jonpais

There's no reason it shouldn't work implies the possibility that it might not work. Not good reasoning

Glad to see my brain is still functioning. Just because tap to focus works with any AF lens on the planet, it does not follow that the Pull Focus will too. We'll have to wait and see...

Right, which is one reason the Pull Focus feature is so great - no more hunting. But I'm still pretty certain it will only work with native lenses, though again, I'd love to be proven wrong. Guess we'll all know the answer to this very shortly - hey, Orangenz, where are you? ?

Confused - need sleep. Thought we were talking about Pull Focus feature. Tapping the touch screen to focus works with any AF lens.

Thanks, I was thinking the same thing myself!

I thought Pull Focus was only available on native lenses, but I'd like to be wrong in this case.

I would think for the application you're talking about, it would be far simpler to just use the current tap to focus in Panasonic's image app, if the transition speed could only be slowed down enough. Of course, that would mean there would still be some hunting... On the other hand, If someone were walking around with a gimbal and another operator were programming Touch Pull Focus on an iPhone, the gimbal operator would have to stand perfectly still, and entering the settings would take too long. i believe Touch Pull Focus is for locked down shots. Or am I mistaken?

Hugh Brownstone is impressed with the GH5's focus pull feature. Shot on the GH5 with the Leica 25mm f/1.4 wide open. Parts of this review of the Sony FE 85mm f/1.8 and Zeiss Batis 85mm f/1.8 were shot on the GH5. So we should expect a complete Camera Store review soon!

Here's my first go with the Leica 12mm f/1.4. I'd never thought about it before, but this will make an excellent vlogging lens, as my room is tiny, and the Leica lets me get in close.

Right, so why don't we stick to the rights of photographers in general, this new ban is targeting carrying cameras. Please, no more conspiracy theories, or your posts will be deleted pronto.

I'm getting mine in Malaysia, told I might have to wait until May.

Here's my first attempt at using video lights. This was shot with an Arri (just kidding!), the Leica 12mm f/1.4, the Lishuai LED 100WB-56 monolight, Rode VideoMic Pro, Godox Softbox, and iFootage Wild Bull T7 tripod. I used the Panasonic Image App, which is great, but Bluetooth on the GH5 should make it even easier to use. Please me know what you think of my smoking habit, Chang beer, my two day stubble, my shaky hands, the decor, my charismatic delivery, the color, the lens, my $4 knockoff Polo shirt, the sound quality, whether I'd be a good candidate for a YTP, whatever. Sorry about the jackhammer noises!

Lovely image. Can I order a 16X20? ?

Which is why it's regrettable that Panasonic teamed up with the German company instead of the Japanese one.

I believe Nikkor is just trying to point out that these m43 lenses are overpriced, and it's hard to disagree with him. Especially when some of them are made in China, and even the Oly 12-40mm f/2.8, a PRO lens, has a plasticized mount, and we'd hope the manufacturer would pass some of the savings along to the consumer. In fact, my premium m43 primes cost nearly as much or even more than my APS-C Fuji lenses. But yes, if anyone doesn't know it by now, you can pick up some used Nikon AIS lenses and a cheap Chinese adapter for $10.00 and do some incredible things with the GH5.

Then that means the Olympus is a better value, because it doesn't depreciate as rapidly as Nikon.

That's not fair. A new Nikon AF VR-Nikkor 80-400mm 1:4.5-5.6 runs over $2,000.00 USD.

The thing is, Olympus manufactures its cameras in a third world country where factory workers earn barely more than $200/month. The 50-140mm f/2.8 has a hefty price tag as well ($1,600.00 USD), even though it's made in China. All the prime lenses in my kit are made in Japan, so the high price can at least be partially justified.

@Cinegain I overlooked the Oly 40-150, added it to my list of zoom options for those who already own a wide zoom.

The Olympus 40-150mm f/2.8 would be an excellent choice for anyone owning either the Oly or Panny wide zooms who needs that extra reach.

i don't think you can accuse someone who's uploaded over thirty videos of Hungarian bagpipe music and a 1/2 dozen iPhone videos to YouTube of being unprofessional.

I can respect that. If you need the best AF and magnification while recording, the GH5 isn't for you. But what do you mean when you say, "Definitely, I'll give it a try"? It sounds a bit like you're not sure of yourself. Excuse me while I go to the pharmacy for my medication.

'Splash resistant' is hardly reassuring, and I would never subject my Panasonic to any moisture if at all possible. It's just marketing. What's the IP rating? You've thrown everything you can at me, but I'll help you. Next you're going to say that only Panasonic lenses can perform the pull focus trick. But wait until everyone starts using it and complains about focus breathing. No sherpa needed. Lenses: Leica 42.5mm f/1.2, Leica 12mm f/1.4, Olympus 25mm f/1.2, Olympus 75mm f/1.8

It's okay, the more the merrier - which is I just double posted.

Double-posting seems to be all the rage, so I thought I'd partake in it myself. I've written at length about my dislike of slow, variable aperture universal zooms before, but my thoughts are scattered throughout the forum, and this is as good a place as any to consolidate my feelings in one place. I can’t recall ever seeing a negative review over at Mirror Lessons, but this is as close as it comes. To my shock and horror, they recommend getting the Panasonic 12-35mm f/2.8 or the Zuiko 12-40mm f/2.8 instead. Just one reason being, the Leica 12-60 is really only f/2.8 at 12mm, which is why I’ve been calling it the Leica 12-60mm f/4. Not at all unlike Olympus’ exaggerated claims that their $2,000.00 Made in Vietnam OMD EM1 Mark II shoots video at a max bit rate of 237 Mbps, when in reality, it’s closer to 40 Mbps. Aside from focal length, the light gathering power of a lens is ordinarily the second consideration when shopping around, but it should come as no surprise that not a single person shooting with it in the videos we’ve had the privilege of viewing up until now has mentioned the fact that the Leica is not as fast as they would have you believe. Nor have any of Panasonic’s representatives. Other reasons to avoid the Leica include onion bokeh balls at the edges of the frame (the bokeh isn’t the most attractive I’ve seen, due to its somewhat busy appearance), poor correction for barrel distortion and vignetting until f/5.6 (read: the apertures you’ll be using most often), and high cost (if purchased separately). For those needing the extra reach, the Olympus 12-100mm f/4 is starting to look like great value, with superb optics (for a zoom) and only $200 more than the Leica. Now let’s say you’ve already got the Olympus 12-40mm f/2.8 or the Panasonic 12-35mm f/2.8 and are considering trading it in for the shiny new PanLeica for its dual IS and DFD v.2 autofocus capabilities. What about Panasonic’s DFD autofocus technology? The short answer is, you’re not buying the GH5 for its brilliant AF performance. And what exactly constitutes reliable AF anyhow? Say the GH5 has a 60% keeper rate in stills mode (just pulled that number out of my ass, too lazy to check my facts as usual). Then we can safely say that AF-C in video mode will be slightly less effective, can’t we? Let’s say it’s only 10% less. Sounds pretty good, doesn’t it? If I were playing the Lotto, those would be terrific odds. So, if I’m buying one of Panasonic’s latest tech-tastic lenses with their highly touted DFD v.2, I should be able to rely on it for event shooting, shouldn’t I? Now, let’s just pretend we’re shooting a wedding. Is a keeper rate of 50% good enough for the bride and groom? Of course, this is all imaginary, we’re just playing pretend. Some will argue that they need all Panasonic lenses so they don't run into color matching problems while editing. But Hollywood filmmakers routinely mix footage from GoPro, Black Magic and other brands with Arri. Matching colors shot with the same camera isn't rocket science. And others will contend that only Panasonic lenses can perform the new focus pull hat trick. But wait until everyone starts using the feature and complains about focus breathing! As for dual IS, it’s only going to squeeze an extra half a stop or so of stabilization from Panasonic’s already stabilized lenses: yet I shoot with non-stabilized lenses all the time, and the IBIS of my Lumix G85 works fine. Okay, if you don’t care about onion bokeh balls, I can dig that. And if you’re not convinced that dual IBIS is really not all that important, cool beans. And if you still believe the GH5’s contrast AF will be good enough for your work, that’s wonderful, But – what about this supposed zoom range advantage? Is it really all that useful? I would think, going by that logic, that the Olympus 12-100 would be far more useful, and it’s going to be a superior lens. Because 60mm is neither here nor there as far as I can tell. For those who care about such matters, the Olympus has 80mm longer reach (FF equiv.) and weighs little more than 1-1/3 iPhones more than the Leica. If I were an event shooter, I’d feel way more confident going into a venue knowing I could capture activities going on at a distance as well as up close with the Zuiko. For those absolutely determined to pick up a zoom lens in addition to or as a replacement for their Olympus or Panasonic wide zooms, I’d go for either the proven Panasonic 35-100mm f/2.8 v.2, the Olympus 40-150mm f/2.8 PRO, or the Olympus 12-100mm f/4. And for the more commonsensical among you, the Olympus 75mm f/1.8 would be an even wiser decision.