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Is there anyone here with the GH5 / GH4 that shoots with the Sigma 18-35 on a (Canon) Speedbooster and can tell me something about the autofocus when taking stills?

Is it accurate? And is which mode is it working the best? Would I be able to trust it for shooting stills?

I shoot with the Nikon version of this setup now, thinking I would never need to shoot stills, but since recently I get asked a lot to shoot stills. And I love this lens / combo.

Anyone who has tested it or could test it for me? Thanks!

Is there anyone here with the GH5 / GH4 that shoots with the Sigma 18-35 on a (Canon) Speedbooster and can tell me something about the autofocus when taking stills?

Is it accurate? And is which mode is it working the best? Would I be able to trust it for shooting stills?

I shoot with the Nikon version of this setup now, thinking I would never need to shoot stills, but since recently I get asked a lot to shoot stills. And I love this lens / combo.

Anyone who has tested it or could test it for me? Thanks!

Nice Cantsin, looks very organic! Did you use Filmconvert or so for that?

11 hours ago, newfoundmass said:

So ETC isn't an option? 

Hmm I should do some tests. I have never really thought about it using it. Maybe I should.

They say there is no quality loss, just more noise at high ISO's. So, how would that work in terms of what it does to the lens and how it behaves?

Apparently it is a 1.4x crop. Does it just use a smaller portion of the sensor? So the 35mm would act as a 49mm? And f1.2 becomes f1.7?
Or does it work differently?

Yea I should definately try out the Nikon 17-55mm. The Sigma 18-35 also vignettes at 18mm with the Speed booster XL on the GH5-s, but since I add crop bars to get 2:39:1, it is barely visible. 

If the Nikon is the same at 17 mm, I even gain a mm on the wide end and 20 mm on the tele end. The trade off is 1.3 stops of light and DOF. I could live with that I think if it has good sharpness and a nice look to it.

And then I just came across the Tokina 16-50 f2.8. Has anyone tested that one before? Can't find any footage of that one (or the Nikon 17-55) on a Speed Booster with a GH5 / GH5-s. And there is also a Pentax version of it. Will read into it.

2 hours ago, BTM_Pix said:

I think my sums are right so this is what it would look like on an XL, so, yes, it would run out of road in the corners.

Verus a 0.7 Speedbooster which would be OK.

Which, admittedly, isn't much of a help if you've got the XL  

Thanks mister! Very helpful.

Which crop factor of the GH5-S did u use to begin with? I think the GH5-S has a slightly bigger sensor than the GH5 in 16:9 mode.

Yea thanks BTM_Pix, just saw that one. I read someone saying that it probably won't work with the Speedbooster (XL), as it just barely covers the DX sensor (1.5x crop).

If anyone can tell me how that lens worked for them with a Speed Booster that would be awesome.

57 minutes ago, BTM_Pix said:

The Nikon 16-80 is one of their newer E type electronic aperture control lenses so you won't be able to control the aperture with the speedbooster or any other adapter that uses mechanical linkage to operate the diaphragm blades.

Its OK if you want to shoot wide open I suppose but unfortunately with it not being a constant aperture its even more problematic.

 

Oh right, thanks for that info. That is a dealbreaker unfortunately.

I am shooting weddings with the GH5-s and I have been using the Sigma 18-35 f1.8 since the day it was released. The lens is amazing, but I am yarning for a little more reach on the tele-end. Simply speaking, i am starting to find it too wide for my likings. 

Now, swapping lenses on a wedding is a biatch and I would really like to have a zoom lens that is as wide as the sigma, but also longer. I could live with a small decrease in performance (the Sigma is pretty damn good) and of course I could sacrifice the f1.8 but I don't want to go much lower. Is there any lens that you have used that fits the bill?

Well there is the Fujinon 18-80 f2 but it is a bit on heavy and pricey side ?

Anything else? How about the Sigma 17-70 f2.8-f4? Or Nikon 16-80 f2.8-f4? Any experience with that?

If anyone knows about a good lens that I might not know off, please share
By the way, I use a Nikon to MFT Speedbooster and all manual settings, so Autofocus or IS is not what I am after.

Thanks!

On 16-2-2018 at 6:04 AM, Emanuel said:

More than a prediction, it is reality already and officially announced:

http://news.panasonic.com/global/press/data/2018/02/en180214-2/en180214-2.html

Yes but no way that the first camera carrying this sensor will be a GHx camera. This tech is too good to put into a 2500 euro prosumer cam. It will most likely make it's debute in a new Varicam or be called Panasonic Space 3000 CAM.

On 6-2-2018 at 9:02 AM, anonim said:

 

And all footages of costumed persons in the room for me are totally plasticky - as walking zombies. Every single shot lacks by great margin of "fat" color and subtle color gradation and is out of proper color balance. For me, all current Panasonic campaign it is not just a disaster for a 2500$ price and propagate highend results, but a some sort of shame... maybe firmware update or using extremely highend glasses could help to make image more natural.

Well, to be fair that isnt the camera's fault I think. Those people are wearing very heavy make-up and foundation. That, in combination with the ugly yellow lighting is probably the reason why everyone looks plasticky.

1 hour ago, Robert Collins said:

I do have a personal theory. The spec for an MFT sensor measures 18 mm × 13.5 mm (22.5 mm diagonal), with an imaging area of 17.3 mm × 13.0 mm. And if Panasonic is using 17.3mm for 4:3, then based on the 'pixel specs' the GH5s sensor needs to be around 19mm wide. So the consensus is that Panasonic is using a sensor 'wider than MFT spec' in the GH5s. But this doesnt make a lot of sense to me - introducing a marginally wider sensor is an expensive proposition. Furthermore, you cant really have a partnership of many companies based on one sensor spec, that allows any of its companies to produce 'bigger' sensors - it is a road to breaking down that partnership pretty quickly.

So what do 'I' think Panasonic has done. I think that Panasonic has given 4:3 a smaller part of the sensor (and therefore slightly greater crop - say 2.2x) in order to fit the wider formats onto the same size sensor. It makes sense on the basis that virtually noone is going to be using 4:3 with the GH5s in any case. Of course the only way to test this is to put the same lens on both the GH5 and GH5s, switch to 4:3 and see if they have the same FOV. I guess that the GH5s might be slightly narrower.

Hmm, but then how do you explain that the GH5s has a wider FOV in 16:9 video mode than the GH5?

Thanks ntblowz.

And what about 16:9 in video mode?

I keep reading different crop factors for the GH5s.

Does anyone have the facts and the numbers? What would the crop factor be for the GH5s vs the GH5 for 16:9 and 17:9 modes?

Hi guys,

I just bought a GH5s and I am planning to use the C4k mode a lot for weddings. But i have a question about it.

Since most monitors and televisions are 16:9, or either 1920x1080 or 3840x2160, I think that it is best if the films I make for people are exported in 3840x2160. That way I am sure that their telivision isn't doing any weird scaling.

I usually add black bars in post to crop to 1:2.35, but I deliver in 3840x2160 with the crop bars hardcoded in the export. This is what I am doing for a long time now, but now that I have C4k or 4096x2160 to my disposal, what would be the best workflow in Premiere?

I was thinking that I should leave my sequence settings at 3840x2160 and when I add the C4k files just let Premiere 'scale frame size' them to 3840x2160. In other words, the C4k files are 'zoomed out' by 93.75%. Then just add the crop bars like I normally would and export as 2160p.

Does that sound good to you guys? Another reason why I am thinking of doing it this way is because I use multiple camera's and not all of them have a C4k mode. So mixing them on the timeline becomes easier and nothing is upscaled.

Any disadvantages for this method? Or do you know a better way of working and delivering with these formats?

Thanks!

So, have there been any reviewers of the GH5s been able to compare the dynamic range and noise performance of the S version compared to the regular GH5 at LOW ISO's?

Being able to go higher in ISO can be handy sometimes, but I mainly shoot between ISO 100 and 800 anyway so I am interested to hear if there has been any improvement IQ wise in those ranges. Is there fewer noise because of the larger pixels? A bit more DR? Or are they virtually the same there?

So, have there been any reviewers of the GH5s been able to compare the dynamic range and noise performance of the S version compared to the regular GH5 at LOW ISO's?

Being able to go higher in ISO can be handy sometimes, but I mainly shoot between ISO 100 and 800 anyway so I am interested to hear if there has been any improvement IQ wise in those ranges. Is there fewer noise because of the larger pixels? A bit more DR? Or are they virtually the same there?

On 16-1-2018 at 1:56 AM, Emanuel said:

It will end in the same results because of diagonal:

This is inaccurate:

https://www.43rumors.com/exact-crop-factors-caluclated-new-gh5s-multiaspect-sensor/

Hmm, but I have seen clips where the GH5 was compared to the GH5s and the shots from the GH5s were definately a bit wider with the same lens.

So the crop factor in 16:9 UHD mode will be around 1.84x?

I am using a GH5 with the Speed Booster XL at the moment i.c.w. the Sigma 18-35. 
At 18mm there is a very slight vignetting going on in the corners, but because I always add black bars in post this isn't a problem for me. But now with another 10% increase in FOV, the lens might be unusable at 18-20mm. Maybe it will get too soft in the corners too.

Of course there is always the option to zoom in and use the lens only from 20-35mm. But of course the lens becomes also shorter at the tele end. I doubt it will be the perfect lens for this camera and speed booster still. Maybe I should swap the XL for the Ultra version then.

I suppose nobody has tested the GH5s with this combo yet?

Does anyone know what the new crop factors will be for the GH5s with the multi-aspect sensor?

Will it also have a lower cropfactor and thus a wider FOV in 16:9 mode? And what about C4K mode?

So is it official that there is no increase in Dynamic Range in video mode compared to the GH5?

I usually shoot whole days at 4k 50fps so 10-bit and thus HLG is still a no go for me with the GH5s. Can anyone confirm that there is or isn't an increase in DR when shooting 8-bit 4k?

So is it official that there is no increase in Dynamic Range in video mode?

I usually shoot whole days at 4k 50fps so 10-bit and thus HLG is still a no go for me with the GH5s. Can anyone confirm that there is or isn't an increase in DR when shooting 8-bit 4k?

Is there a difference between a camera's sensor actually putting out 15 stops of dynamic range (such as an Alexa, or Film) or a potential GH5s's HDR mode putting out 15 stops in that mode?

I mean, from a practical point of view and all other things (such as colour, sharpness, resolution etc) being equal, would they be able to look the same?

If the GH5s is indeed true and it will have fewer but bigger pixels, could that in theory also increase the dynamic range of the camera? Or does it only make it perform better at higher ISO's in low light?

So, how does the HDR profile actually work?