Ben Corwin

On set?..... ON SET?!?!?!?!!!! Hahahahaha

GH5s with IBIS and raw output, PLUS the full version of V-Log. That's all I ask!

Isn't this on the colorists? The behind the scenes footage almost looks like they are shooting day for night with how bright everything is lit.

Come on Andrew... commenting on EVERYTHING except the Black Magic 4K Pocket? I hate to say it, but you are quickly becoming irrelevant. It's a massive bummer because I've been such a big fan of this site over the years.

On 5/12/2018 at 6:01 AM, jonpais said:

I think this is just a problem with the LUT that was applied. I've gone through the same thing with the FS700. It took me FOREVER to find good LUTs! All of the LUTs provided by Atomos and even Sony added terrible colored noise. I haven't a clue why this is the case. Maybe it's because it's recording the RAW signal, so this means there isn't any noise reduction added to the signal and they just leave it to you to add noise reduction. At any rate, I'd be more concerned if I saw this color pattern in the LOG footage.

Honestly, I don't even care if Canon goes bankrupt at this point. They earned it.

Hey Andrew. Any word on the magenta blotches? Are they gone at 400mbps?

I actually appreciate the softening nature of H.265. I think it would do the GH5 a service considering how sharp and noisy the image tends to be. Hopefully, they will extend the option of recording H.265 to the 150Mbps setting as well.

2 hours ago, aldolega said:

That being said I do hope Panasonic give us higher bitrate options (that require UHS-II or V90 or whatever)- even something fairly moderate like 200mbit for 4K30, 400mbit for 4K60. Get the GOP size down. I always liked FlowMotion on the GH2, which was GOP3 I believe.

Hey Al,

I'm also interested about this "dual SD card" implementation. Maybe it will be like the Odyssey 7Q where it alternates between two SSD's for super high data/frame rates. You would basically import the clips directly off of the camera, which would reassemble the clips into a singular .mov file. Just a thought. 

I'm thinking it's hard for them to translate 4:3 resolution in video terms. There's much greater vertical resolution, but the megapixel count remains the same for "6k."

6K 30fps, 4K 60fps, 1080p 240fps, H.265 10bit recording, 5-axis stabilization. Can you imagine if we get all this in the GH5? Regardless, people will still find an excuse to hate on m43. Damn shame.

Great post as always Andrew, but my concern is what we might LOSE if the GH5 goes with a larger sensor. What Panasonic has done so well with the GH line is exploiting all the benefits of a smaller sensor. For instance, if a m43 sensor means giving us 240fps at 1080p as opposed to 120fps on a s35 sensor, I would go with the m43 sensor every time. Hell, maybe we could even get a global shutter this time around? At any rate, there are certainly many benefits of a smaller sensor that can potentially outshine the step up to s35. I still think Panasonic should continue separating this format by offering kick ass specs that larger sensors can't offer. That might even mean having to do a complete technology overhaul for m43, which it sounds like they are already working on. See below.

http://blog.planet5d.com/2016/02/a-sensor-that-can-shoot-in-starlight-panasonics-apd-cmos-could-change-low-light-forever/

Anyone know what Panasonic is excluding in V-Log "L" for "Lite"? Just wonder what's the difference between it and regular V-Log.

Lots and lots of upset people on 43rumors, but you're pretty confident V-LOG will eventually come?

Praise dey laww'd! Only had to wait half a decade...

Wait a minute... To be able to record 25p or 30p in 10bit 4:2:2, it has to be interlaced??? Did I hear that right? If so, that majorly sucks!

Congratulations Andrew! Looking forward to future reviews!

Btw, your coverage of the GH4 was the best out there. Thanks again! 

Movie wouldn't have worked because some of the camera movements required 180 flips. 

Yes, I corrected myself.

Did you just quote YOURSELF!?

I did! Haha

You don't get it do you. At all.

The video is supposed to have a raw, ramshackle, Manchester band / New Order feel to it. Why do you think they left the cars in the background towards the end and have the crew come out?

 

Of course they could have made it slicker like every other fucking music video... that is not the point...

I think unlike other people, we've been conditioned to know what bad stabilization looks like and we can't see it as a cool effect like everyone else on youtube might. It's hard to make that disconnect sometimes, especially when you know what's behind it.     

All that time for rigging and not enough time to balance a MoVI? Yikes.

Oh wait, they wanted the camera to roll at the end. Anyway, I still enjoyed it! 

All that time for rigging and not enough time to balance a MoVI? Yikes.

What do they mean by the ISO rating? Is that supposed to be the native ISO?

Autofocus in 4K mode is slower I've found. For everything else it's blazin' fast!

Might want to look into some gimbal systems as well. Seems like everyone's making those now, including one's made just for small cameras.