s my setup: GX80 Panasonic 25mm F1.7 Zoom H1 Sony ECMCS3 Clip style Omnidirectional Stereo Microphone Settings: GX80: Natural profile (Contrast = -5, Sharpness = -5, Noise Reduction = -5, Saturation = -5), White balance (Sunny, A3, G3), ISO (200), Sutter Speed (1/50), Aperture (F2.8), IBIS (on, but no electronic IS) Zoom: WAV (24-bit, 96K Hz sampling), Level (70) Description of shoot: This took me about 5 minutes to shoot. I saw an interesting opportunity, went to get the GX80 and Zoom H1 from my office. For the settings above, I only need to put the camera in “C” mode to start. The Zoom is always put back with the level at 70, I only need to place it near the subject and start recording. Post Processing: Imported sound from Zoom H1 (just connect, don’t take out card) - 30 seconds Imported video ~3 minute video file - about 3 minutes Synced files - 10 seconds Threw it on a 4k timeline - 1 second Expanded audio - 1 second Select camera audio and push “v” key - 1 second Added 1db to Zoom H1 audio - 1 second Collapsed audio - 1 second Make cuts - 10 minutes Color corrected (highlights = + 15%, midtones = +7%, shadows = +1%, Global color 110° = -3%) - 2 minutes Added FilmConvertPro2 effect (KD P400 Ptra, Grain = 0) - 10 seconds Added a simple title - 10 seconds Rendered video - ~20 minutes Total Post Processing time = ~40 minutes (with rendering) Re-rendered video at constant bitrate of 35000 kbps in 4k with Handbrake, resulting file 690 MB- ~10 minutes Uploaded to Youtube - 90 minutes Youtube processing - 10 minutes Final Product: Picture Quality: Hindsight is always 20/20. I think the scene was a little dark as her face falls into shadow from time to time. I probably could have bumped up exposure and just avoided the window blown out in the background, but it gives you an idea of the limitations in terms of dynamic range. For me, the colors are quite nice and pleasing after applying Filmconvert… before that, not so much as white balance was off due to keeping blue channel from going too low- I guess many cameras need to be tweaked. Notes: This is a video of my daughter trying to set-up a Canon Powershot A410 that I gave her. She practices from time to time and enjoys shooting. Capturing moments like this is one of the main reasons I bought the GX80 for family. Please excuse her coughing as she’s getting over the flu. Also, note that she’s constantly switching from English to French. Good luck trying to understand, but you still have an idea of the audio quality. Of the video I cut out was a portion that was probably unusable as I wasn’t holding the camera steady enough as I moved to another position. Yes, it’s prone to jitters if the IBIS goes past its limitations, but I could easily have avoided this hadn’t it been to user error (movements were simply too fast). Feel free to make comments on any of the above as I’m trying to improve everything! By the way, here’s a photo she took of me looking serious during this shoot.

Shot with Panasonic GH4 in cinematic DCI 4K 4096x2160 in ultra wide 3.31:1 anamorphic ratio.. Lens used were the Baby Hypergonar 1.75x anamorphic with MeVis 35mm f1.6 and the Zeiss Ultron 50mm f1.8. Rectilux 3FF-S, Marumi + 3 achromatic diopter and Fujinon ENG 72mm close up lens. Edited in Adobe Premiere and colored in Colorista III and Adobe Lightroom.

use this http://hdcinematics.com/Convert-V3.html

The cool thing is that the custom setting remembers everything, like white balance and shutter speed settings. I had my first paid video job this weekend, to record a local Carnival parade. I was all set to go with my GX80s and I was using C1 for 4k/25fps and C2 for 1080p/50fps and set both with similar settings except for shutter speed. It was really easy to reset everything back to baseline. I could easily have set up C3 for time-lapse as well, but I was using my LX100 for that. I was using the two GX80 with the 12-35 and 35-100 zoom lenses plus LX100. A Shure VP83F for general audio and Sony SX1000 hand recorder for recording a couple of specific performances. The audio wasn't going to be critical due to the rain/wind and the client was expecting a montage over samba music anyway (no interviews). I'm hoping that the Instamic ships some day as a small, high quality mic like that would be helpful to plant on people/things when shooting spontaneously. Everything was packed into a 13" messenger bag as well as a Mefoto tripod and a couple small clamp/gorilla pod support, extra batteries, cards and rain protection gear as the outlook wasn't good. I was prepped to be on my feet and mobile for about 5 hours documenting the parade setup its progression through the town. Just as things started happening the skies unleashed torrential rains and due to the lightning (and large costumes being erected in an open field) they cancelled the event. I only got some shots during the early preparations and performers packing up between large cloudbursts. I did like the quality of the limited stuff that I got, however was very disappointed as it would have been a very fun event to video. Very unfortunate... The most useful thing that I had with me that day was a head-mounted umbrella that kept my hands free and my cameras dry.

Voigtlander 40mm with the A7r 2 FF mode.

If you intend to buy you should do it now. Canon and other foreign companies will have to adjust their prices upwards in the UK to compensate for the lower value of the pound vs. the US dollar. Having said that, if you really want to help them, you should buy products that are MANUFACTURED in the UK or spend some time as a tourist in the UK. Otherwise, your help is minimal.

I'm not saying otherwise. I'm just pointing out that raw, in photography, will let you push the photo to it's limits further than jpeg will - if you know how to do it properly. There is a point where jpeg's flexibility ends but raw's doesn't. That's where you see the difference. If you don't know how to make it past that point, there is no point in using raw.

This site might help for tagging your gear. https://www.lenstag.com Also maybe the authorities can track the use of your credit card with the person who stole everything else?

I will say Panasonic does do some magic here. I've had cameras that produce a very digital line around anything blown out. Panasonic seems to render with a little more gradient (and grace) so that it's not as noticeable. The goal was to do "run & gun," not think too much about the shot. To bring her face out more, I would have installed a reflector had I thought a little more. But even then, it's all a matter of preference I think. Some people really like a darker image than others.

Hi So I borrowed a 100mm macro lens from a friend and experimented with acrylic colors, milk, water, oil and soap.. Shot it with my GH4, held by my precious gorilla pod and lots of duct tape! I have now entered my video into a contest. If you like it, I would be really really happy, if you'd give it a vote and maybe even share https://apps.facebook.com/dvxvideocontest/?video=16 Thanks!

I researched this some time ago. For Youtube (don't know about other services), the max allowed bitrate for 4k 24-30p is 35-45Mbps. Youtube, in turn, will downscale when they "process" your video. Numerous youtubers have noted that when you upload 4k and let youtube downscale, the results are better than when you upload 1080p 8Mbps. I concur on these results. In short, you want to upload to the absolute maximum that the service provides as those are the limitations of the service. For Facebook, maybe try here: http://www.macxdvd.com/mac-dvd-video-converter-how-to/best-video-format-for-facebook.htm Also remember that Facebook declares ownership of anything you upload to its services... not nice. Looks good, but unfortunately I refuse to use Microsoft Windows. Bummer... really want ffmpeg command...

Can you explain where I can learn more about this? Any tips about direct Facebook uploading as it generally looks the most horrible?

Yes, I've been doing the same with FCPX. However, my computer (integrated graphics) has a hard time with 4k with any sort modification to the original file. For now, I'm just testing as to what I can do with a downscaled image. I, too, am trying to improve workflow to make my cuts go a little quicker in FCPX, especially when 4k is not needed (rarely is). When uploading to Youtube, you want 4k, even if it was originally 1080p- you only need to add a little grain and youtube will see "4k" detail. The results are pretty good from tests I've seen.

Or Panasonic LA7200, those focus through adapters much easier to film with, but you're not getting the same bokeh that 2X lenses produce

I just drop my Panasonic 4k file into a 1080p timeline in FCPX and either work with local proxies (if I'm mobile) or the referenced original 4k files. I have had good results with digital cropping, and colour manipulation like that and then just exporting to 1080p Prores. The picture looks great locally before uploading the massive file for Youtube/Vimeo to do their magic/wreck the image. There are might be better ways of working, so I'd be happy to learn.

I'm not an expert on video or colour, but have owned the Gx7, LX100, G7, and now GX85. I have also used Olympus cameras, whose colour especially with JPEG output (and video) for skin tones I preferred. The Panasonics sometimes have some sort of orangey tone in the skin and purple in the lips - I especially found this with my LX100. I know you can use a custom white balance, which seems to fix a lot of these colour shifts, but that isn't always practical. I am finding that my new GX80 has quite nice balanced colour using the Natural 0,-5,-5,-2 settings as recommended by @Inazuma on another thread. I used those settings and "cloudy" WB to shoot a carnival event this weekend and was quite happy with the few clips that I got before the skies opened up and the event was cancelled. I did a colour comparison of the GX80/LX100 with my E-M5ii and G7 (before selling them). They all used identical settings and custom white balance with an expo disk. You might have already seen this on the other thread, but if not here it is again. I'm looking forward to the GH5 to have a stabilised slow-motion camera with continuous recording. I could see myself using a GH5, GX80, and LX200 combo (if they add tilt/touch screen and improved Panasonic colours/low-light like G7/GX80). Right now I'm running with two GX80 bodies and the LX100 for time-lapse or for one-camera travel.

Look - I have to disagree regarding my gx7 - no matter how carefully I white balance, and grade, there always seems to be something wrong going on in the red to orange range for me.. I try to avoid those colours, and yeah, it can look pretty good but I get to the point where I think its ok, especially with filmconvert.. - then look at any Canon footage straight out of cammera and think that it just looks so right, more pleasing.. the gx85 does look alot better at this stage to me though - from what I've seen it looks somewhat Blackmagic like with the colours.. slightly more neutral than the Canon's and looks like a great base colour look for grading! Two frames from where I'm happy with the Panny's colour:)

Tim and Eric go home

VAT would not be charged for export to non EU countries. Interestingly when we leave the EU, we in the UK would not have to pay VAT if we bought goods from Europe (unless that gets negotiated away in the exit deal).

It would need to get to 1:1 with the dollar before you see any savings. The pricing here is ridiculously high compared to the states.... almost every product is 1:1 Then you have VAT and export costs. Might be some deals for European shooters though.

Having a great time with it. The IBIS alone is worth it for me. Loved my Nx1, but being limited to the S lenses for all my event work was annoying. I've been mainly using A7r 2 mainly in FF mode, great RS performance, get to use the full width of my lenses, and I like the image. It's actually pretty crazy to me that so many people complain about the colors. Yeah I understand if you always shoot S-log to torture yourself in post I can see that being a problem (or just use the S-log lut in Resolve and have a great image right away). Every one of these image was just shot neutral with slight tweaks in lumetri. I was able to get slightly better color out of the NX1 near the end, but I'm almost there already with the sony. I miss the NX1 viewfinder in bright lighting, but the Sony is much MUCH better in low light situations. I liked the menus and handling on the NX1 better, except the lack of ability to switch from the viewfinder to the rear screen mid-shot. Very happy overall.

www.tferradans.com/anamorphic - for overall information about your questions! and I would recommend a Century Optics small adapter (or the SLR Magic 1.33x Anamorphot) as an all arounder with nice flares, distortion and edge artifacts. http://tferradans.com/blog/?p=7670

It is truly a shame that there won't be a NX2...my NX1 (with the help of EOSHD's NX1 guide!) has given me amazing 4K video quality for over 75+ productions to date and I'll still be using it until I receive my RED Raven (whenever that may be...) Hope to see the GH5 announcement really soon to see what Panasonic has to offer though.

It's like she mixed too many drugs with alcohol. The problem is that it looks like a drugged, drunk screenwriter. Think about it for a second. AIs are going to evolve, get more sophisticated and being less drugged and drunk until one day we may get a sober one. That is scary.

And this guy has a robot to write new Friends episodes!! http://nymag.com/selectall/2016/01/friends-is-even-better-written-by-a-robot.html

I use a GX8 daily for commercial photography and video and have never once encountered shutter shock. In fact I cannot remember taking a photo with camera shake or that is out of focus when using the 12-35 f/2.8. I now use a Voigt 25mm f/0.95 as my main lens so that takes more care (I much prefer manual lenses and love this Voigt), but I remain hugely impressed by this camera (I dumped my Nikon D810 and pro glass for it). The two factors that have elevated it for me are : Using the Voigt lens for photography. The still images are very close to Leica quality. Using a Ninja Star for video. the images look awesome and are very gradeable.

Thanks, the limit for 60fps is just lower here's a chart if you are wondering about the limit for different FPS & resolution combinations > CALC

Bright light is my nr1 issue the last couple of years. ISO800 solved any lowlight problems I ever had. The Digital Bolex gives me a nice iso 160. But I dream of a nice and clean native ISO 50. The constant ND workaround is getting boring. I've started skipping the 180 degree shutter to get around it.

But they have. The G7 was a huge step forward in low light performance. Not as good as the Sony, but a damn good performance nonetheless.

All good! Happy to help anyone with tips if needed, just PM me.

Yes. No problem. Put it in "M" mode and save it as a custom mode. You can adjust your aperture and shutter independently. I wasn't aware of the GX8 limitation...

@John Mathews On the GX80 can you use manual exposure, setting both SS and aperture independently, in "C" mode? I have been trying for months to find a way to use manual mode on the GX8 in its version of "C" mode. Thanks, Chris

Nice write-up. To be honest, I actually quite like the blown out window arround 0:30 - looks natural to me.

Agreed. my wife is a film editor and much prefers working with filmmakers who go out and shoot exactly what they want, rather than gathering a bunch of material to be sorted out later. One of the first features she cut, the director asked "why didn't you use the close up here?" my wife's answer was, "you didn't shoot one." and the director's replied, "then punch in on the 2 shot." now she has a scene with these reframed close-ups and every now and then the other actor's nose creeps into frame. she did the best she could but it's still awkwardly composed. I realize for Sekhar covering an event is one thing, because he has no second takes. But shooting narrative benefits from specificity. unless you *are* on the level of david fincher and all the post resources he has available to him, this approach will start to undermine the experience of the movie. similar to deciding you wanted to slow a shot down in post back when all we had available to us was "frame blending" to smooth it out. few things signaled "digital video" louder. optical flow brings us much closer, but it's still better to do it in camera. and to have the vision to know that you need it that way.

I'd go for the 1D C. The only thing the 1D X II has in its favour is the AF. The 4K/60fps produces unmanageably large files and will be extremely difficult to edit on any current CPU, besides I'd rather shoot 120fps 2K if it were slow-mo I was after. 60fps doesn't really look that dramatic and there are a ton of cameras that can do 60fps at lower resolutions for a fraction of the cost. Moving onto the 120fps mush on the 1D X II, obviously just about any other cheaper camera shooting 120fps is a better choice for that, there's nothing special about the image in comparison to the A7S II's 120fps that I can make out so far. Any other advantages over the 1D C apart from the AF? Nope.

I'm in love with the look of the Kowa 35 1.75x Inflight shot in 4k 3840x2160 in 16:9 mode on GH4. Here is my first test with a pretty lady I know walking around three different taking lens. 1. Olympus Zuiko 38mm f1.8 2. Zeiss Ultron 50mm f1.8 and the Voigtlander 42.5mm f0.95. I love this lens. I love the single coating and the way it flares and how it transforms the character of the taking lens so well. I hope you enjoy this vintage anamorphic lens porn my friends. Watch in 4k. cheers! Ian