sanveer

I use the A3G3 setting as well. 

Yeah. Page 116 of the manual. 
https://www.mu-43.com/threads/gx80-85-user-manual.84812/

Its a sub modification within the white balance setting. There's a color graph/grid with numeric values. A3G3 references these color settings. 

Oh ok, that's nice. Please post a lotta pic on Flickr (I love pixel peeping). This lens + camera combination is excellent. 
 
The 20mm f1.7 (i and ii) is a very strange lens. Its focus speed is quite slow, it is quite noisy, and it has one more curious issue that I suddenly cannot recollect. Avoid it, if its Tiny Size is what is attracting you. It is reasonably sharp, though.

I am a huge fan of multi-cam setups. While personally I haven't use multi-cams (yet), unfortunately, I have been part of a film where we they used like 6-7 cameras, and though I did not like the camerawork, or the setup, I thought the idea was really neat. 

For dialogues, and for many other setups, a multi-cam setup can seriously reduce the time required for the shoot. I am actually thinking about picking up (Atleast) 2 cameras, for a film I wanna shoot. I guess that should help speed up things substantially. 

Superb Idea, Lee. 

Based on current prices, this looks like the situation for 4k shooters in this form-factor... 
£509 - GX80 - nice 4k, IBIS, no overheating, BUT bad rolling shutter, no mic input, crop
£930 - A6300 - nice 4k, AF in video, mic input BUT overheats (lottery), horrible rolling shutter
£1399 - X-T2 - nice 4k, mic input, no overheating(?), who knows? BUT Rolling shutter (how bad?), aliasing (know for this?), bad moiré (known for this?), who knows?

Fuji's X-Trans sensors have a different color pixel array/ configuration than the Bayer Pattern. Fuji has designed them so as to reduce moiré patterns, without the need for an optical low pass filter (OLPF). I am guessing, that the end results of both of them are very similar. Maybe bayer pattern cameras without the OLPFs are mildly sharper than the X-Trans Sensors. Also, while the read out speed is governed by the sensors (which are made by Sony, btw), if anything, the X-trans would slow the read out speed, if read out speeds are governed by the pixel array. Though they would be by a few micro seconds only, at best.

I am not sure you have understood what helps put 4k and recording limits in place.   
 

I can testify to this. The ibis is not as "aggressive" as the Olympus. Meaning, the floating seasor doesn't compensate-shift as suddenly.  
The Pany tends to "feather" the sensor adjustments.
In my hands, this means the Oly works slightly better stabilizing while handheld, but on the flip side, it'll behave weird at the end of a tripod pan/tilt as the stabilizer tries to figure out why the body is static all of a sudden. 

Fuji's X-Trans sensors have a different color pixel array/ configuration than the Bayer Pattern. Fuji has designed them so as to reduce moiré patterns, without the need for an optical low pass filter (OLPF). I am guessing, that the end results of both of them are very similar. Maybe bayer pattern cameras without the OLPFs are mildly sharper than the X-Trans Sensors. Also, while the read out speed is governed by the sensors (which are made by Sony, btw), if anything, the X-trans would slow the read out speed, if read out speeds are governed by the pixel array. Though they would be by a few micro seconds only, at best.

I am not sure you have understood what helps put 4k and recording limits in place.   
 

@Michael Coffee
No disrespect, but I think we just have different tastes in what looks "awesome" or "right." IMO, these are reference snapshots at best, maybe a nice reminder of a day you spent together to remember a person's face... nothing striking in terms of the tech of the 7D & 70-200 and frankly they could have been shot with any camera or phone. In terms of video, ANY camera Canon is offering right now under 1 grand wouldn't be even in the same ball park as the GX80. They're just too light on features and IQ for 2016. Maybe the 5DM4 will be available at a decent price... we'll see, but I have my doubts.

Oh My !
My X-T1 is only 1 year old, and now the X-T2 adds all the video features I need !
Pease fuji, add F-log to the X-T1 via firmware update ? please ? please ? PLEASE !

I think it makes a difference, if a manufacturer tells you, that the camera is good for 30min recording, and then (after 10, sometimes even less) minutes it overheats or if one tells you: "10 minutes, that's it" and you really get those 10 minutes everytime
 
From what I have heard, Fuji did a lot to get the heat down. Those new batteries are one of the things. (A bigger heatpipe is another). What I have heard too: they are not opposed to add more video funcionality with firmware updates, if people really use the camera for video.
 
4K is not full sensor, it's a mild crop (something like 5K). That way they could get 24, 25 and 30p at the same crop and not have another crop for 30p. Furthermore it reduces rolling shutter (should be below 30ms, which still is a lot, but better than A6300 and some others) 

You photos look like those taken from early phone cameras with resolutions running in 1 and 2 Megapixels. Even the one from the GX7. What could be the secret?

@mercer @John Matthews @Michael Coffee etc..
I have shot with a plethora of cameras including Fuji's, Panasonics, Sony's, Nikons (crop and full frame). In terms of JPEG output, the Fuji and (extremely surprisingly) the Sony a6300 have for me been the most pleasing. But in terms of RAW, they're all as good as you ever need them to be. What matters more than anything is the scene and the lens. If you don't believe me you can look through my photos http://www.sebcastilho.com/people/ The images can be downloaded too and EXIF data is in tact. Theres stills from all the cameras Ive used there including some film cameras.
What matters a lot too is ergonomics and in this regard I find mirrorless cameras to have a big advantage over DSLRs due to their live-view autofocus capability, allowing you to get angles that are very difficult with a DSLR. 
@sanveer The write up probably won't happen for at least a few weeks because I want to shoot and edit some videos first. But if you have any questions you can message me.

In my opinion, stellar. Some will say EM5II is ever-so-slightly better, but that's 1080p.
You get 16MP. That's enough for some very large wall prints. How big do you need? A few years ago, I was using tricks like UniWB to get an accurate reading of a histogram so that I wouldn't blow out highlights- this camera doesn't need that trick. It's very much WYSIWYG from what you see on the screen. However, MFT sensors aren't really know for their DR abilities, but this one does a great job keeping highlights down and telling you the truth about when they go over. Having shot many cameras in RAW for the past 8 years, I've seen better pure performance, but they were more of a lottery when you got it on the computer. Finally, the GX80's JPEG's actually look remarkably similar in DR to the RAW's- and that's a good thing.

This has already been posted on this thread and I wish they'd tested the video AF on a tripod.
 

I have both cameras and I'm going to do a post about this at some point but basically the decision really should come down to what you will find more useful: 5 axis stabilisation or fast C-Af. There's a lot more points to make about the subject but like I said I will probably do a write-up some time. 

I have a huge collection of short films from big Film Festivals, and most of them are Absolute Rubbish. I am guessing, it's more of creating hype and propaganda, and getting an agent, or becoming one, that gets you through. For most things. Also, while some films have excellent cinematography, or other technical bits, their stories and direction are good for toddlers, at best. 

Start systematically. Ensure the edit is good. Most often, faster cuts (and large angled camera shots, where faces aren't so visible for bad actors) can make an average film seem good. Also, ensure the sound is good. Check ADR as an option, and put in a good background score. Good coloring and grading are also necessary. 
Also, good posters, and working stills (along with a good trailer) would be a great idea.


Make a list of Film Festivals like this:
1. Ones closest to your house. Like within a radius you can travel to (like 100-500 kms) with your parents or friends. 
2. The ones that are Free. Or have very low entry fees. Sundance charges $40 for early bird entries for their Short Films. SOTC (short of the week) charges $29. The $11 isn't exactly huge, by any standard. And, many famous film festivals charges almost nothing, many even less than Sundance. Do your research. There must be atleast 30-50 like these. 
3. The ones, whose owners, producers you can meet and discuss, and get some mileage out of, for showing in their festivals.
4. Film Festivals where you can meet and intereact with people for showcasing of your film, and taking their feedback. Sundance seems like a great place for meeting people, learning from them, and maybe even collaborating with them.
5. Do a round of as many film festivals as you can. Give yourself a budget. Of like "$100-whatever" to do a round of all possible film festivals. Don't spend more than 50% of that cost for the big ones, because they may or may not take a film (read my first para above). There is no criteria for them selecting a film. 
6. Rejection means nothing. I am quite dismissive of many famous people. One should never discover how they made it big (as opposed to their version of the truth). Also, most people in the films festival circuit didn't either think much of Paranormal Activity or hadn't even heard of it. As a matter of fact, Sundance rejected it outright. So, like I said, rejection means nothing. 
7. Show the world your film. You job is not to sit in judgment of it. Let the others do that. Just push it down everyone's throat. Whether they want to, or not. That's your job. 

I hope this helps with the timelines, and the Fee/ No Fee option :

http://www.thetakes.com/festivals/#.V3zbhbh97IU

I have a huge collection of short films from big Film Festivals, and most of them are Absolute Rubbish. I am guessing, it's more of creating hype and propaganda, and getting an agent, or becoming one, that gets you through. For most things. Also, while some films have excellent cinematography, or other technical bits, their stories and direction are good for toddlers, at best. 

Start systematically. Ensure the edit is good. Most often, faster cuts (and large angled camera shots, where faces aren't so visible for bad actors) can make an average film seem good. Also, ensure the sound is good. Check ADR as an option, and put in a good background score. Good coloring and grading are also necessary. 
Also, good posters, and working stills (along with a good trailer) would be a great idea.


Make a list of Film Festivals like this:
1. Ones closest to your house. Like within a radius you can travel to (like 100-500 kms) with your parents or friends. 
2. The ones that are Free. Or have very low entry fees. Sundance charges $40 for early bird entries for their Short Films. SOTC (short of the week) charges $29. The $11 isn't exactly huge, by any standard. And, many famous film festivals charges almost nothing, many even less than Sundance. Do your research. There must be atleast 30-50 like these. 
3. The ones, whose owners, producers you can meet and discuss, and get some mileage out of, for showing in their festivals.
4. Film Festivals where you can meet and intereact with people for showcasing of your film, and taking their feedback. Sundance seems like a great place for meeting people, learning from them, and maybe even collaborating with them.
5. Do a round of as many film festivals as you can. Give yourself a budget. Of like "$100-whatever" to do a round of all possible film festivals. Don't spend more than 50% of that cost for the big ones, because they may or may not take a film (read my first para above). There is no criteria for them selecting a film. 
6. Rejection means nothing. I am quite dismissive of many famous people. One should never discover how they made it big (as opposed to their version of the truth). Also, most people in the films festival circuit didn't either think much of Paranormal Activity or hadn't even heard of it. As a matter of fact, Sundance rejected it outright. So, like I said, rejection means nothing. 
7. Show the world your film. You job is not to sit in judgment of it. Let the others do that. Just push it down everyone's throat. Whether they want to, or not. That's your job. 

I hope this helps with the timelines, and the Fee/ No Fee option :

http://www.thetakes.com/festivals/#.V3zbhbh97IU

Yes it does. Still unclear to me whether this is lens or body related. I experienced it with the 14-140mm, the only native M43 lens I own. Electronic shutter gives massive improvement in the aforementioned shutter speed range. Drawbacks are less bit depth (though not sure about that) and distortions on fast moving subjects. Has been working fine though for me.
For video on the G7 I use vintage glass. This reminds me I should test those also with mechanical versus electronic shutter. Should be able to identify the source of the 'shock', no?

Shutter shock happens with the mechanical shutter within the range of 125-250 shutters. It is absent when using the electronic shutter.
 GX8 and GX85 seem to be the first Lumix cameras not to exhibit this unwanted feature when in mechanical shutter mode.

IMHO (random order, except 1):
1. First let an unbiased friend, preferably with some film knowledge judge your film, for what can be re-worked on, in post (sound, editing, effects, etc).
2. Work on what needs to be worked on above.
3. Send it to one of the Big Film Festivals. Nothing like a Big name to a Film Project. 
4. Make a list of All Film Festivals based on the time of the year, and on entry fee. Lots of them are free, and they could be a gr8 place to start. After your film does a round of one of the Big Festivals.
5. Don't put it out on the Internet or sent it to Film Festivals if you wanna send it to the Bigger Ones. 
6. Read applicable rules, and send it across. 
7. Send it to as many Film Festivals, As Possible.
8. Try to en-cash on the Film Festival names (if selected). Create a commercial model around your film (vimeo/ amazon/ iTunes etc), or just put it on YouTube, and try and make money from the views (dunno how much they pay).
9. Show your film around your town, at some small theatre. Try and make everyone you know see it. 

Best of Luck. 

 

The GX80 is one of the most popular cameras on EOSHD if the number of views on its threads is an indicator. This thread has been going strong for quite some time. I doubt the GH5 is going to be at Photokina, given that the EM1 II launch has been delayed until early 2017. The GX80 is all we got right now; so, let's give it our undivided attention.  

ANDREW REID
 
Your GX85 Review is overdue. Impatience is afflicting my mind. Cannot wait much longer. ;-)
 

ANDREW REID
 
Your GX85 Review is overdue. Impatience is afflicting my mind. Cannot wait much longer. ;-)