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At the risk of sounding like a total dick here and I of all people have no right to, but I just don't get some people on this forum. I know most things are subjective, but that Kholi footage is probably the nicest GH5 footage I have seen and people complain about it?! WTF?!

from Kholi Hicks... "GH5 w V-Log UHD out to BMD 4K ASSIST/ProRes HQ (Does not take the DCI 4K signal) V-Log to Comet Color LUT (early early stages, converted from my B-Side LUT for Blackmagic's Ursa Mini 4.6K/Pro) Sony Cinealta 4K 35 and 25mm (In that order) w/HotRod Cameras PL mount NiSi IR ND 1.8 Early thoughts: Reminds me of the A7SII, honestly. Not that far off, nearly same color and aesthetic, less rolling shutter of course. Pana may beat out the A7SII for base color, though. Tell your favorite LUT builder to jump on building some, not a huge fan of what comes out of the camera stock. Alexa to Rec709 doesn't look bad as a starting point, still needs a fair amount of massaging IMO. Don't have much time with it, going to mess with CineV and acquire some more V-Log footage to tune the Comet Color port."

It's one of the golden rules of the internet: by posting contrarian ideas it offers those making such claims a sense of authority. i.e. they know something we don't know therefore they're smarter and better than you. Hey, if I'm being honest, I'm guilty of this too. I can't visit nofilmschool without this urge bubbling to the surface. It's a techniques that gives blowhards like me a shortcut to sounding (self) important. At it's core, I think, this sort of thing is a matter of insecurity. Haters gonna hate, imaright?

Oh Brother where art thou, Pizza is crap (except for a particular sweet pizza at a micro brewery), The Angels (with the late Doc Neeson). I have not seen enough GH5 footage to comment.

Nah, not that at all. There are just some truths in life... The Godfather is one of the best films ever made, Pizza is good, The Beatles are the best band ever, and Kholi's GH5 footage is the best GH5 footage posted thus far. Even if it isn't your cup of tea, you should be able to recognize these simple truths.

A guy is posting a GH5 video as a test so all of us can see what can be achieved with the camera (plus a very good lens) and the first thing that cross the mind of some ppl is that auto focus is bad (as far as i can tell the lens is manual focus) and the style is not so good (jerky). Ok then...

I love Canon FD lenses. I had a complete kit (20, 24, 28, 35, 50, 85, 135, 35-70, 200 etc...) and I regret a lot I sold it... they give you a great image quality, an organic feel and they are cheap!

No, that is not what I said. I said 'if this were being used to demonstrate the AF of the camera....". Obviously it was not shot with AF or it would be deemed the worst AF ever seen in a camera. What's amusing to me is that some people complain about AF misses when a camera is used in that mode, but yet when it's done deliberately, it's just super. Further, if I wasn't clear in what I was saying, it's quite different saying you don't like the 'technique' used (which is what I was saying) as opposed to not liking the quality of the clips that comprise the video. Often we can see beyond 'technique' if it's not to our taste, when assessing the quality of the camera. Finally, to infer from my post, "they know something we don't know therefore they're smarter and better than you." is so far beyond a stretch, it almost leaves me breathless. How is this not subjective? You think it's the nicest looking GH5 footage, and of course you're entitled to that opinion, but does that mean everyone in the world must think that too? I just don't get some of the comments here. It's kind of like 'my way or the highway'.

There are different tastes and that's why a lot of this is subjective. Some people like the realistic video look. I tend to like a more "cinematic" look, but I don't think this is subjective... that is the nicest looking GH5 footage I have seen and if you don't like it, you may just be better off with a G85, because 10bit VLog will not add anything for you.

Canon FD lenses are superb , great glass highly recommend , especially on soeedboosters , they are all manual focus , you cannot autofocus these lenses at all. The primes are great and the zooms are also very good, 24-35mm l series , 35-70mm f4 zoom is steller for the money , 35-105mm 3.5 is also very good!!

I guess it's just me that's not a fan of this in & out focus technique, sudden jerky movements that seem to be senseless and a grading that just doesn't seem right. In fact, if this were being used to demonstrate the AF of the camera, most people would say, "when is the GH6 coming out?". It just shows you how much subjectivity there is in these videos.

Pretty stunning footage. Highlight rolloff seems great.

3200 is clean. Plus this is completely off topic, in the wrong thread, and you didn't point out the snipers or aliens.

So in 2014, me and two friends set out to shoot a short with my new BMPCC and for me to learn how to use it through practice. I ended up with 350GB footage, but then put the project on the shelf. I had a 4 page script dabbled down for the shoot and less than 24h to shoot. Last year I finally decided to put together an assembly cut and wanted to share it here. I learned through the assembly cut that I clearly didn't get enough coverage and some of the scenes just look terrible in terms of my setup and (obviously) because of the time limit. Okay to the point, I thought it might be fun to salvage what could be saved so have uploaded the assembly here: https://drive.google.com/file/d/0B4RzH3eFvfE8c21WZEdjTWtTN0U/view?usp=sharing I was thinking, you who wants to, can download and look and maybe give me some pointers what work and what doesn't. You can def think out of the box and rechange the basic idea of the script and delete scenes you think could go etc. Even pull it into your NLE and move things around. I did record audio separately that I haven't even touched yet cause I felt so let down with what I had gotten footage wise. But it's still on a drive in case this turns out to be a fun collab with y'all so yeah, audio in this cut is from the BMPCC. Hope you'll think this will be fun! Can't wait to hear what some of you think, even if it's only a short comment or what you feel you have the time to share. Thanks!

You are correct. Could we get an explanation why this information was pulled, especially given the above examples with Slog? I am very happy with the settings for ooc video.

Pity, I'm just not as astute as you, even though I do like pizza, The Godfather and The Beatles. 3 out of 4 ain't bad.

Your first post sounded so apologetic, that I was prepared to watch some real crap, and was absolutely surprised with what I actually saw. Yes, some stuff might be tightened, and yes, sound would add a ton to the viewing experience, and yes, you should keep working on it, as it can be a pretty solid short, if polished.

Just imagine the A7*** series or A6300/A6500 cameras that begin dimming as soon as you press record! I agree part of it may be a concern for OLED burn-in, but I also wonder if part of it isn't due to a concern over overheating.

I think most of the cheaper FD lenses are just like all the other old manual focus lenses and I would think condition and how hard a life they have had matters far more these days than anything. That said, I do love some of the FD L lenses as they are different to many lenses of the same vintage (often using hand ground aspheric elements unlike the non L and other mount lenses) I had the 80-200 f4 FD L and 50 1.2 FD L and both were quite nice. I sold both when I needed the money but seriously considered another 50 1.2 L (but got a native Sony Zeiss lens instead). I still have a 24 1.4 FD L and 85 1.2 FD L and love both though both have some issues (dissolving bearings I think for the 85 1.2 L which can be an issue with some FD lenses) which is one reason I think condition/life matters A LOT with old lenses. I do prefer the EF 100 f2 now over the FD 85 1.2 L but it is still a nice lens I intend getting fixed (still works and I have lent them out at the moment). I keep the 24 1.4 for when I want a fast 24mm lens which isn't all that often. I prefer them FF on my A7s but will use them on the M4/3 GX7 from time to time. I don't need IBIS with the A7s and it is a help with the GX7 though not a huge amount (and not at all in video). Since the F stop blues is real, there isn't so much of a need for 85 1.2 but it is a really nice lens for lens fondlers and both are fun to use (I loved using the FD 85 1.2 L on my dead Pentax Q!). BTW, you CAN auto focus some FD lenses. A) You can use some on the Sigma adapter for E mount cameras and Leica lenses with a second adapter I believe (adapter allows AF with MF lenses but up to a weight limit I think with the latest PDAF E mount cameras). B) There are actually two or three FD AF lenses that work on FD film cameras (I have a FD 50 1.8 AF lens- has a great big lump on its side). Just a couple of old snaps I have in my computer with the 24 1.4 I think.

My go to lens is still currently the FD 55mm f1.2 on a cheap Chinese speedbooster. The longer focal length, the lower contrast, the imperfections of the booster... Certainly makes footage look less digital-y. It's a decent solution if it fits the look you want. Plus, if you really want to push into lowlight shots, it'll take you there. A f1.2 on a speedbooster becomes something like a f0.9 --Not with a super sharp image, but you can do it. I think it looks good to my eye stopped down to f2. I also appreciate the mass of the lens. It gives a welcome heft to the smaller M43 cams I use. FWIW, I shoot mostly doc footage and still wouldn't consider using autofocus. I get why it's handy, but I'm old school. I like the aesthetic of a camera operator actively trying to find focus as things are happening. That's not a flaw to me, that's an authentic cinema-verite look with contextual legacy. Finally, the one thing I don't like about FD, is the twist-lock mount system. PITA when trying to swap lenses on the fly. If you plan on doing lens swaps as quickly as possible, would recommend Nikon lenses instead.

More people in the Video World tend to go with Nikon manual focus lenses than Canon FD. Nikon has NEVER changed their mount so that is one reason. And there are more of them around is one other reason. That they can be de clicked pretty easy, by yourself, doesn't hurt either. But Canon FD has some damn nice stuff out there to buy also. The 50mm f1.2 comes to mind for around 250 bucks. Hard to beat that lens.

Panasonic GX85 in 4K has no time limit, and also USB battery charge.

Thank you, and yeah, maybe this forum is just more for the technology today than actually creating. We'll see! I think I'm going to sit down this week and review the raw footage and see that I can do... Maybe I'll have a new cut up in a few weeks! Again, both of you, thanks for the encouragement!

This pack contains a dummy battery for GH4 that you can connect to a rechargeable power bank that outputs 9v Alternatively most recent Panasonic camcorders can be USB powered https://www.amazon.co.uk/Ex-Pro®-Replacement-Panasonic-DMW-AC8EB-DMW-DCC12/dp/B00EF7J91U/ref=sr_1_2?s=electronics&ie=UTF8&qid=1490548051&sr=1-2&keywords=gh4+power

I can't say. I would write Andrew about this. The settings should be stated pretty much up front in the same informational material that the information about the LUTS are found. There are two sets of adjustments in the picture profiles. One for a straight off the card look with minimal editing. The second is settings for a pic. profile using S-log II as the gamma. The advert for the S-log II LUTS is there to match with the Log settings. They work well with the S-log II settings Andrew provides.

Don't understand why GH5 isn't your first choice? It has everything you're asking for.

Why? It's good discussion material. Please don't let this place be another that sticks it head in the sand saying "lalala I can't hear you" about certain issues.

The new FW update might help with that a bit since Fuji is enabling refocus while recoding. Looks like we'll be able to replicate what I did the with A7rII - use the BB AF to refocus while recording - with the added bonus of being able to move the AF point a lot easier. Face detection with PADF should (*fingers crossed*) be a boost as well.

Using a Transcend ts-rdf8k usb3 card reader is twice as fast as usb-C. Also, at the rate this thing eats batteries you don't want to have the camera on if you don't need to. Batteries seem to take ages to charge too?

Well I know for sure the Panny GH4, GH5 has no limit. With the factory battery pack you should be able to get 6 hours, but as far as I know you can not charge them using USB. The GH5 on paper does not even have a USB port. C port. Sort of same difference.

I think it does not degrade video quailty with consumer level gear. With every booster the sharpness is better with booster compared to normal adapter with the same lens. I dont understand what you mean with highlights/shadows, it's inappropiate question, this is not a 10$ plastic adaptert. You can see a comparison here where i tested the 5D2 + 50mm F1.4@1.4 vs A6300 + boosted 50 F1.4@1.0

The IBIS software needs to know the correct angle of view to work properly. But since AOV isn't labeled on lenses, it asks for the focal length. Obviously the IBIS software knows the camera's sensor size, so once it has the focal length it can then calculate the AOV, and then it knows how large or small to make its corrections. So you would enter the effective focal length of the lens + booster, as a combination, into the camera. So if you have a .71x booster, and a 50mm lens, you would enter 35mm. For a 100mm lens with a .64x booster, you would enter 64mm (or whatever the closest option the camera gives you). If the lens is "dumb"- meaning it has no electronics transmitting EXIF information (i.e. the lens' focal length, aperture, etc)- the camera will have no idea what length it is, regardless of whether your booster/adapter is electronic or not. Now, if you mount a smart lens on a smart speedbooster, I would hope that the speedbooster's firmware would apply the booster's reduction power (.71x or .64x or whatever) to the focal length before sending it to the camera. I have no idea if this is done, but if not it certainly should be. I would think Metabones, of all the booster/adapter companies, would be the most likely to have implemented this. Your experience with differing stabilization when mounting dumb lenses via booster vs. plain adapter probably just has to do with the camera having the wrong focal length entered for one or the other (assuming you used the same value for both).

Try a camcorder? Not sure about USB power but surely you can rig something else up.

In the informational material Andrew sends he gives settings for an EOSHD out of the camera look--no need for grading. He recommends you put these settings in pic. profile 1. In pic profile 2 he recommends using S-log II as the gamma and special settings. Those S-log settings is what I used to shoot this footage. Now, if you'll scroll down further in the ed. material you'll see a big headline: "Looking for LUTs for S-Log II? And under that heading Andrew describes various LUTs he's designed for S-log II...and gives you an option to download. They are very good LUTs. I used High Dynamic range LUT no. 2 for these shots, but the other LUTS (8 of them I think) are very good. If you have Andrew's info. book on this I think you'll find it all there, settings, and a link to purchase the LUTS--they're inexpensive.

Many years ago I used a Plugin "Scopo Gigio" that was available for Photoshop and After effects. This would be ideal if you could still get it. Cheers, Rob

Have you read the manual that came with the camera???

It sounds like you and I have completely different ergonomic brains! I used to use the 5D in continuous focus via the shutter half press and could never get it to behave predictably. By contrast with the D750, cross points or no, once I figured out how the AF worked it was really easy to adapt camera movements, triggering the AF, timing of the shutter release etc to get what I was after. And I love that 3 way selector! It feels natural to me to have single farthest away from me, manual closest and continuous a click in either direction. Its cool how we both love the thing that drives the other crazy. Moral of the story: rent before you buy.

@majoraxis your wish is my command!

Here is more footage , this time shot in standard

here we go, no real editing, just playing with vlog and filmconvert

What is this "exposure drifting"? I have record hours and hours with NX1/NX500 and I do not understand when it happens (if it happens), I have everything auto off, and smart range off.

Took my daughter out to learn how to ride a bike this afternoon after this strange yellow orb appeared in the sky above Scotland! I shot a mixture of standard all 0's and vlog-l with -5 sharpness and nr. I used a pre loaded lut in the vlogl assist mode to help nail the exposure. I have found that you cannot expose using one preloaded LUT in cam and then try and user another LUT in the edit as in most cases the exposure is off. If you use however the same lut in cam as well as in your edit you will find it exposes the same. Shooting standard all 0's really is tack sharp with lovely colour representation. I was shooting with the 12-35 mk1 which gives me dual is 1 and it really is great for stabilisation hand held. I dont think I would pay the extra to get the mk2 version for that extra .5 stop for dual is 2. I used a genustech variable nd and shot everything at 2.8 which was a bit too much for the vari nd at some points. uploading the footage now and will link it when ready. I graded the vlog-l footage with the filmconvert gh4 log profile. I had to bring the exposure down by 0.9 and bring up the shadows, I used the kodak 5207 stock.

Long time GH4 user here...I was GH5 hesitant at first...BUT I Gotta say, I have recently seen a few GH5 vids on vimeo and youtube that have blown me away. The GH5 Welder video for example the colors are just great, some of the best I have seen...many people in the comments too have stated that they cant believe this was done on a GH5, to me they are very Alexa like. Another I saw recently, just a sunset, no special postwork or anything, but I swear tho the colors ...I could never get those out of the GH4,and I am pretty proficient in Premiere and using Lumetri. There is something about the colors that is really special, not too over the top, but far more dimension than the GH4, and I have seen some pretty decent skin tones too. All in all this camera seems to be able to do me for several years,Just need to sell a few things, I cant wait to get one.

This is like having a brand new, very hot girlfriend, and all your mates banging on your door asking what she's like. I'd be tempted to disappear for a week and field questions once the fiery flushes of first love have begun to simmer down.

Yeah it's only really about 1 stop behind a full frame camera, as long as you don't fuck up exposure. Although the A7S II is a bit more, 2-3 stops. I have no problem with what the GH5 is doing at ISO 6400 with the gain from the Speed Booster XL and a fast EF lens... I call that low light performance to compete with the 1D X Mark II ISO 12,800 & F1.4... The A7R II without speed booster in full frame isn't very nice even at ISO 1600. In crop mode a different matter and acceptable at ISO 12,800.

And in my 2 years of owning the GH4 I still can't get the colours I want. That screenshot is a complete opposite of good colour.

Yes, but what about the skintones?

"With these (f/1.2 native lenses) the GH5 is quite a low light monster and can easily go into a situation where you’d be pushing ISO 12,800 on a full frame camera. The low light performance quibbles people have over this camera are a myth, you just need the right glass." So you stick a f/1.2 lenses on the GH5 and you got similar low light performance you would get on the a Sony A7 camera with a f/1.4 lens ? Um... Looks like Panasonic did some miracle on the GH5.... I'll wait until you spend some more "quality time" with your new baby Enjoy

I have a 70-200mm f2.8 II IS and just got a EF-S 55-250mm f/4-5.6 IS STM. The L is nicer, sure, but mostly it's just two stops faster. The plastic STM is much more stable for me. Better IS and much better balanced. I'm blind to the enormous aesthetic differences you notice, I'll admit. To me it just looks slightly worse (bokeh fringe, cats eye, vignetting) and a lot slower. No big differences in micro contrast or rendering. But the L is certainly a beast. Beautiful beautiful image, even wide open.

I like that picture, but that is not what EOSHD looks like out of the camera: