Fritz Pierre

Leemings LUT in either CineD or Vlog is spot on...forget about what people post...everyone makes mistakes...it also comes with a settings manual....used it happily on the GH4....in Vlog to external recorder, and now on GH5....CineD when I have to shoot high ISO and Vlog when wider DR is needed...also his response to questions is very fast....something rare in the world of online purchases.

www.leeminglutone.com/ Just follow Paul Leeming's advice.
 

It would be great if in a FW upgrade they made the shutter angle lockable...it's not that big a deal for me though...I have a checklist I go through every time I film...start rolling a second or 2 before what I want to capture and again after....check my LCD display...and  adjust if necessary...as @DBounce said....these are only inconveniences....not flaws...I feel the same....I remember early VCLT complaints about the camera taking 20seconds to boot upWTF...all just part of the dumbing down of the human race I guess????...

An XL Nikon to M4/3 speedbooster... no vignetting even on s35 mm lenses with a GH5 with IBIS on...though I don't move my camera much. 

A workaround for the display button is actually a modification...get a small clear silicone bumper (used kitchen cabinets)...any hardware store....cut out the center part, peel of the sticky protector and stick it over the display button...that makes depressing accidentally impossible yet you can still reach it with something small enough...I never change it from the display I prefer with the level horizon line...my sollution for the shutter angle is always looking in the LCD before rolling, but it is a PITA!

A workaround for the display button is actually a modification...get a small clear silicone bumper (used kitchen cabinets)...any hardware store....cut out the center part, peel of the sticky protector and stick it over the display button...that makes depressing accidentally impossible yet you can still reach it with something small enough...I never change it from the display I prefer with the level horizon line...my sollution for the shutter angle is always looking in the LCD before rolling, but it is a PITA!

I'm going to shoot a promotional spot for a serious off road piece where the water is sometimes up to the driver's necks in the cabin...I want some underwater footage as well as close to river level as the truck goes down an embankment, etc....most filmed in an extremely muddy humid environment in the Ecuadorian jungle.
https://www.bhphotovideo.com/c/product/1335061-REG/olympus_v104190bu000_tg_5_digital_camera_black.html
I opted for this...goes down 70 ft underwater as is...300ft with an additional $299 underwater housing...mud on the lens?...squirt it down with your water bottle and keep shooting....f2.0 at the wide side on a 25-100mm zoom and Image wise blows past both the GoPro or my Inspire 1 camera....in fact, at 250g I'm going to figure out how to attach it below my Inspire camera so I can do things like very high boom shots etc., while using live view on the Inspire camera just to fly the bird...the Inspire can certainly lift the extra weight, albeit at the expense of battery life. In your case I would use it on everything while in the Kayak and the GH5 and Maverick for your "dry" establishing shots from a river bank or some similar safe zone....splash proof would not survive the GH5 going under!...anyway...test footage on PV....I'll have mine in about 10 days.

A workaround for the display button is actually a modification...get a small clear silicone bumper (used kitchen cabinets)...any hardware store....cut out the center part, peel of the sticky protector and stick it over the display button...that makes depressing accidentally impossible yet you can still reach it with something small enough...I never change it from the display I prefer with the level horizon line...my sollution for the shutter angle is always looking in the LCD before rolling, but it is a PITA!

There are no hard and fast rules...it depends on the Director's style, preference and of course abilities...on big productions neither Directors or DPs operate as a rule of thumb...the 1st AC usually shoots most of the film, though on most shoots, the Director or DP may get in behind the camera for a particular scene, if the AC is not capturing a frame in the way a Director wants to convey something....when you're on a shoot and a scene is being filmed, the crew quiets down a lot...they are in a state of observation and readiness...the Grips, Gaffer, Make Up, Wardrobe, Art department,  Props, Director and DP, Script Supervisor..everyone is watching what they are responsible for...while the AD and the AC and the actors are shooting that particular scene...If the Director can observe both the performance of the actor/actors, and how they move through the light and whether the light works as they hit their marks throughout the scene and make the decision as to whether everything meshed, well good for him/her. In the old days the ACs use to be sensitive to the expressions on the faces of their DPs after a take...the code for another take used to be "do you want a hair in the gate?"...this way the DP would ask for another take...circumventing the Director, if he saw something happening light wise, that he was not happy with....personally, I would never shoot without a DP, if I was making a feature.

There are no hard and fast rules...it depends on the Director's style, preference and of course abilities...on big productions neither Directors or DPs operate as a rule of thumb...the 1st AC usually shoots most of the film, though on most shoots, the Director or DP may get in behind the camera for a particular scene, if the AC is not capturing a frame in the way a Director wants to convey something....when you're on a shoot and a scene is being filmed, the crew quiets down a lot...they are in a state of observation and readiness...the Grips, Gaffer, Make Up, Wardrobe, Art department,  Props, Director and DP, Script Supervisor..everyone is watching what they are responsible for...while the AD and the AC and the actors are shooting that particular scene...If the Director can observe both the performance of the actor/actors, and how they move through the light and whether the light works as they hit their marks throughout the scene and make the decision as to whether everything meshed, well good for him/her. In the old days the ACs use to be sensitive to the expressions on the faces of their DPs after a take...the code for another take used to be "do you want a hair in the gate?"...this way the DP would ask for another take...circumventing the Director, if he saw something happening light wise, that he was not happy with....personally, I would never shoot without a DP, if I was making a feature.

@PannySVHS....the Tokina you refer to (28-70 2.6) was designed by Angenieux and is optically indistinguishable from their very expensive Cine version!...the Tokina is one if the great bargains in lenses and as you know, the image is lovely!

GH5 cage by LockCircle

I tend to shy away from quick releases in cages...if everything in the alignment is not locked off solid, the FF will move your lens and camera as you pull focus, and then the shot is ruined...I've even abandoned magic arms, because I can't stand the play in them and how the 1/4 20 fastening wheel suddenly loosens up and your VF or monitor goes flopping to one side or another.

I know...even corrected it in an email to them...but ahh!!...the Italian design is so good...the cage fits so closely, that the camera strap buckles had to come off and it has to be assembled around the camera...truly a 2nd skin, and incredibly robust craftmenship...good eye Jon!!?????

GH5 cage by LockCircle

I know...even corrected it in an email to them...but ahh!!...the Italian design is so good...the cage fits so closely, that the camera strap buckles had to come off and it has to be assembled around the camera...truly a 2nd skin, and incredibly robust craftmenship...good eye Jon!!?????

I bought the LockCircle with the Multiport lock and focal plane pin (for tape measure)...the workmanship is nothing short of amazing!

I bought the LockCircle with the Multiport lock and focal plane pin (for tape measure)...the workmanship is nothing short of amazing!

@jax_rox...I only own 4 Panasonic native lenses...and I bemoan NOTHING...I'm expressing why this mount and camera means nothing to me...please refrain from inferring that you have any idea of my intent with my equipment...you don't....I am expressing my point of view re why this camera does not suit me with an EF mount and I don't give a fuck who Panasonic targeted with this camera...but it's not me...and as for the value in being able to adapt a multitude of lenses to one system....plenty of forum material on the internet.

The way the contrast detect based AF on the GH5 works is by cranking the sensor to frame rates of 240fps, maybe even higher, and very CPU intensive analysing of bokeh and depth of field (DFD mode).
So you can't expect AF to be as fast at 24p in video mode as it is in stills mode.
What Panasonic need to do is get Dual Pixel AF technology on the sensor.
It is the only reliable way of doing good AF for filmmakers. The phase-detect A6500 route is a dead-end, it's just not bomb proof enough. It hardly ever tracks reliably, especially in low light.
Meanwhile good old manual focus has resulted in many classic films, so I suggest we stop being so lazy and use that instead

Same for me Jon...I like quiet cameras that you don't "feel" in the footage...just because you can move it, does not mean you should??...but if you do, I like the slow control of a dolly/slider shot....For me the value in IBIS is getting away with a shot without a tripod!

This camera is fantastic!...would use it alongside the Varicam LT with no hesitation!...Great in every way, but especially in the ease of customizing and the  myriad of ways you can do it.
Glad to hear you're doing a guide Andrew!...this is a complex camera...I have a feeling you'll sell many!

Same for me Jon...I like quiet cameras that you don't "feel" in the footage...just because you can move it, does not mean you should??...but if you do, I like the slow control of a dolly/slider shot....For me the value in IBIS is getting away with a shot without a tripod!

It has amazing dynamic range even in Rec.709.
It has remarkably low rolling shutter compared to Sony.
The 10bit files are amazing in low light with lots of 'depth' and richness to the shadows. It helps that it's so good in low light anyway with very clean ISO 3200.
Tons of features, I will write a guide about it but it will take a while.
Review coming soon, I know it's been ages but I will get round to it!

@PannySVHS...on a s35 sensor shooting 24p on a 50 mm lens, the appropriate pan speed according to American Cinematographer should take an object entering one side of the frame 23 seconds to exit the other side of the frame...for faster pans, you'd have to up your frame rate which defeats the idea of shooting with 24p motion blur....pans are meant to be SLOW...if it's still jerky when you pan slowly, I would check your FW or if that's up to date, with Panasonic.