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In my opinion vintage glass has more character to the image. Sometimes that character can lend to a more cinematic look. Different lens brands are known for different properties. My recommendation if you want to try out vintage lenses, the first get is a Takumar. They're inexpensive and insanely well built. The 50mm 1.4 is a nice lens and also the Takumar 35mm f3.5 is an amazing lens. If it's too slow for your tastes, then the f/2 version is really nice as well. Minolta lenses are amazing. Just the right amount of sharpness and character. The 35mm 1.8 is probably the silkiest, creamy lens I've ever used. Also the PG 50mm 1.4 lens could be the nicest 50mm lens ever made. The next step up would be Canon FDs. Their L series are epic. There's a 24mm 1.4 that I've been drooling over for years. FDs are known to have a very cinematic look. The next step up and in some ways the most cinematic of the photographic lenses at a modest price point would be the Nikkors, then the Contax Zeiss. I didn't even mention the Soviet lenses or the East German lenses. Just be warned... when you start using vintage lenses, it can easily become addicting and there is a very good chance you will not be interested in those modern, clinical lenses of yours any longer.

The skin tones you get with Leeming's lut are actually colorimetrically accurate, according to his methodology. But not all people (myself included) find accurate colours pleasing.

Wow, cool - I just discovered the same yesterday when testing my next version of my GMonitor app (see www.minaxsoft.com for more details). I was wondering about it as the profile name is not appearing on the display. Thanks for confirming! It seems that is also possible to enable Cinelike V on the GX80 but so far not sure about it! I'll build it into my apps and release it tomorrow evening. Maybe I should try to enable V-Log, too :-))))

OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html

I have had soooo many vintage lenses over the years. Some of them were not quite so vintage when I got them though. First reason I got many of them was I wanted whatever I could afford that fit my camera (stills) and I like to experiment and try things that people tell me I cannot do. With the arrival of mirrorless and adapting a much wider range of mounts my choices expanded exponentially and then more so with Sony FF E mount. I got a little bit more money a few years ago and so could get some better gear for a while so tended to stop buying the lower vintage lenses and started getting some nicer ones both vintage and modern. I found I prefer adapting modern lenses more than I like adapting vintage for the most part though it was fun trying the same lens on a Pentax Q, M43, APSC and FF at times. I have got rid of many of my old lenses, some through selling and some just fell apart from over use. I am now back to being as poor as ever but have most of what I want now for stills and my video use is limited but I think I am set for my needs there also. I still haunt pawn shops and charity shops looking for bargains and still look on Ebay for cheapies but don't NEED anything. Current favourite vintage lenses I still have are not so many but include the Tamron adaptall 300 2.8 and these two old warriors

Thanks @Jn- and @Orangenz. I see that I'm getting slow rewraps because I'm doing them on slow USB 2.0 drives. Internal SATA and SSDs are much quicker.

How are we still discussing the card brand? Two fatal mistakes were made (removal midst writing and no backup card in the second slot) and any brand can fail. Anecdotally, a coworker of mine said he had to replace a SanDisk SD card multiple times under warranty and he is not a power-user at all. The topic should be renamed, the conclusion written in the first post and the thread should be locked. This is a witch hunt.

Long time lurker of the long running GX85 thread, just wanted to say big thanks to BTM for this nifty new profile! Giddy to try it tomorrow morning

Maybe you could consider purchasing Leeming Lut One for Cine-D? It will give you accurate colours straight out of the box. By using A:6 you're pushing all hues to orange. But the relationship between them will still be just as skewed. Leeming's luts will reallocate the spread of hues and saturation to match a standard Colorchecker. It should solve the green skin problem.

Kind of but its actually a lot more basic than that to be honest mate and doesn't require any modification of the app. I've got a really simple way of testing it if anyone wants to have a go themselves?

No sorry. My video use though consists mainly of setting the camera (A7s mainly) on a tripod or table or even trying to hand hold still (very carefully and pretty much unsuccessfully), getting everything in focus and shooting a rock/blues band and letting the band do the work. For that, the lens I use the most is a Canon 17mm tilt shift lens. I am curious now though so I will use the 24 FD instead and have a go as soon as I can (maybe tonight after work if I feel like it). Will also see what I can do over the next few days (warning, it will be lame).

Of course, I'm a little exaggerated :-) I'm shooting at the weekend,I'll let you know

Some lovely 4k 50p Atomos material here

Until CPU's become fast enough to decode highly compressed camera media on the fly what choice is there but to work from Proxies / optimised media substitutes in the timeline? At least you are retaining the original camera files for future use when hardware can handle them. I'm just advising against transcoding as some users may be tempted to throw away the original camera files in the mistaken belief that a transcode is preserving perfectly whatever was contained (however imperfectly) in the original camera files.

Here's an idea: attach a small parachute to this AER dart and get a smooth areal video.

Yeah I think I probably got 800 stuck in my head from when the GH4 vlog debates where happening. After enabling ISO50000 for this camera yesterday we should all rejoice that it's not that! I did mean to mention that Cinelike V works as well but not sure I've ever actually seen anyone who uses it!

Dual ISO?

https://alikgriffin.com/best-memory-cards-panasonic-gh5/

Agreed...but one of the benefits of a crew is you control the DR of the scene with lights...the first RED had at least 2 to 2.5 stops less DR than the GH5, and I don't know the DR on The 5D but I presume it's at least a stop North of the GH5...maybe more?...but when you look at what Fincher did with the first RED...he and Soderburgh starting using them immediately, one sees the difference. Of course when you have no or a very low budget every extra stop of DR goes towards helping you get a shot that you'd miss without it...when a top notch DP and his Gaffer starts truly painting with light though, the difference is amazing...

Wrong topic?

Nope, the GH5 uses a UHS-II interface. Here ya go: Manufacturer Camera Model Slot 1 Slot 2 Announcement Date Notes FujiX-T1 UHS-II January 28, 2014 FujiX-Pro2 UHS-II UHS-I January 14, 2016 Dual SD card slots, however only Slot 1 supports UHS-II FujiX-T2 UHS-II UHS-II July 7, 2016 Dual UHS-II Slots LeicaLeica SL (Typ 601) UHS-II UHS-I October 20, 2015 Slot 1: UHS-II, Slot 2: UHS-I NikonD500XQD UHS-II January 6, 2016 Slot 1: XQD, Slot 2: UHS-II OlympusOM-D E-M5 II UHS-II February 5, 2015 OlympusOM-D E-M10 II UHS-II August 25, 2015 OlympusPEN-F UHS-II January 27, 2016 OlympusOM-D E-M1 II UHS-IIUHS-INovember 2, 2016Dual SD card slots, however only Slot 1 supports UHS-II PanasonicGH5 UHS-II UHS-II January 4, 2017 Dual UHS-II card slots SamsungNX1 UHS-II September 15, 2014

Yes...Arri's creamy image is not the only reason why so many get used in feature films...that they are built like tanks and keep working day in and day out, is also part of that equation...if you put a professional camera dept on Dslr style cameras on a properly designed and lit set with wardrobe and all the bells and whistles and a DP who hardly operates...a first and 2nd and depending on the size of the shoot even a 3rd AC...in other words the same treatment and expert crew the Arri gets, be the Dslr a Canon or Sony or Panasonic, and then properly treated in post and by a colorist, the results would be very close...what you get with the Arris is zero downtime...a big part of the choice in that camera goes beyond image. It's about the cost and how an unreliable or sufficiently robust camera can make or break a shoot. @Tim Sewell Excellent point about bulk buys for TV stations or learning instutions...one can probably add rental houses to that equation too...and more importantly...the choices DP's make re what cameras to use when shooting with a $100,000 a day crew...the numbers tend to radically alter the choice.

I'm using the 64 GB Lexar UHS-II card with a stated speed of 150MB/s. In my GH5, the SanDisk Extreme, UHS-I, SDXC Class 10 card, with a stated speed of 90MB/s, is ready for the next 4K clip much quicker than my Lexar. So much for stated speeds. So it's not a question (at least in my case) of 'reliability', but shooting speed.

Http://www.eoshd.com/comments/topic/24249-adobe-breaks-gh5-10bit-import-for-pc-solution-inside/?do=findComment&comment=193617

Well it was never going to be a low light monster but I can let you have ISO50000 now if you want it as well Top ISO6400 (max for video) Middle ISO25600 (standard max for stills) Bottom ISO50000 (modified max for stills) It still reports it as 25600 in the exif funnily enough. And it doesn't display it onscreen either, just like it doesn't with the Cinelike D So there seems to be a mismatch between the values it writes in the metadata and displays on screen with what it can actually be made to do. This is very potentially very interesting regarding a bitrate I thought I'd persuaded it to do earlier......

Do you have an LX100? I wonder if it's possible to get CineLikeD on that one. Also, I believe it shared a sensor with the GH4, so maybe the high bitrate, all-i 1080 is switchable via wi-fi as well. Now that would be cool.

As per the image above, it is very close to Cinelike D. By which I mean, it actually is Cinelike D

I'm not confirming or denying anything but check out the comparison image in the new thread

Interesting... I can see a big difference particularly in the red and orange areas, which is the GX80's weakpoint. More latitude in the highlights as well. What have you done? This is potentially huge for me.

I'm just working on something to make it a bit more readily deployable in the field and then I'll post it up.

Yeah, I use a MacBook Air so it's definitely not ideal. I have it set for Rec709 but I know it's off a little. After I sell a bunch of stuff, I am going to save for an iMac, hopefully that monitor will yield better results. And yeah, I think you should definitely extend this piece. The ladies are great in it and I was left wondering what exactly was gonna happen next. This could easily be turned into a feature if you can figure out the red herring. I hope you do.

I think they would be horribly dumb if they don't include 5-axis into this cine camera... it could be one thing that really sets them apart. Of course I also think they should go the JVC route and use the m4/3 mount with a S35mm sensor but it doesn't seem like they're doing that... so what do I know.

its too funny that resolve is the same price as fcp. bm is goin for blood i like it im definitely gonna use resolve for my next project to see how it goes! i mean i like the program a lot, havent rlly used it as an editor yet tho unquestionably bm is doing something great here – the whole IDEA of resolve as an editor is sicc as heck, and its really come along quite quickly adobe needs to realize that charging $50 a month forever for BUGGY SOFTWARE PISSES PEOPLE OFF. its not even about the money, its about growing to *resent* that reoccurring charge – that is the shit that makes people investigate other platforms

Oh no, Xavier, by story I meant any coherent message that the images speak as a whole, the subtext, the underlying message that talks to us as humans at a higher, intellectual level rather than at a purely sensory (visual/auditory) level. E.g., many interpreted even the little pizza rat clip as an underdog "story." A more obvious example is of the buffalo that saved its calf from lions that clearly has a "story" I'm talking about (a beginning, middle, and end, to use the cliche). If there was such a message in Watchtower of Turkey, I didn't get it. It seemed to me like a juxtaposition/collage of beautiful images, much like a Victoria's Secret fashion show. E.g., frenetic cuts like that can indicate a frenzy of wild activity, but I don't believe that's what this filmmaker intended for the tourist viewers. What then was the purpose of this kind of cut other than to look cool and generate discussions like this? Anyway, I sense clear disdain and disapproval of my comments here (talking of subtext, I can easily read "what the heck do you know?"). But guys, rather than immediately push back, please consider what I said and discuss because we're all trying to be better filmmakers, and I for myself might be missing an important point here.