Andrew Reid

Are their any step-changes in quality as you go down from 180fps with the variable frame rate option? Say 120fps or 96fps - any more detailed and less aliasing?

Dave has done a great job matching colour in this. 1D X Mark II is a bit softer out of the box, as it doesn't have any digital sharpening in-camera when it is turned all the way down.

Can't really confirm it. The chart is open to interpretation with the yellow shading. The camera is only still in pre-production, nothing is locked down yet. On second glance at the chart it looks like the DCI 4096 x 2160 at 48p is 150Mbit 8bit 4:2:0 if you follow the row and boxing lines, whilst 24p is 10bit 400Mbit

180fps looks like it does suffer aliasing and moire to quite a severe level but it's great as a creative bonus.... NX1 120fps probably a bit better but that still has aliasing and moire.

Of course it's enough for H.264 at 400Mbit (4K 48p) - it may be half the bitrate of MJPEG for 60p 4K on the 1D X Mark II, but H.264 is a much more efficient codec so will maintain image quality at half the bitrate.

Well remember with the GH3, the ALL-I mode didn't quite have a high enough bitrate to maintain quality per-frame, for all those individual frames, so IPB looked a bit better. Now 400Mbit/s is another story, it should be better than 150Mbit IPB, in same way 500Mbit MJPEG on the 1D C looks better - not a huge difference but there will be one. Big files sizes though! Motion cadence should be the main thing that benefits in terms of image quality with ALL-I. But IPB is perfectly good at giving you individual frames with little compression, even at 150Mbit - and it's a nice big step up from 100Mbit on the GH4. 400Mbit ALL-I on the GH5 will be 4K 48p 10bit 4:2:2 and 30/24p. 4K 60p remains capped at 8bit 4:2:0 / 150Mbit IPB. As it is IPB, 150Mbit is reasonably enough.

You should really never shoot with auto-aperture, it's bad technique even for auto. If you're going to use auto then it's less of a trade off to have the shutter speed and ISO control exposure, rather than the aperture. Who wants to have the camera ride the aperture all the way down to F16 in some instances? Even the staccato look of 1/4000 is less noticeable than using yukky slow apertures on a scene which really demands some composition in-depth. Only scenes that need a deep DOF should be shot at F8 or slower.

I talked to Panasonic's Matt Frazer to clarify the use of H.265 on the Panasonic GH5. Read the full article

I really hope Panasonic can do a de-squeeze in camera... and remember to crop the edges from 2.66:1 to 2.39:1 with the 2x glass

Scorsese said cinema's now officially dead. May as well be a theme park ride. Event a good director can't save the system... Duncan Jones on Warcraft. Peter Jackson on The Hobbit Part 10. Looking to Netflix to save cinema... They have picked up the Blade Runner style sci-fi shot by Bowie's son Duncan Jones, set in Berlin in 2050 called Mute. And more stuff good coming out soon. As for 2016... I am voting 5D Mark IV!

Exactly. One could be an absolutely brilliant filmmaker but produce dreadful colour from LOG footage, it takes years to learn how to be a good colourist. It's really a separate job altogether OR another thing to learn and to hope and pray you have talent for. Then there's the fact that all displays are different and you could be getting one thing on yours and people will be seeing quite another thing. I cannot believe for example that one of the guys on this thread really wanted to put saturation to the levels he did!! Must be something else going on. This is partly why I came up with EOSHD Pro Color to sort things out so that they only require tiny, simple changes in post to get the most out of the sensor. V-LOG is nice and all that but it so often goes horribly wrong - just like S-LOG.

This shot was the exception... very nice. Not seeing much detail in the shadows but the colour is great.

Ah OK I get it now, people on the thread are trying to break the footage. That must be why it looks so horrific. Either that or V-LOG colours are off.

That would explain it. Panasonic think I am a girl! Maybe I need to shoot my parkour and dogs before EOSHD can get a pre-production unit. Remember when they gave me a GH3... and a GH4... and invited me to feedback sessions... This time - nada. Maybe it was the Panasonic CM1 smartphone review?!

Dynamic range is more than just counting the number of grey shades at the end of a chart. It's how colour is handled, the roll off, the codec, noise, a lot of stuff. C5D say nothing about what is usable, what isn't. My Leica M9 came out 7 years ago and it has more usable dynamic range in the raw stills than the latest full frame sensor from Sony in the A7S II (which remember, Sony claimed had 15 stops!! Yeah right)

You only have green, brown and black in your grade. The blacks are crushed big time. I'd recommend starting from scratch and reading up on how to grade properly. There's already too much crap out there that has been graded terribly. You don't want to add to it... trust me.

Have you tried CVP?

Quality is mind-boggling. V-LOG looking a lot less noisy. Do you have anything shot on Standard though?

I am more disappointed with Intel and Adobe. Intel for not giving us any meaningful CPU performance increases for 5 years. Adobe for not testing their software on the new Macbook to ensure compatibility. Apple are just 'meh'... neither bad nor good at the moment... certainly uninspired after Steve Jobs left us.

Bit of a warning from James Miller: "The MacBook Pro touch bar has to be the worst Apple product I have ever purchased. £3,329.00 for endless crashes using Adobe CC products, renders that crash the graphics card resulting in green screen, lockups. The touch bar and the actual keys I really don't seem to be feeling the love for. Everything sounds angry whilst typing with these noisy keys. Fed up with pressing multiple times on the touchbar to adjust screen brightness and volume. Default layouts are rubbish on the touch bar and even when configured don't really do anything useful. Been an Apple user for ever but thats the last Mac I'm going to buy unless they produce something that actually works. 2.5hrs to render a 3 min red film on old MacBook Pro (2 years old) it takes just a few minutes." Sounds like between Adobe and Apple they have managed to truly embarrass themselves.

"6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio" UM! That's what an anamorphic mode is - 4:3 Someone let our dear friends at Cinema5D know.

The Panasonic GH5 is now officially announced after the Photokina preview phase. Panasonic have released all the details, some of it a little bit controversial. Read the full article

How did you get such close focus with a projector lens, diopters? Very nice feel and mood!

On the Panasonic version you can use AWB. Only on the Sony version I recommend custom WB as Sony's auto-WB is rubbish.

6K setting on the top-left dial. Joystick on the back, nice touch. Redesigned d-pad / click wheel but I'll be using joystick instead. Full size HDMI port rumoured. I hope Speed Booster XL still fits the mount, and ridge above it seems lower?