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Funny to see a 100 pages discussion from which is 80% about Autofocus. At the same time, hundreds of video's are posted but none of them contain any production value. 90% is just baby- / cat- / house- / foreground flowers in focus / neighberhood video's. Also telling is that nowadays many vloggers buying a GH5 for their work. It's funny and weird to see how the video market has changed from a majority of professional camera users, to 90% hobbyists, vloggers and rich people buying this cam to play with for a while before never touching it again. Sorry, but i can't help the feeling of feeling slightly bad for all these spoiled little brats. If you can't or won't produce anything of visual value with this camera, then please don't judge it for it's AF capabilities. I have never used AF for video nor while I ever, and I'm not saying nobody may not or shouldn't, I am just pointing out what a bunch of whiners film makers have become. We used to use gear which was highly impractical and inefficient and made the best out of it to satisfy our clients. Now we're shooting 4k in slow motion footage of our cat which moves away from us all the time or towards us, and complain that this stupid 2000 euro camera can't even hold the damn cat in focus. This is not a complaint about EOSHD, where the percentage of sensible professionals is still pretty high, but about all the stuff I've seen lately on Youtube, Facebook and forums about this AF-talk combined with their cat- and garden video's. As soon as I will finish some professional shoots with the GH5, I will report back here. Until then, I'm gonna leave the discussions up to you. Happy shooting.

So.....FLOG then. I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno. First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2. One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all. Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use. The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing. Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200. To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots. The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows. The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100. Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG. These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement. If you want to use the official Fuji LUT it is available here http://www.fujifilm.com/support/digital_cameras/software/lut/

I wouldn't even want to do a wedding with only one shooter... Most weddings have two shooters filming it. (A few with 3 or more...) But I understand if some low budget shoots might do it solo. But for the ceremony and reception you absolutely want at least two more cameras rolling on a tripod. One a big wide shot to capture everything. And another tighter shot on the couple. Then you'd roam with with your A Cam on a monopod, capturing all the juicy spontaneous moments. If you can get more extra cameras... That is good too! Then you can put one tighter shot on Bride side and another on Groom side, and another pointing backwards at the guests. I've shot weddings with half a dozen cameras rolling at once.

No.

I've been interested in the Moondog Labs anamorphic adapter for the iPhone and didn't know they did a version with a 37mm thread on it until I came across this video. OK, so quality wise its not going to have people ditching their Isocramas but its a cheap way to get into having a go and can also do double duty for its original target platform of the iPhone (something which is now even more interesting with the new LOG version of FilmicPro)

I think in a lot of the heavily graded films you cite, the skin tones are kept to an acceptable color while every other color goes nuts. That's the real talent of a world-class colorist.

Many people do not know what they are doing or why they are doing it when it comes to 'grading'. You can spot a professional colourist a mile away.

Andrew, do you plan to review the GH5?

Wrong. You just downgrade firmware and everything is fine.

Rooting for them. Hope they blow the doors off the competition.

color wise: i quit from M43 because of colors. I could never get correct colors from GH4, photo and video both. Sometimes picture is nice, but collors are wrong. Espetially in photo mode. Ive investet in Cilkipix and all other possible converters without any big improovment. And i tried everything, and i loved M43 format and concept, and i had All the best M43 lenses, and i had some other Panasonics and Olympus. Final breaking decission happened when Panasonic involved 20mp trend instead of 16mp development on its sensor... And also M43 AF system Olways stresset me in a bad mood... I will take NX1 with me in a grave, because now i have COLORS and features. Sad on manufactor decissions only...

I can't remember when I actually made the switch from being a consumer to being a creator. All I knew was that when I was a kid I was fascinated with TV shows, old Hollywood movies and European art house films, so it seemed quite natural to want to create something that would have a similar effect on other people. My parents bought me a second hand Standard 8 cine camera, on which I shot home movies and animated toys on the carpet. This was followed by a new Super 8 camera, which I hard-matted with cardboard to fake the look of CinemaScope. I didn't realise then how important the fun side of things was to me. By the time I went to art college I had a 16mm Bolex, which kind've slowed me down because the stock costs were too much for pocket money. I used the 16mm cameras at the college for the course projects, but never really used my own camera very much, and eventually sold it about 10 years later (it had become just a wonderfully built ornament on the shelf). I followed my college friends to London and worked for a film and TV company for many years, working non-stop on TV series and that eventually wore me out -- I made a few personal projects along the way, but the joy of story-telling with film (as in those Standard-8 days) was just gone. I was also becoming tired of the city, too, so went back home where I can just go for a walk in the fields when I want to. I continued to work in multi-media, laying out books and magazines for a publishing house, then doing fine art printing for a gallery. I never forgot film making, though, because it was in me, but I wasn't doing anything about it. But then DV camcorder technology and affordable computer editing we're growing up together very nicely, and I was shooting just for the fun of it again. It was portable, it was cheap, it was available and eventually it was even full HD. And when the still cameras started recording video, well, there was a welcome filmic glamour to the video image that was quite exciting. Coming more up to date, I was a full-time staff video editor for a small local video production company, though after five very busy years, I've since gone freelance. Doing much less work (and pretty broke as a result), but I have more time to work on my own projects. After an abortive start on one film, I'm currently making the props for another feature length no-budget project. I just can't seem to shift the idea that film making is something I have to do. I recently wrote a novel, based on a character from one of the scripts I wrote about twenty years before, so that was me genuinely trying another medium. And the freedom of writing, compared to all the hoops you have to go through even for unambitious and informal film making like mine, is quite remarkable. I've now written half of the sequel, so I must enjoy it, but, there's something about film making that really means something important to me. Perhaps it's because I like working with people on a collaborative art project, whereas writing is a solitary experience. Or maybe it's just that you never really forget your first love: Watching mysterious and surreal TV series like The Avengers, or 1940's American film noirs, and wondering if I too could create such atmospheres and involving entertainments.

Found another video this one is NX1 vs GH5 straight up... I believe hes a Korean brother... Figured I would post here rather than make a new thread... It seems the NX-1 is way sharper (can be good or bad depending) and the 10bit color on GH5 does look a little "Thicker" but I could easily get them to match in resolve... also I dont think he has NX-1 is in standard color profile if you dont want to correct much it looks great.. Guess im not the only one going down with the Samsung ship! Trapped in a velvet coffin! That is all..

Reviewers want to get right under the hood of whatever it is they are reviewing. The Panasonic focusing settings appear to be the most complex set of parameters outside of NASA high command, with different settings working with different lenses (according to PhotoJoseph) in different scenarios - and even then only working some of the time depending on whether or not Mercury has attained its greatest elongation from the Sun. Ken, on the other hand, has quickly found out that there are no problems whatsoever when using 1-area. Everything else is irrelevant to him because he gets the shot he requires in focus every time using this simple method. This is the method that I use on my Panasonic cameras and also on my Sony cameras (when not manually focusing). I have enough problems with aliens and burnt palms to be worrying about focusing on a plant pot when I should be focusing on the bride. For Ken, autofocus works great. For Max, autofocus needs a lot of working out to get the best results. For PhotoJoseph - he should consider himself lucky that he is still a Panasonic Luminary. For Sony a6500 fanboys - they are too busy laughing. And that's about it. Everything else is an overlapping of those four points above. Keeping those four points above separate will give us all more time to go out and use whatever cameras we own, and that being said, I am off out to buy some cheap offcuts from the butchers so that I can film a fox that comes to my garden in the small hours.

There are few contemporary feature length films I find interesting. No matter if it's mainstream or independent (or just independently produced but aiming for mass market), the patterns of the narrations seem to be final by now. You can tell every variation and theoretically give them names (like Kansas City Shuffle? ), you can watch the storylines develop and always stay ahead, because you've seen them all. This is not "inherent" (Inherent Vice, that was a crazy film and one of the exceptions, PTA has the mindset of a 70's filmmaker who questioned everything. Thousands of good films from everywhere over the world from this period), it's because mainstream audiences demand mainstream entertainment, and films are expensive. Short films and series can be more daring, for different reasons. And docs too. A novel consists of words. The story must be told in such a way (style, structure) that the reader sees his own personal movie. There is a word for this in german, Kopfkino, literally head cinema, when someones' words trigger an intense scene in your imagination. I'd say that reading a novel engages me more than watching a film, and not because the author is more talented than he filmmaker. Books are not too popular anymore, you'd write for very few. But unless someone exceptionally talented re-invents cinema and creates a mainstream masterpiece, you also shoot for very few.

I'm still seeing user reports of a6500 occasionally overheating. And even if it didn't.... Thus then you could use it as your A cam for weddings, where oh where are your cheaper B cam options?? They don't exist! Not like the G7. And if you purchased 3x a6500 that would totally blow your budget.

Looks like Panasonic 14mm 2.5 and Panasonic 14-42mm PZ lens is the best fit for Moondog, 14mm 2.5 slight vignetting but usable, 14-42mm PZ usable from 18mm and up, unlike Panasonic 14-42 II which only 35mm and up is usable. Another guy tested 20mm 1.7 but seems unusable, the 45mm 1.8 looks pretty bad at 1.8 aperture.. probably need to step down. I am waiting for my one to arrive, which I will try on 12mm 2.0, 15mm 1.7, 25mm 1.7, 42.5 mm 1.7, Leica 45mm 2.8, Sigma 60mm 2.8 and Olympus 14-42EZ and see how they fair.

+1 Jon!...just tell the bride & groom that you did not get their shots because your one perfect camera that can shoot in pitch black, but started overheating after 3 min had to be turned off for 10 min at a time, and you have a disaster on your hands that I personally would not want to be around for....and the emphasis is on "a once in a lifetime event"...no bring everybody back the next day for a reshoot...only sane way is with back ups for your back ups!

+100...before I became interested in the GH5 I did not even know what a Vlogger was?...but is it sensible to buy a complex camera that one knows anything about and after 2 or 3 days rushing a review of a feature good or bad out there, because you're trying to get your piece of bullshit out there, before the next guy's...did this even exist 4 or 5 years ago....and how does it help the film making community....what it will do though, is make money for one guy ( who's business it is to attract more followers, be it blasting a product that they had no business making a public statement about in the first place) and for the people who actually want to create something (not sell their under informed opinions)....what it does for them?...It will stifle innovation on the part of companies like Panasonic, because why should you put professional features in a camera at great cost to your company, only for it to land up in the hands of a bunch of whiners....no wonder a Andrew is getting sick of this...I'm personally mystified that he's had the discipline to last as long as he has....

I was trying to impress a girl, Kinda wish I had become a stock broker instead.

When I have some spare time, I'm planning to do a little shoot with my Kowa B&H, Kowa inflight 1.75x (both with Core DNA) and iscorama pre 36 (with 3.5ft close focus mod) on full frame with recent 3-4K magic lantern crop resolutions. I will probably throw in some iscomorphot s8 2x shots in there (because it's ridiculously underrated for portrait/closeup compositions). Think the Bolex 16/32 is the only lens I'd actually be interested in trying out...the recent Bolex+ML footage from @SigurdW looks great.

BMPCC upscaled to 2K. 90% is Lighting/Cinematography. 10% is stylised grading based on my BozBMDFilm to Rec709 LUT.

I'll throw in the first suggestion: Be able to toggle on and off the vector scope and the waveform while shooting--like Sony cams can. And also show the vector scope and waveform on an external display--like Canon does.

Yeah, I'm in the Murcia region and its slim pickings here too but I have to go to Alicante tomorrow so thought I might have some luck. Mind you, I could stay around for the other stuff you mentioned there!

Thanks @BTM_Pix!

For what its worth - and your mileage may vary considerably - my own view of this is that considering how much fiddling it takes for me to get the FLOG to a base point of the ProNegStd and the diminishing returns thereafter that aside from situations like the deliberate extremes of DR of the couple eating dinner I'm not convinced its a game changer for me really. Certainly not significant enough to put down the extra cash for the Ninja Inferno or similar. Fortunately, the FLOG was only going to be a bonus for me with this as its the edit ready ProRes and superb monitoring and metering that it gives to ALL of my cameras that is the big story here for me with the Ninja Inferno.

No, I think that you're pretty much spot on and its a conclusion I've been coming to myself recently. I've just done a side by side comparison with log on the Fuji X-T2 and one of their inbuilt colour profiles and with a lot of fiddling I can get the log to look, erm, exactly like the inbuilt profile. Which shows that Fuji know far more about this stuff than I do and that I should just stick with considering their sensor to be a film stock and working with it instead of around it. Its a damn sight quicker and less render intensive too. As a complete aside, you don't by any chance know where I could source a charger for Sony NP970 type batteries in Alicante do you?

That was shot with the eos-m.

Andrew...do you plan to review it and do a Guide?

Footage from Rectimascop 80/2x. Helios 44-2, Sony a6300

short film with my Bolex.

The widest I've managed in apsc is 28mm (in video mode and cropped to 2.4:1). There is a guy on the anamorphic shooters group on Facebook that uses a 40mm on fullframe.

Won't be anything close to 4K on 700D. This article should be talking about 7D imo, as it's the best value for money with usable sustained write speeds due to CF cards. (You can almost shoot 1080p 14bit RAW on 7D already, it would benefit greatly from this port).

Probably the WB of my camera is not correct anyway. I read somewhere it wasn't neutral, and people kept fiddling with WB shifts deep in the menu. Since it's Easter, let me cite he Bible: you shall know them by their fruits. What they present as the results of their deeds needs further corrections in post in order not to look weird, some scallop it with special luts. I use sun, shadow, clouds or bulb, which already is twice as precise as analog photography was with tungsten and daylight film (okay, some used glass conversion filters for in-between values, some welcomed minor casts because they captured the atmosphere of the place, some corrected in the darkroom, does that sound familiar?). People make all their colors look neutral with custom WB. Afterwards they complain that their colors look aseptic and digital and apply a look lut that mimics film.

I love it, gorgeous image and colors. I was taking out some old b-roll for my latest YouTube video the other day. And it wasn't the first time I went, "Wow! Which camera did I shoot this on?" and it turning out to be the XC10.

I came to the same conclusion using all the various Kowas I have (baby and otherwise), basically being that I really can't go any wider with a WA adapter than I can with the widest taking lens. To use the WA adapter I have to use a longer taking lens and I end up at the same focal length pretty much. Also I tried some super big WA adapters but didn't like the IQ at all. I like most people thought that this was going to be a cool way to shoot wider, but it didn't really turn out like that haha.

It's visceral, literal, metaphorical, technical, and plenty of stuff in between.

I might pick up a GH5, but definitely waiting for NAB to see what camera bodies are announced. A new A7s or something killer from Fuji would be intriguing. And I'd love to see more compact designs from Blackmagic. A Pocket-Micro revision or an Ursa Micro with a 2.3K slice of the 4.6K sensor would be kinda dope. I'd scoop that up in a heartbeat.

I'm still dreaming of a pocket 2 (pocket pro?)

Earnestness is awesome. It's such a blessing. Wish I had more of it.

I miss Zach - maybe because, at times, he made some of us look a little less sane than we thought we were. Absolute star! I bet he turns up having made some crazy ass doc, in the style of Nick Broomfield, which everybody raves about as being pure genius - all filmed on his T2i! Don't miss the 60yr old filmmaker from Egypt - he used to piss me off no end with his constant BS & chest puffing. Funny that it took a scam to rumble him, not the fact that no one here could name an Egyptian filmmaker if they tried & would trust his word on everything! Miss maxotics too!!!!!

Thanks! I don't have the 28mm anymore, so I don't know. I recall it being very sharp as well. I love this camera so far. I'm shooting a short film tomorrow to put it to the test. Yes, my video was shot in XAVC-S 50Mbit. I believe that was added in a firmware update a couple years ago. It was already on the camera I bought, no update necessary. From the little tests I've done it feels like a good codec so far.

my favorite thing ever was when zach said his brother had "sophisticated taste" i was like

No mention of the NX1 Camera justice Warriors?

Are you sure it wasn't all of the times I shared every failed color test from my Samsung NX500?

This exactly. Shooting RAW actually makes sense for doc approach. Throw in 3:1 compressed raw (for BM or later with slimraw) and you can manage your data pretty easily too. I've been having a bit of fun shooting a few BTS EPK projects lately and it's quite freeing not having to worry about white balance as I'm going from crazy warm lighting in the scene to the director brooding in a dim spot beside a window. I'd rather have those few crucial seconds to concentrate on getting the moment right and figuring out a way to prompt some words or action. Hitting that highlight recovery in resolve is instant magic to start. I also think how you are monitoring while you shoot and what mode you are exposing for affects the outcome a lot too. I wouldn't protect the highlights enough if I were to monitor and expose in log. After, when I want to grade in log for the bolex I just run the corresponding input LUT (rec709 to bolex log from Eddie Barton) in Resolve and voila.

I use the Sony 16-50 f/2.8 a-mount on my FS7 almost every day. It's a fantastic lens (when I don't want to use my Sony Zeiss primes.) It's weather sealed, has decent optics and smooth manual focus when you want it (and fast SSM focusing when you don't.) Such a good value, I bought it twice (destroyed the first one shooting a few years of the US rally series... among other things.) It will require a LEA-series adaptor. Get the one without the focus system (LEA3), and it will use the better system built into the 6500. I previously owned the Zeiss 16-70 E-Mount (APS-C) and that was actually a pretty good lens. It runs about $1k (which is a bit over priced, imho.) It did have a tad too much distortion for me, however, and the manual focus feel was way too numb. Nice sharpness and it should have super-fast AF for photos on the 6500.

if the BMPCC speedbooster fits, like it does on the GH4 for those brave enough to try it, that'll get you to a 1.10x crop.

I can't do $500, as I only have $499. Could you do that instead? Just first send me $1, and then after that I'll be able to then send you back $500.