nahua

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.
 

Remember when the trend was to leave Alexa footage all milky/washed out - it was like they used LOG, couldn't make a grading decision & so just left it (or that's how it seemed). And here we have someone who has actually put some contrast/colour into his images & people call foul - it's a real shame & a very boring position to take. Would hate to see the comments if these people ever watched an old Film Noir....
Yes, the OP is correct - this piece doesn't look like video. Really thought you'd nailed it with the shot when the woman is moving in front of the shops.
The only comment would be that there is a slight colouring inconsistency between the wide & the close up shots with the opening dancing sequence (the close ups are slightly less contrasty, but not much).

The choice of "crushed" shadows (not really crushed, check waveform, but strong compression and pulled down to 0-3 IRE range) was an artistic one to achieve a very vibrant, dark and colorful look.
I honestly would love to work with a Varicam LT instead, or a GH5 with the Varicam sensor and processing, lol...
A bigger camera would limit me in many situations, but would be a great option for a way bigger budget (with assistance, another operator etc...).

3 times better wouldn't be the case, some images would profit (way better color science, better DR, better lowlight, no noisereduction nor sharpening etc...) others would be worse (this camera is just big and heavy and would therefore limit my work I guess).
I didn't have any worries about doing extreme colorgrading on the internal 10 bit GH5 footage, grades like butter without introducing any artifacts. The codec is just great and miles better than my GH4/V-Log experience tbh.

My GH5 setup with Baby Hypergonar and Aivascope Focuser 8 - on Pilotfly gimbal



First gimbal test with Focuser 8:
 

This camera takes SDXC, and let's get real for a minute: raw is wholly unnecessary for 98% of the camera's target market. 
The Varicam LT may be 'only' a few thousand more - but Starr factoring P2 cards and the price jumps drastically. And since when does the LT do raw internally..? 
The FS7 doesn't even have a proper EVF. Stick a loupe on the LCD and voila - you've got the same solution as the FS7. 
You know the URSA Mini also doesn't come with an EVF? And really, the 'back of the body' EVFs on the C series and FS5 are next to useless.
But sure, feel free to denigrate a camera based on the cost of wholly unnecessary accessories

Sucks so bad the Panasonic EVA1 lacks a Locking Micro Four Thirds Mount (like a baby made from the union of the JVC LS300 & Sony FS7 mk2 mounts).
Panasonic has blown a massive opportunity to provide an upgrade path for their GH users as they progress through their career, & was an opportunity to grow Panasonic GH5 sales at the same time.
However credit can be given to Panasonic for blasting out of the water the C200 which Canon just announced, but that fact should surprise exactly no one.

With a completely new Super 35mm sensor, the Panasonic EVA1 has just been announced at CineGear Expo.
The EVA1 is a compact version of the Varicam digital film camera.
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Yeah mine is the older one.  I bought it when it first came out, 2014 or 2015 I think.  it doesn't have any contacts on it.  I'll take a pic of it tomorrow and post it.

Iscorama Pre-36 with Helios 44 @ f2.8 (oval aperture) on Canon 5D3

To get that sharp on my (sharpness tweaked) Kowa Inflight or Kowa B&H with Core DNA attached I'd need to stop down to at least f5.6. Sharpness is indeed often overrated, but it's sure nice to have and can always be softened in Resolve very nicely. Iscorama still has perfect balance of sharpness but with organic feel due to vintage coating. More modern cinelux type lenses are as sharp, yet look very clinical (to my eyes at least).

https://www.youtube.com/watch?v=yWPyRSURYFQ
Ok, check some scenes on the cinematography of the 1982 film
What do you see? Well people have actual skin tones. When I saw the first scenes of the new one I was shocked, mainly because I love Deakins.
How can he make something look so bad? It reminds me the starwars second trilogy fail. And how can you praise this 'film" not even shot on film.
Too much CGI! Too much orange/ blue grading. This is not Deakins work, this is the graders film. Not a natural skin tone in sight, not a natural light or color in sight. Every scene looks like a commercial, fake, very proppy, very artificial and lacking in that futuristic reality, everything too clean and new and staged. Poorly designed surroundings no grit no dirt no reality.
The first film was so fantastic because it looked so real!
Coming to the acting, dear me, I can forgive the Gosling who is like a replicant in real life anyway. But JARED LETO? that babyfaced ass*&le? Too young too Jokery Too typecasted..
my humble opinion..

I think it looks eerily similar to the new Ghost in the Shell film, very pretty indeed but too sterile and glossy. Doesn't feature the depth of the original, same thing with Alien: Covenant. The music on the first half is good (because it's a version of the original Vangelis soundtrack, though not as good), the rest of it sounds cheap imo, standard modern action trailer background music that has no place in BR universe. I thought they would go the extra mile with this, currently it does not look very promising.

For me this is the most anticipated film of the year. I have mixed feelings about the trailer but beyond any doubt is that Roger Deakins has done an incredible job.
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I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results).
I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right:
 

 
I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope:
 

 
Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added:
 

 
And here's the same shot with the colour correction applied:
 

 
Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3?
I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR.
 
 
First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera.
A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview.
If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS.
FOLDER:
https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms
ALL FILES ZIPPED:
https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

Yes, the GH5 is second.
 
For sure, the 5D files have much more malleability than 10bit VLog. You can really go to town on Magic Lantern RAW - it's a much thicker file. It's almost pristine (except for ugly shadow noise).
 
But I think that it is actually a testament to the GH5 that I can do that. And what I've presented here is only the realisation of my preferences. The point that I want to make is that the 10bit 422 files are robust enough to undergo a fair bit of colour correction / grading. To me, the VLog coming from the camera is a "raw" material with massive potential, as the (properly) RAW footage from the 5D3 is a beginning, and not an end in itself. In the main GH5 thread you mentioned that there was a range of quality in the posted videos for the GH5, from video-ish to something more satisfactory. Believe me, if Magic Lantern RAW was accessible to the same kinds of users - and in the same numbers - as the GH5, you'd see a hell of a lot of bad 5D3 ML videos.
 
Exactly. You need 12 nodes or 20 minutes work to match this with that. But when the groundwork is done, you're in business. Today I made a nice lut that combines the Canon-like colour with a Lightroom film emulation preset. I loaded this into the camera as a monitoring lut and exposed until it looked good in the viewfinder. Came back and slapped the lut on and each shot was perfect. It took as long as it does to Ctrl+C and Ctrl+V.... with maybe a small WB and curves adjustment beforehand This is the look that I'm into at the moment. In a year's time I might be into something different.










 

Big time!
 

The fact few people if any can tell the difference lets us know all we have too.......
 
Both cameras look great and if most people here cannot tell the difference, 99.9% of the audience will not be able too either......
 
Go and create the project you've always wanted, the camera is no longer an excuse /
 

Here is the LUT for colour correction only - the V-Log gamma remains unchanged. This should be first in your post pipeline.
https://drive.google.com/open?id=0B1exEpCRAfgFcVdtSXhRdmJvalE
 

Yes, the 40.5 just screws right on to the Möller. I use a redclamp.
Here is the rig I used for the footages...
Gh4 - Edelkrone Pocket rig on lens support - M43 to canon FD - Canon FD 50mm 1.4 -55mm to 52mm - red clamp - Möller - 40.5mm to 52mm - Focuser8- 67mm to 72mm - BW nd filter - lens hood
 
 
 

Clinking could be a loose front element (diopter) - the retaining ring might not be tightly secured, causing noise from the loose optic.
Focus is often stiff on many lenses of this age. The grease has dried. Pretty easy to disassemble and clean...then apply fresh helicoid grease.
Marking appears to be fungus and/or separation. Not good.
 
If you paid over $200, I'd personally return it for a refund. You could disassemble the lens yourself to clean and attempt to remove the offending fungus - but those little lenses can be a pain to clean because they are so small (but not impossible). Have you tried removing the rear clear filter at the rear of the lens to check that the offending mark is not just on that? (hard to tell from your pictures...but there is supposed to be a rear protective clear filter screwed onto the rear of the lens...but yours might have already been removed before you bought it). It does appear to my eye that the fungus or separation looks to be on the inner lens block
Another option (since you are in NYC) is to send it to Bernie at Super 16 to work his magic on it. He is probably the best authority to judge if it is a lost cause or not (re: fungus removal and cleaning). He can give you a free estimate when it is in his hands, then it's up to you if the cost is worth it for you.
He is a wizard.
http://www.super16inc.com/
I've had a couple of these lenses myself in the past (repaired one in a similar condition to yours). They are ok - but not worth the crazy hype and inflated prices that they are listed for these days. Too much CA and highlight softness IMHO - unless using small sensor camera, and willing to stop the taking lens down to f4-f5.6 to get decent sharpness. It appears to be let down by it's front diopter - causing highlight smear and 'globs' at wide apertures.

I understand what you're saying.  It's not really 6K, just like UHD isn't really 4K either.  But sticking to aspect ratios, I guess you can say it's close enough.  Most of it is marketing anyway.  Red, Sony, etc all claim 5K, 6K or 8K and it's not really that size.
To answer your question about recording, on a 64GB card:
8bit UHD 16:9 30P - 1hr 24min
8bit Anamorphic 4:3 30P - 1hr 24min
10bit UHD 16:9 30P - 54min
8bit UHD 16:9 60P - 54min
8bit Anamorphic 4:3 60P - 54min
8bit 6K Photo Mode 4:3 30P - 41min
Continuous recording is possible with 6K Photo Mode.  Again it's just like 4K Photo Mode on the GH4 - full video and audio recording.  But it is HEVC H265, so transcoding is a must in order to edit.  I would show you some of the longer shots of 4-5min, but it would be HUGE, around 60-80GB.  Transcode, edit, and then the render time...  Rendering just the small clips are something in the order of 30min.  If I did 5 min it might be a couple of hours on my mac.  Definitely something to consider with these large files.
The GH5 really is an amazing camera.  At one time I was really considering getting a Sony FS5 or FS7 just for the 4K 60P and the slomo.  But I'm so glad that I waited.  To have Anamorphic 4:3 modes means I don't have to do crazy cropping with 16:9.  Plus with the added benefit of better codecs and larger anamorphic coming soon, it's almost like a mini RED or Alexa.  As for all those people returning theirs or complaining about AF - well this isn't the camera for them.  This camera really is for filmmakers.  It has a lot of the tools that filmmakers need.  The new Waveform tool, peaking is improved, etc etc.  There's just so much value for the money. 

@nahua, indeed... But it doesn't make sense either to call it 6K photo or less than 5K video, that's what actually this camera and this mode both are too. I wonder on overheating not because I don't know both Sony and Panasonic.
Man, you're speaking with someone who is customer of both brands for longer than your age very likely ; ) if you were born in 90s : D
I wonder about, precisely, because they insist to these silly denominations such as 6K Photo or to present this camera only as 4K video capture device on film side. I thought this mode would only be available just for a few seconds. It seems you can have 3 hours out of it or until your battery or card will completely drain. Recording sound included. How come?
Hence my fair try to detect where the catch is.
People look like very crazy, very lately. Panasonic marketing doesn't escape to this remark. This camera is fully underrated. A shame. 

The GH5 isn't made by Sony.  Sure the camera gets warm after an hour or more, but I have yet to see any warning of shutdown.  Doesn't matter if it's 6K or 4K, this camera is just built solid.  I just shot a live event that was almost 2 hours and it was just fine.  Even the battery lasts over 2 hours.  Can't say that about Sony.
As for 6K Photo Mode - it is exactly like 4K Photo Mode on the GH4.  It not only records video but sound also.  And it has the same aspect ratios - 4:3, 3:2 and 1:1.  The short video below is a 6K clip with audio:
The bummer part is that it is a "photo" mode - so it is accessed in the photo mode dials (MASP), not the movie dial.  This means that it is considered a "photo", and as such the old picture styles are the only ones available.  No VLOG, no Rec709L.  CineV and CineD however are still available.  Also, the metering is way off, like 1-2 stops.  The easy way is to go to movie mode, set the exposure, then go the photo mode, and record. 
The roadmap for 6K Anamorphic is clear because it's very similar to the GH4.  In the beginning, the GH4 only had 4K photo mode.  It was only a year later that they decided to make a dedicated Anamorphic movie mode.  I look forward to 6K Anamorphic later this summer!

This is my first test of using the 6K 29,97p 3:2 ratio on the new GH5.
I'm happy with the results, please tell me what you think.
But I want to share my teething troubles working with the GH5.
1- The first question was which focal lens setting did I have to choose for the stabiliser. My prime lens is a 35mm, but did I have to include the 1,75x factor of the anamorphic, that is influencing only on the width ?
My first impression is that the internal stabiliser is not really the friend of anamorphic lens, some distortions or rolling shutter. There is some small moments in the movie that you can notice, but most of the strongest were unedited.
Because of the prime lens which is 35mm, and maybe the wildest I can use with my baby Hypergonar anamorphic lens, I had to zoom in the image sometimes, when it's in movement for example, to avoid moving vignetting in the frame. I did up to 17%.  
2- the H265 codec that is used for the 6K mode
I had problems editing the 6K mode video. I have Premiere CC2017, but even when it downloads the H265 / HEVC codec, I couldn't really import the original files. Some of them were working, but most of them had strange result on the timeline with green colors. And not to mention the lag with playing the video, on Premiere or VLC.
I test it on two different iMac, mine that is a end 2012 with 24 Go of RAM, and at the university that is a 5k iMac with 8 Go. 
So I transcoded the video with Handbrake, which surprisingly accept the 5184*3486 with H264 5.2 level. Then I decided to export directly in anamorphic without the black bars, in 5184*1976, then doing a same dimension sequence in Premiere.
Badfully I couldn't export the same dimension when I finished my edit on Premiere, so I did it in the maximum that my version of Premiere accept at my home : 4K (4096 maximum on the width).
When I will find the solution, I will export it in its original dimension 5184*1976.
Having troubles with a new camera and a "new codec" and new dimension "6k" is not new for me and I accept it I remember when a long time ago when I bought the GH1 I had to switch from Final Cut Pro 7 to Premiere to be able to edit the H264 clips directly on the timeline. 
Thanks for watching the movie and do not hesitate giving me your opinion and your experience with editing 6K material from this new beast named GH5 !
GH5 6K 5184*3486 3:2 29,97p export to 4k 29,97p anamorphic 4096*1560
prime lens : Qioptiq 35mm f1.6 wide open most of the time
anamorphic lens : baby Hypergonar 1.75x
focus module : SLR Magic Rangefinder Imperial
ND filters : Hoya 32x, 4x and 2x
slight black and white levels / no color correction
cropping due to vigneting of the anamorphic due to the stabiliser from 0 to 17%
Thanks to Virgil for his GH5

Testing lenses if you're interested.  50mm has slight vigenette, but I cropped the sides to conform to 2.39 ratio.