sanveer

all the footage I shot for the movie is owned by the film production company , they have released some low res saved for web images to me so I can share them on EOSHD . Film companies dont relase any hi res stuff until after the film is released  ,
So look at the lighting grade composition low light levels etc etc but remember these are lo res saved for web pictures you are seeing not UHD 4K uncompressed frame grabs. there is no micoblocking on the actual footage I shot .
 I shot most of the movie at 800 iso f2.5 I lit the sets for that stop and ISO , I did shoot some scenes at 640 and 400 maybe 20% of the movie but most was at 800 iso
the G7 is very clean and usable at 800iso       PS the entire film is shot at night there are no daylight scenes in the movie
 
 

Yeah, the GH4 is definitly more production friendly. But the GX80 is just so sexy. I can pop up a compact prime, be it that 20mm pancake, Mitakon 25mm f/0.95 or a boosted Contax Zeiss and you can have a really low profile set-up for some run-n-gun handheld shooting. You can squeeze a bit more out of the sensor performance wise and it's all stabilized. I wouldn't say: 'get rid of your GH4 now, it's obsolete, all hail the almighty GX80!', since the GH4 is still the productivity master that offers up more functionality. But the GX80 does make a pretty mean addition to get some cool shots into your projects as it's just so convenient and well performing. Hopefully, indeed, the GH5 combines best of both and then some!

According several comments it works, but it seems there's a slight difference in buttons to press. That might make it a little trickier to get back from system default NTSC to PAL. So I've been hesitant to try it out myself.
That would be hard to balance I think anyways, since the 18-35mm f/1.8 makes the whole thing really front heavy. Not a lot of gimbals cope well with any combo and the 18-35mm, even if you'd use the Z Camera E1. Of which I btw still have to watch yesterday's video from Devin. Might do that right now, curious about his thoughts on it.
 

Sounds like the new firmware just changes the temperature at which warning/shut down occurs. Users have been reporting it runs until it's almost too hot to touch now. I wouldn't feel comfortable letting my camera get that hot

in premiere CC with the new lumetri is simple.
click on the color you will remove, expand the amount and then desatured this color.

I used that technique quite a few years ago using FCP7 & the thing is you're keeping the colour of the Dress (for example) & then desaturating the rest of the footage, so you should be fine. If you look at the example you gave of the little girl, it doesn't look perfect - i suppose there is a different technique used with film stock.
The thing with H264 footage is, you can do one or two things, but as soon as you start doing major CC etc. it will fall apart. So nail the footage that you take (exposure, colour etc.) as close as you can, so you don't have to bother altering too much in post.
Those books are amazing, they cover everything you need to know about CC & grading - no trick or technique is left out. Really worth the money & you'll never need to buy another over priced plug-in again. The only thing i've bought since is Film Convert - I only use that as a final adjustment layer for the roll off effect on highlights/blacks, applying only their standard setting. If i'm really in a hurry, I'll use the Alexa preset with BM footage, since I hate their BM preset - horrible, really horrible.
I always use the rule of thumb of nailing everything as close as you can get in-camera, as it saves so much time in post.
The saying that you can always fix it in post, is just another way of saying you can't shoot properly.

For the best results, it should be done in post. You grey out the clothes or whatever & then reverse the image, so you end up keeping the colour of the object & everything else is B&W - colour keying, i think that's what it is called. Effects done by a camera are always a bad compromise - it won't look great.
If you're not good at CC'ing or want to learn, the best book/s out there is by "Alexis Van Hurkman - Color Correction Handbook" and the companion book is "Look Book Creative Grading Techniques". If you get both you are absolutely set to go - the books are easy to understand & you'll realise it's a lot easier and quicker to do things than you think (you do things once & then save the template in your NLE).

I think the G7 had a filter that did it. And I'm pretty sure it worked in video. But don't quote me, I never tried it. 

If you're a premiere user, the new lumetri color panel offers a quick and easy way to nail this kind of look, you can just click the little color buttons on the wheel and boost what you want, and pull everything else down to full desaturation. Sometimes it works better than others though, for example on the two examples posted there might be red in the skintones that sticks around a bit. It is very fast and simple to use though. 

One Point Color under Creative Control mode see pag 84 of the user manual.
https://eww.pavc.panasonic.co.jp/dscoi/DMC-GX80/EG_EC_EF_EB/guideENG.pdf
GH4 has it as well, never used it so can't tell how well it works.

Yeah, I'm totally guilty on some of that stuff myself...

Thank you so much for the reply. I guess, now I know what cross process would imply on the menu. Also, thanks for the PremiumBeat link, it is extremely informative. Maybe I will have to do it in post. Hopefully I won't have to use a RAW or ProRes camera, only for this, and the H.264 is sifficient. 

I am disappointed though, that DSLRs/ DSLMs don't have similar features to smartphones. Kindda sad. 

Don't Nikon and Olympus do this in camera? Pretty sure Nikon does.

Done in post - colour keying such as with the qualifier in Resolve.. http://www.premiumbeat.com/blog/isolated-color-look-resolve/
There are a few methods to do this, but afaik no dslr can do it in camera - smartphones usually seem to be ahead with the built in filters and effects, but it seems dslr's are catching up..
 
Cross process is developing a film with the process from a different film
https://en.wikipedia.org/wiki/Cross_processing
I think most of these filters only work for stills on the Panasonics
 

Wow !!! I really like the trailer. Looks like a super crazy and entertaining low budget Indie. When is it out? Also, will it have a world-wide release?

You basically record a 'safety track' as backup of the same recording, at about 10dB lower that the main one. So if there is some popping as a consequence of a surge in sound by a talent or anything else, you have a backup, at a lower dB. It can be done with almost all dual sound recorders (whether separate channels, or mono). Like with the Shure LensHopper VP83f. You can record the 2nd sound (the one on the MicroSD Card) at 10dB lower, to have as a Safety Track. It is there on most sound recorders, that have more than one channel, or record into more that one place (camera and recorder etc).

Vimeo is the target of a lot of consternation these days, but I do appreciate their ability to curate some amusing stuff.  Maybe they're like me and have become burnt out on the millennial twee...  
https://vimeo.com/177375994
That is all.  Good day!
 

Yup. Soon! Currently doing the festival circuit.

I saw this yesterday, and I was blown away. The Difference is almost Night and Day. 
 
 

You basically record a 'safety track' as backup of the same recording, at about 10dB lower that the main one. So if there is some popping as a consequence of a surge in sound by a talent or anything else, you have a backup, at a lower dB. It can be done with almost all dual sound recorders (whether separate channels, or mono). Like with the Shure LensHopper VP83f. You can record the 2nd sound (the one on the MicroSD Card) at 10dB lower, to have as a Safety Track. It is there on most sound recorders, that have more than one channel, or record into more that one place (camera and recorder etc).

You basically record a 'safety track' as backup of the same recording, at about 10dB lower that the main one. So if there is some popping as a consequence of a surge in sound by a talent or anything else, you have a backup, at a lower dB. It can be done with almost all dual sound recorders (whether separate channels, or mono). Like with the Shure LensHopper VP83f. You can record the 2nd sound (the one on the MicroSD Card) at 10dB lower, to have as a Safety Track. It is there on most sound recorders, that have more than one channel, or record into more that one place (camera and recorder etc).

I make no claims to knowing the guy, being a part of anything other than being his fan for the past 3 years.
He introduced me to blackmagic, because when I searched for blackmagic in 2014 his vimeo channel came up all the time.
He started with, if I remember, the pocket and then moved on to the cinema camea. He built his own light systems and taught himself pseudo 3d animation to complete his money shots. His talent was his wife. Who, if I remember, was a painter or photographer, I don't know, but she was not shy. Yes, it sounds like a 'latching on to success' post, but really, I thought he was very strange. But I wathecd all his early videos like a hawk because he had, what we call, 'talent'. He got hired by some agency based on his shorts and I thought he was gone. Then a week ago I see  promo for a film BASED ON HIS SHORT.
To me, he is an inspiration.
His movie is trending worldwide, its called Lights Out. Look through his videos to find his inspiration.
Here's the profile https://vimeo.com/dauid
Try to watch his behind the scenes if you can where he gets a bit nuts with piping and hardware lighting.
We should support him fully!

Wow. Pretty Neat. Just goes to show that it's always more about the talent, than the equipment in whose hands they rest. 

Just to be very clear... not shot by me!! I wish it was! It looks great. 
But I just happened to come across it, and had to share it, as it is a nice example of what can be shot with GH2 in capable hands. 

While it's possible Panasonic would think that way.. it's not true. Would really just make this a much better b-camera for the gh5