Orangenz

Best bang for the buck. If you want better, go RED at $50-100K+ and by better I'm really talking more about the extra 2 stops and ease of editing access. I don't know what "slider" you're talking about but the difference in grading of more plain backgrounds like sky is HUGE and totally gets me the image that I always wanted the GH4 to give with vlog. The codec and compression goes with the price point but the whole "this is too small for any decent image" is kinda bollocks as it has a good history across all the GH cameras. The kind of conversation goes like this: me- yes!! no magenta blobs in that cloud!! family member- i see no difference, they both look great.

21 minutes ago, Phil A said:

I have searched the forum for quite a bit but couldn't find anything regarding (even though I'm sure I saw such a discussion somewhere before), so bear with me:

What's wrong with the V-Log L View Assist feature?

I have installed the V-Log L update last weekend (makes you wonder if they couldn't manage to deliver it on a floppy disk with following code activation via fax to go full retro) and played around with it. I'm used to the View Assist of the Sony a6300 which brings the image back to Rec709-ish colors and contrast but I'm kind of baffled by the implementation on the GH5.

The pre-installed Rec709 LUT doesn't bring back same level of contrast as using one of the regular picture profiles. So I exported my standard setting from FilmConvert in the V-Log L specific preset version, converted it to *.vlt with LUTCalc and put it into the GH5. But it still lacks contrast to what I get when using the FC profile in Resolve or when using the exported LUT in my SmallHD 501 for monitoring.

Is this working as designed, is it a bug, is I dumb?

assuming your monitor is calibrated, remember your camera lut can be different from the one you actually use on the footage so use a contrast boosted lut for your camera if you like. Mine look ok though. 

10 hours ago, OliKMIA said:

An interesting document from Panasonic about how to work with LOG. The PDF is specific to the DVX200 but it does contain interesting info.

http://pro-av.panasonic.net/en/dvx4k/pdf/ag-dvx200_tech_brief_vol6_en.pdf

Nice find. Summary might be:

- probably have to add a little bit of sharpening in post

- expose for highlights if you don't want clipping (80 ire)

- expose for middle grey (18%) if you don't mind clipping (42 ire) or if clipping isn't a problem

- the log curve is dark weighted 8:4 so you don't have to overexpose to the right if you don't need to. (ie. don't chase 80 ire 2 stops up for no reason)

His summary: "aim to expose an 18% gray card at about 42 IRE, keep your Caucasian skin highlights to below 55 IRE, and set your Zebra 2 to 75 IRE to keep from clipping highlights."

With the last point at 75 IRE  being that some colour channels might clip before the white zebras show it at 80.

11 hours ago, wolf33d said:

 

480p? Are you sur you did not mean 144p...?

Don't forget it is slow mo only 120 and + fps. Don't forget the shitty lens, and YouTube. Otherwise I don't know what to say.

 

Ahh, yeah that would be soft 1080. The resolutions won't match. I would use Instant4K Red Giant plugin if uprezzing and exporting 1080 as 4k. Takes a lot of time to render of course but in the end you generally can't tell the difference between 4k and 1080 if you use it. https://www.youtube.com/watch?v=lygWL2unr_Q

49 minutes ago, jonpais said:

Beautiful scenery for sure, but everything is soft like 480p. Which lenses were you using? What made you decide not to bring along an ND filter? I'm seeing far too many videos shot with the GH5 in bright light with the kit lens with no ND filter. It seems to me even if you'd shot with the Rokinon 12mm f/2 and used an ND filter the results would have been sharper than this. Also, I don't shoot architecture or landscape, but just how important is AF-C when shooting these? 

Either HFR or frame interpolation from slowing things down will do that. The high rez timelapse will make the effect more obvious, as will the youtube compression. 

6 hours ago, Ken Ross said:

Emanuel, I just don't like the custom AF settings. I've tried many and wasn't particularly happy or impressed with them. 1-area seemed to be the most reliable.

Video AF needs those magic two ingredients. 1) Smooth quick focus to whatever is inside the target focus area and 2) stay focussed if that focus area doesn't change, ie. lock on

11 hours ago, Ken Ross said:

Oh no no! There's a setting that allows you to simply press the button in and you can then release it and still hold focus.

Edit: The operation you MUST engage is "AF/AE Lock Hold". Once you set this to 'on', you press the button to lock focus, release it, and it holds your focus. To me this is absolutely, 100% essential, to make this a terrific way to avoid so many of the AF issues.

That loses the "Focus On" setting that is so useful in MF mode. 

5 hours ago, Emanuel said:

Brand wars aside (not my beach at all) I wonder about the slowest settings on GH5 for touchscreen focus instead.

No one was able to show me yet if there is (or not) any focus hunting on the slowest settings with tap-to-focus.

 

Speed and Sensitivity. What settings do you want?

The only way is to set to manual focus and push the lock button to temporarily turn the af on at the set area. Or to drag and drop the focus square on the screen. Holding a button down constantly for 5 hours to lock AF while you are in AFC mode is not an option. 

2 hours ago, Arikhan said:

@Emanuel

That's a good way to go, yes...The second aspect is trying to keep your focus area as small as possible (without including parts of the background, if possible)...This way, you should get rid of most disturbing pulsing of background - and your Pana could concentrate on focusing in a small, defined area only, without trying to adjust focus on a large surface and depth of field (pulsing and pumping are simply tries to microadjust focus within predefined focusing area - so keep this as small as possible and drag it to your subject)...

EDIT: There is though a practical problem out there --> When shooting out of the hand and using BBF and AF-lock, you will use your thumb to keep focusing, usually with your right hand...So now, there are two flaws: A. Your right hand + right thumb are busy with keeping/releasing BBF --> you can not move focus areas with the joystick any more... B. When you want to tap focus, you have to do this with a finger from your left hand, and this way your camera could get shaky (because you will hold it for this moment with your right hand only)...

Try to track your subject within the focus area by moving the camera...for sure, this only works when the subject doesn't move toward or back to you...

Nope

AF lock is not so useful as it seems you have to hold the button down? There is push and hold on AF in manual mode which is sort of ok.  My RX100 has push on/off toggle for AF which is the most useful as it is very soft and doesn't bump the camera like the heavy rotating AF switch.

The foreground stays in focus but there does seem some pulsing in the background. AFC with 1-area box sitting on players (ie. tap to focus). Might try MF, with slide to focus the 1-area box. 

spotted in the wild, some very expensive panasonic ii cards

50 minutes ago, Rinad Amir said:

hey everyone have adobe commented on this issues? are gona get fix ?

Edit: got sick of transcoding so just rolledback to prev version €19.99 a month for what? ffs (ranting)

Yes they have commented, yes they are working on something. This thread is mostly about rewrapping, not transcoding. 

9 hours ago, tihon84 said:

I just import mxf and mo4 files un AE and compare. Noticeble contrast in mxf and shift to yallow

To keep things out of the subjective realm it would be good to take a 2 second clip of a color chart, then screen shot the various wave form monitors for the files as they appear in your editor. 

2 hours ago, tihon84 said:

Well, color shift to yallow and more contrasted vlog after re-wrap to mxf

Rewrap won't do that. What's your player?

On 05/05/2017 at 9:19 PM, JustinJohnson said:

I have the same issue with the re-wrap for the C4k files. Windows 10. Plus I have 3 frames off.

Have you tried a manual rewrap using ffmpeg? 

Quite a few shots with the PL 8-18, everything so pretty!

3 hours ago, j169 said:

Thanks But lots I've read online says it does work with the GH5, including IBIS, and the Canon lenses I'm trying. I did email Commlite but so far no reply.

There is not quality control on most of these sorts of things. There can be huge range of internal parts used. Some work, some don't. The one I have doesn't work and actually crashes cameras. Won't buy cheap smart adaptor again. 

The smallrig cage has arrived. They will need to alter the design a little as the cutaway for the left side strap holding lug is not enough. The left strap lug on the camera touches the cage. I will need to get the dremel out. I'm not sure how they managed to get that basic dimension wrong. Otherwise it's a pretty sweet little cage, very light. Really very nice to hold as all corners are nicely rounded off. I'll have to get some accessories for the cage though. By itself it's a bit limited. 

I had a closer look at the hdmi cable holder that came with the GH5 and don't think I'll use it. It is the lightest bit of plastic you've ever seen. 

3 hours ago, Fritz Pierre said:

I opted for the 12-60 Panny/Leica...I already own the PL 25 F1.4,  Panny 20mm F1.7 and the 14-140 F4.0. I think it depends on your needs really....to me Leica glass was important...that the lens is F2.8 at 12mm and for interiors I would be on the wide end...I care less about the fact that it gets slower through the zoom...the extra 50mm of reach was also important to me, as I would need that outside, where for my purposes the F4.0 was outweighed by the longer reach of the 60...I would suggest, as they are both in and around the $1000 mark, that if possible you try them out...both for build quality and image

Edit...The only M4/3 lens I actually bought....not as part of a camera package before the 12-60 P/L was the P/L 25 and the lens blew me away...then I added the 12-60....and I can now see myself selling my two Panny lenses and adding the P/L 42 prime and the 8-18 when it's released...there is a distinct difference between the Leicas and the Pannys....so where you go with your set should probably factor into this for you too

Agree with Fritz. Also, in terms of usable zoom the 12-60 is far more versatile. I used the 12-35 for a few years and the limit on it's use was the zoom range. In terms of the extra stop or so at 35mm, it makes no difference on the GH5 as it is already a couple of stops better than the GH4 I was using. In terms of low light shooting, neither lens is ideal. F2.8 is just as insufficient when pushing things as F4 is so you go to the 25mm 1.4 at that point regardless of what zoom you have. For the ultimate daylight walk around zoom it's probably still the 14-140 for the biggest range on one lens. Not sure how the stabilisation compares but you can see the daylight IQ lacks nothing 

3 hours ago, j169 said:

That's what I'm trying to find out. Hoping some other Commlite users may have some experience. But there's always the possibility 1) there's a fault with the camera, or 2) i'm doing something wrong.

But I do understand the most likely issue is the Commlite adaptor. 

Thanks

Quote

 

Jim Chung • 11 hours ago

I would caution buying these, there is a reason why the Baveyes Kipon adaptor is likely twice as much and why the Speedbooster Metabones is likely 3x as much. It's called quality manufacturing and optical performance. I bought a smart adaptor from this brand/Commlite and the flange machining was so coarse that it took a lot of force to mount it on the body and to mount the lens. It wouldn't provide AF, likely because the electrical contacts were not aligned because of faulty flange alignment. http://www.43rumors.com/viltrox-releases-two-new-canon-to-mft-electronic-adapters/#disqus_thread 

 

Beautiful visuals but the rest doesn't click for me, mostly due to the robot, I mean Gosling. Could be a computer generated actor. Really quite disappointed in the trailer. Is the story title Search for Han?

2 hours ago, Stab said:

I just came back from a wedding shoot with the GH5 and there is one thing that I'm not too happy about. With the GH3 and GH4, I could use the internal mics for the party in the evening. The loud music was picked up pretty well and I didn't disort at all so was useable.

Now, the GH5. I had the audio-input at -12 db which is the lowest setting the camera does and it records fucking LOUD. All clips from the party are heavily distorted like the camera was taped onto the speakers.

Now, other than turning the limiter on (which i do not like), would there be another setting that lowers the input of the audio?

Duct tape. I'd leave the limiter on though. I think I'm agreeing with you but I've only done very subjective observations, nothing concrete. It seems to me that -12dB should be the default 0 and that you should be able to decrease another 12db from there. This is because with things set to -12 the average normal audio level seems to center around -12 on the scale which is marked as being the optimal recording level with maximum dynamic range. The 0 setting means peaking all the way up to 0 and averages closer to -5 or so. Which is way too high for optimal results. If I was doing a wedding no way would I use on camera mics, I'd use (at the least) the Tascam TM-2X which has a low sensitivity setting. Great sounding mics on it. https://www.bhphotovideo.com/c/product/1009303-REG/tascam_tm_2x_x_y_directional_stereo_condenser.html 

Sounds like the problem lies between the lens and the camera. 

21 minutes ago, Borbarad said:

The 300mm heavyweight... well I don't give a damn. Easily walkable for long  walks (15-20km). Have it dangling over the shoulder most of the time.

Just image you carry a 600mm full frame one and the weight is not an issue anymore

B

My opinion is more important if I repeat it. But lots of bonus points if you make it funny at the same time. Minus points if too serious, that's only for facebook.

19 minutes ago, Ki Rin said:

. I also wanted to get the PL100-400 but couldn't afford it right now, so went for the 100-300.  Hopefully in the future. 

 

I prefer the 100-300 for portability/weight. The stability of the longer lens is amazing though. Yes the ex tele. Mode.

PL12-60. Was the 25mm 1.4 prior to getting it. Depends on what your work is. Rokinon 7.5 fisheye is great but can be used with the 4k crop mode for less warping. Prolly go the coming PLwide angle eventually. Love the PL100-400. The Oly300 is too restrictive and sadly too heavy to be carried around by anything less than 2 Kenworth trucks and a strongman