Fritz Pierre

33 minutes ago, Davey said:

Trouble as in legal trouble, or trouble as in their reputation taking a nose dive? If it is the former then a precedent might be set (in court) that will make would be reviewers and testers think a thousand times before hitting the publish button.

Well in my mind that would completely reasonable on Panasonic's part to go after them legally...to publish something as a review and then call a major feature "unusable" in a pre-production camera with, what many have concluded, were flawed tests, certainly would seem to get to the realm of legal liability!...for whatever their motivation was...I think in reality, C5D has hurt themselves more than Panasonic...GH users wait a long time for the next releases of the cameras...for perhaps the sole reason that they know in the next incarnation they get a lot...in a bulletproof platform to boot....not difficult to see from this thread who do and don't like the GH5...becomes obvious rather quickly...even if the "interest" in the camera is initially shown, the drop away rate at any perceived "flaw" in the camera, regardless of operator ignorance or error is instantaneous...for those who actually work with the GH cameras, this may just the most anticipated I can remember for a while....

10 hours ago, webrunner5 said:

I agree it has some pretty good, maybe great resolution, but... Like you sort of hinted at, maybe too good. I think most of us on here are looking for more of a Cine look, I am afraid the GH5 is just going to be a GH4 on Steroids! Still videoish, is that a word? Too much, later Panasonic video camera, looking.

But I have to admit I guess I would rather have too much data to play with then too much less. We have seen rays of hope on it from a few people. I am sure it is going to sell like Hotcakes, but is it our brand, style of Hotcakes on here?

I have to admit, it really is Not on my Radar at all. Nada. I can think of 3 or 4 older semi pro, pro used cameras that I would buy before it in a heartbeat for 2 to 3 grand or less.

And yes, the FS700 IS on that list. Someone got a deal of a lifetime with is auction.  That is a Video camera! http://www.ebay.com/itm/Sony-NEX-FS700U-w-4K-Upgrade-and-Zacuto-Accessories-/322441953597?hash=item4b1309c13d%3Ag%3AzScAAOSw32lYuwn2&nma=true&si=BN8gvAtMb%252BuG%252BtYOSgQcP31agMs%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 T

Perspective is such a curious thing....give me the same operators that make the FS700 sing for you on a rigged GH5, and to my eye and taste, the GH5 will blow it away...I intend to use it along with a Varicam LT, and I would NEVER consider the FS700 as Bcam to the Varicam...oh well...this way we're all happy with our choices

And for those that think these cameras look like "video"...which of corse they are....below is the trailer for a feature shot on the GH2...for anybody who's never seen it...this is what you can do with a GH camera

Off topic I know...but possibly relevant to those actually interested in the GH5 for narrative work.

Just looked at Martin Walgren's footage of his short Film Winters grip...this footage looks as good as anything I see from top cinema  cameras...thought I'd just toss in my totally subjective little "review" of a properly filmed Gh5... my review also maybe has a place in this thread, as it seems it' easily as subjective, as the one Cinema5D did. I did not blow anything up to 400 percent, as I will not be using the camera in the way, cine5D  seems to be intent on. The images  I wanted to see were right in front of me and in normal aspect completely satisfied my needs...amazing stabilization...flawless functioning, in obviously freezing temperatures, and I hope the clip I watched was shot on Leica 12-69....just confirmed in the comment section....so my conclusion...if you want a stunning image that grades well...shoots well, under trying conditions and a system that's extremly robust, the GH5 is the right camera for you!....if you want to use a camera the way cine5D does....perhaps I'd recommend the Canon C700...it little bit more expensive!!!...but when you blow it up 400 percent, the C700 really come into it's own!!!

Small door bumpers used in kitchen cabinets come with adhesive...just peal away protective paper and stick on. These samples are just over 1/4 inch diameter....can be trimmed smaller...and no doubt bought in smaller quantities

https://www.amazon.com/Bumpers-Small-Diameter-Thick-Sheet/dp/B003F092P6

1 hour ago, jonpais said:

I'm not taking sides on this one, I've owned several Panasonic bodies, I have the GH5 on preorder as well: however, it's pretty clear to me that both the Fuji X-T2 and the Sony a7sII surpass the Panasonic in dynamic range and low light performance; the X-T2 has crisper 4K and more pleasing colors; and if Sony or Fuji upped their game in the video department as far as usability goes, I'd probably stop buying Panasonic. And if you check out my YouTube channel, you'll notice I've uploaded way more Panasonic videos than Fuji - not because the image quality of the G85 is better, but because it is so much easier to just pick up and start shooting video.

In those words lie maybe one of the biggest issues regarding the GH5 & 4, or really any other Hybrid/Dslr style camera for that matter....

"I've uploaded way more Panasonic videos than Fuji - not because the image quality of the G85 is better, but because it is so much easier to just pick up and start shooting video."

Jonpais 

When you're shooting a feature or a commercial or any other narrative form, how the camera handles....the interfaces for selecting  images...accessing menus....manually controlling the camera  etc. is everything...and the GH5 comes in squarely, after purely dedicated cinema cameras...and when you're chasing beauty light with 20 min to go, that counts for more anything else does....and of course reliability...we are already into a ridiculous realm in terms of image even in sub $1000 cameras...the reality is it's no longer about the camera, but a lot more about the discussion of the camera!....of course I'm equally guilty of that.... 

With every new GH release Panasonic is now taking the camera to a whole  new level...and then everybody else tries to  play catch up....although for my needs, the competition never quite does...that leaves the only other alternative, of attacking the camera....spreading false rumors and doing tests and a review in a "lab" that's frankly ridiculous....The why does not concern me...all on a camera that is not officially out in the world yet....and the samples which were produced in the first footage release, were by people who only had the camera in their possession for a few days....and yet...already some lovely footage out there....will only fully be upgraded with the high bit-rate FW in the late Summer of 2017....most people who have used GH4's in the past, know how robust and reliable these cameras are and understand that if used properly they excel,  have probably already made up their mind anyway!....Not sure why Panasonic passed up Andrew Reid with a pre-release model (a strategic mistake in my view, on their part) as even in spite of that, Andrew is maintaining an objective viewpoint of this camera's ability....I appreciate his integrity though, and as with all reviews, be it films, cameras or books....you find the resource you trust for information, and discard the crap....

32 minutes ago, jonpais said:

Lenses have aperture rings (or not!) for a reason. For one thing, it is their remarkable speed that enables lenses like the Nokton 25mm f/0.95 to attain record-breaking resolution when stopped down. For another, if you're shooting a variable aperture universal zoom, say an f/3.5-5.6, that means that at the telephoto end, you've only got one or two apertures to choose from before diffraction ruins the image. Would anyone purchase a $1,000 prime that could only shoot at f/5.6? When someone like Roger Deakens is shooting a film, they have powerful lights, if you're an event photographer, you don't always have that luxury. And with an enormous sensor like m43, the sure way to add noise to your images is to shoot at small apertures and crank up the ISO. When someone tries to defend the choice of purchasing a slow lens by citing as an example that Kubrick or whoever usually shoots at f/5.6 or f/8, that just makes you look silly. Did you even bother to read Roger Deakins's interview, where he says in no uncertain terms that he prefers fast primes to zooms? And when a Panasonic representative claims, as one does in one of the videos, that the kit lens is all you need because the low light of the GH5 is so great (my paraphrase, ok?), that is just ridiculous. I've already stated my reasons why fast primes are preferable to slow zooms for m43: you have the choice to shoot wide open or not; since m43 sensors are more prone to noise at high ISOs, shooting with fast glass will allow a cleaner image;  you have more control over how much depth of field there is in your image, and more. And yes, many of the videos I've seen here would have benefitted from shooting with a fast prime rather than the kit lens (with the exception of the Kowa), if not for the entire clip, then at least in parts. Tossing all artistic value completely aside for a moment, many of the videos posted here are not even accomplished on a technical level. I don't want an engineer testing the camera - I want a photographer - and photographer doesn't mean just anybody who can point and shoot - it implies not only technical expertise, but also a keen aesthetic sense. Panasonic doesn't appoint ambassadors based on their vast technical acumen, but on their artistic merit.

Do you refer to the Leica f2.8 12-60 mm as a kit lens?...just curious...I referred only to feature films in my post...I did not read Deakins' interview...I have a 5 year  old instead of Deakins' interviews keeping me busy....I've been interested in a lot of DP's though for their style and choices, especially John Mathieson as his style in capturing both action....sci-Fi and drama....and of course....they use lights and large crews....so the one man band sceanario is obviously quite different....both have been discussed to exhaustion on this forum and I personally own some very fast glass too....so obviously....a time and place for anything...and I've seen beautiful footage from you shot with fast glass...anyway....just a guess but if Deakins opens up a fast prime shooting a scene in No Country for Old Men or whatever, it's probably a wide lens where infinity starts  very close to the camera and no focus concerns are present....have'nt read the Kubrick post you mentioned, though have to say I've never seen anything bad shot by Kubrick...personally I own nothing slower than a 2.8....perhaps you can refer us to the post where the guy justified buying slow lenses based on Kubrick aperture choices....

2 hours ago, Inazuma said:

@jonpais did you not like the stuff Neumann made?

Does that not seem like several lifetimes ago?...the only thing getting worse here, is not the images from the camera, but the thread itself!...personally I decided after the 1st or 2nd video clip out of the camera, but am continuing to read the thread with morbid curiosity I suppose

Also I think the reason Deakins or any other DPs are shooting at such high T stops is they have an entire film to get through...M4/3 is not a tiny sensor....it is almost S35...when you have to get between 1 to 2 minutes of USABLE footage in the can in a day of shooting...in the process of making a 2 1/2 hour film and it's your name on the slate as the DP, you make sure every day counts and you produce...for Cinematographers making a feature film with a $100,000 a day crew, the sweet spot is somewhere be T4 & T8...

OK...let me create a shitstorm...all this crap about color science is fucking exhausting...so I'll say....in a camera choice, for me, I prefer Panasonic as more color accurate...I don't want a camera or a computer or a fucking iPhone to create colors that are NOT in front of me and make me think what an incredible photographer I am...it's an easy cheat IMO...I prefer to start with an accurate WB and have a colorist do what I need....in post....to suit the storyline or the mood I'm attempting to create...that's all I want from a camera...an unvarnished image of what is in front of me...for me, the rest comes from post....very little is really ever created by zooming in 400% on still image on a desktop and finding flaws in images.... on the other hand a lot of beautiful work is created by people with imagination on deeply flawed cameras...and reading between the lines, I love this camera....warts and all....

I would call the Kai video a joke....someone bored with what they're doing...the title says a Gh5 review...could not be more off than it is!...

6 hours ago, Emanuel said:

What's the beef with the form factor of a GH5 camera for a feature film...!??

Certain stuff with ergonomics to be a catch for filmmaking in a set of a feature is yet beyond me... Still waiting for a reasonable explanation enough to drive me quiet.

No beef actually...but if you're shooting a feature with a reasonable budget, the cost of the crew is high....so I would default to something like the Varicam LT or another cinema camera as A-cam with the GH5 is B-cam...If I was shooting a short...or a commercial or extremely low budget film, I would use it without any hesitation...so, at some point it becomes an issue of false economy....up to the director to evaluate which is which....as far as GH cameras form factor, IMO in the world of hybrids the Pannys are unequalled....and as for the image....from what I've seen, I would not hesitate shooting with it next to a Varicam....

5 hours ago, Cas1 said:

Looks very nice, the word flawless comes to mind. Using the full DR, SMOOTH roll off. Without the overly contrasty amateur look.

Great stuff.

However it was all shot during overcast days, in other words reduced DR light levels. So my challenge to James Miller and others is to make something silky smooth like this with a full sun.

Thank you!

 

Curious why...I've never been on a film set or a commercial set shooting with Arriflex S35 film cameras where crew shoots in hard direct sunlight....certainly no good photographer would...,no Arri Alexa or Red would be used that way....these images from James Miller are amazing....if not for the form factor, the image from this camera would be suitable for a feature film .....

3 hours ago, Emanuel said:

Pretty useful tool...

Indeed. James is tiptop, much beyond the average beta tester we're used to cross with.

Yes....normally not a big fan of rack focus....though I understand it has it's place creatively...smart move of Panasonic....makes me seriously consider the Leica 12-60mm for this and the usefulness of the lens range...

On February 20, 2017 at 9:12 PM, BenEricson said:

Looks nice, but his style of color grading makes almost every camera he tests look the same.

James Miller footage is stunning!

Two surprises about the Goodfellas video...the quality of the acting, and so far not a single comment  about what the  guys grading it say about the GH5's latitude at around 10:40 ...they are working with the actual footage in Resolve...not viewing it on Youtube...

3 hours ago, Andrew Reid said:

Sigma 18-35mm F1.8 is an APS-C lens, you are close to vignetting at 1.3x crop with the Speed Booster XL at the wide end.

The extra movement of the sensor when the guy moves it crazily left-right reveals the edge of the image circle.

Either he moves the camera gently or puts a full frame lens on it. problem solved.

Yes....I own the lens...and if one was to pan at the suggested pan speed for 24p, (shooting S35 on a 50mm lens a 90 degree pan should take around 23 for smooth motion)....and that's shooting film...the lens may be fine at 18mm with IBS on.

4 hours ago, jonpais said:

He's just some random guy who walked into a camera store and shot with the GH5. I hope we won't be posting many more of these.

Well...as an owner of an XL speed booster I was interested in the stabilization turned on with the speed booster...this is the first reference I've seen to the XL used with IBS...though I've seen the question asked many times...

55 minutes ago, Ken Ross said:

If that video was indicative of the 'new Panasonic color', I'd have to dial it down. The saturation is a bit over the top and too yellow. Could just be a WB setting he used. But I wonder about guys that rave about the color and then show videos like that to show why they're excited about it.

Posted on DVX user as purely a demo of what happens when you use the XL speedbooster with the Sigma 18-35 in IS...also no telling from the footage shot with the GH5 what he did with the grade if anything.

25 minutes ago, Emanuel said:

Well, maybe tap to focus may be not so bad route, after all, I'd say...

Curious about the joystick focus button also!

1 hour ago, jonpais said:

So, are you saying the G80/85 would hold you back creatively as a filmmaker, and that your content will be that much better with the GH5?  I just finished watching hmcindie's punksteam sci-fi-fi work shot on a Canon and thought to myself that no amount of equipment in the world would enable me to create something as crazy and wonderful as that.

Not at all...if I get the funding for a project I'm currently working on, I would buy the Varicam LT...and the GH5 to match in tight places etc...I very much advocate the "get past the camera notion"....I think the image so many cameras can produce in the hands of someone talented, is just ridiculously good today!!...that's why I am cofounded by all the pixel peaking and criticism of what looks like an incredible piece of gear to me!...I would personally also hire a cinematographer...although I can operate, I'm no one man band...and  I prefer not to...But for me the robustness of the GH5 shooting for 12 to 14 weeks under varied conditions would be important...and even then it would be used only in conjunction with the Varicam, and I would have probably 3 GH5 bodies on set...and a GH4 and GH2....I think the notion of one camera doing everything is possible, but not for me...not disagreeing with you though...just explaining my needs relative to your post.

6 minutes ago, jonpais said:

I'm not pointing the finger at anybody, but I'd really love to see the work of some of these folks who say this or that camera is a complete fail because of weak low light performance, slow AF-C, rolling shutter, limited dynamic range, motion cadence, 8-bit 4:2:0, yada yada da. What is most disconcerting for me, as someone who cares more about content than specs, is the amount of garbage I've waded through in the past couple of months watching so many of these beta testers' videos.

I think this is where reading between the lines is necessary...I would never base my decision to buy this camera on the early footage on a pre-production model, though to my possibly flawed eye, I've seen some truly lovely images already...certainly enough to put the camera issue behind me and to get on with the story...I personally actually care rather little about this shot or that...really just will it work for me?...saw your "too much camera for me post", and having looked at some of your other footage, I would say no, but as you're already happy with your G80, why bother with the GH5?....besides if this is what comes after the GH4, just imagine the GH6! 

On February 2, 2017 at 0:34 PM, Brother said:

@wolf33d clearly the wrong camera for you!

@funkyou86 so many cameras to choose from!...this one aims more squarely at narrative film making...like you I'm baffled!....especially seeing that almost nobody even has this camera in their hands yet...and there are ways to adjust the the sensitivity of the AF system to suit the users  needs, and firmware upgrades to come months after the camera will even be available for purchase! WTF! ...anyway, for selfish reasons it more than ticks all the boxes for me!!

14 hours ago, Bizz said:

Thank you for your constant feedback. Highly appreciated! Thinking about the future...its "sad" (and i guess im right) that metabones doesnt have an auto focus speedbooster with Nikon mount. Altough thats not my main concern. 

You're welcome....never really considered auto-focus an interest or an option, so it was of no importance to me...I could however see a roll for the GH5 in AF on a steady cam...never been a fan of moving a camera around too much...though good steady cam operators elevate moving cameras to the level of perfection...(Off-Topic, but as you may be able to tell, I'm not a fan of gimbals. I know they fill an important function!)...though hand holding the GH5 or G80 inside a car for example, could be a dream...

Yes..if you buy Panny lenses they can be spendy...I have the 20mm 1.7 pancake and the 25mm 1.4...love both lenses but they're not cheap...I will probably buy the Leica 12-60 as its a very useful FOV range on a M4/3 sensor and I'm interested in the rack focus feature on the GH5...