Marcio Kabke Pinheiro

Thanks for the answer, @Grimor

VERY interested. @BTM_Pix, you are a hero.

Do you have the link in hand with the button sequence to enter this mode (I've lost the link)? Will try to convert my GX85 to EU framerates for a trip (and avoid light flickering).

If I understood right, the focus peaking on the app is still not developed?

Anyone else here bought the Crane-M? @Mattias Burling, you still have it? Have you tried it with larger cameras?

I'm curious to see the E-M5 MK III - if they kept the video specs and the IBIS form the E-M1 MK II, with a lower price tag (I don't need very big fps for stills), would be a perfect option. Unfortunately, no rumors about it yet.

A drycabinet like @jonpais showed is ideal, but in some countries with insane import taxes (like mine), you have to come with alternative solutions. First I tried a regular cabinet, "sealed" with rubber gel in the wall seams, adhesive foam on the doors, and a standalone peltier dehumidifier, monitored with a hygrometer inside. Kinda worked - the humidity stayed in the 40%, but the dehumidifier was kind of crap and killed two power supplies (the second have twice the power of the original and was blown too). Now I tried a simpler solution - lockable plastic boxes, sealed with the same adhesive foam rubber (there are sealed storage containers, with rubber in the covers, used for food storage - but could not find ones big enough here), with digital hygrometers inside, and organza bags with silica gel inside (buy the orange ones - the blue ones contains cobalt, which could be dangerous); they stay in the 35-40% range for almost a month.

I have it, and did not liked it too much. Bought this one in eBay after and to my taste is much better: https://varavon.com/collections/accessories/products/sling-follow-focus?variant=858184235 (albeit I have not used it from a long time - kind of got the grips with focusing manually, since I take a lot of stills in concerts in MF or vintage lenses) About the grip, just wish that Panasonic (or someone) make some external grips like Olympus does... but found something interesting in Varavon's page that I was not aware: https://varavon.com/collections/rod-accesories/products/eng-grip-b-type?variant=860241427. It's an ENG grip to use with rods, but looks like that is the same grip that they use in some of their cages, the rod part is fixed with two screws that I suppose that could be attached to a cage / L bracket.

My bad, I did not saw that there is one for the G85 (which is very similar to the GX85).

Saw some samples of the Leeming LUT, but (at least in the ones that I saw), skin tones are not well balance (too white in some shots, too orange in others). And for which camera do you use (since there is not one specific for the GX85)?

Did not liked the kind of colors of EosHD Pro Color (only taste, I think is a great work from Andrew), at least in first sight. In general, yes, Panny's AWB is very good, but I think that use manual WB is feasible at least in daylight - set it in the street with the sunlight, and set it again if go indoors. At night, yeah, probably use autoWB could be a good idea. I generally protect the highlights - only way to recover it, shadows are more flexible, albeit noisier. My GX85 is an american model, don't remember if it has 25p/50p framerates...hope so, because of the light flickering. Did you tested Twixtor in 4k, or is an info that you have? And the last point - already a priority. In fact, will (I hope) do a lot of preparation just to avoid to mount a tripod, change lenses between stills / video...the trip have priority. Thanks, @jonpais. Will take a look. Since i will probably render the final output in 1080, I guess that I could get some gains in noise. What do you use if you need some noise reduction (Neat Video or similar)? Have you ever tried to use Cinelike-D at ISO 1600? (I will use the primes at night to try to avoid it). The question about the color card is exactly for the hipotesis of having to use another profile - it could be used for some kind of color matching? I know that for stills you have tools to help it.

Posted it first in another thread, but (correctly) was suggested that I asked it in a new thread. I have a incoming trip - London, Barcelona and some Portugal cities in september / october), and I wish to make some travel videos with a little bit better quality. Since I will go with my girlfriend, time consuming setups are out - my idea is to buy a Crane-M in London (than I could bypass a tripod / slider for panning and slider-like shots), and use the 12-32mm or the 14-42mm with a VariND for daylight shots, and the 14mm 2.5 and the 20mm 1.7 for indoor shots. Probably will use the GX85 for stills too, planning to get Xume magnetic adapters to fast removal of the variND filter. My questions are somewhat overlapping with the @meanwhile ones, but I will ask them again (pardon for the repeats): - White balance: since we don't have raw, I guess that it is good advice to set the wb manually. The best practice is set the camera in the profile that you will use and set the wb with a gray card, and set again if the lighting changes? Any other procedure needed? - Profiles: liked the Cinelike-D in the GX85 (best hack ever), but it is the best profile for every situation? I guess that I will have 5 scenarios in this trip: daylight landscapes, daylight city streets, indoors (churches, castles, etc), night landscapes and night citty streets. a) I suppose that Cinelike-D is good for the daylight ones, the additional DR is useful to balance the skies and the scenery (mostly buildings). But I saw lots of complaints with it in other cameras reagrding two aspects: noise in the shadows and skin tones - how are your experiences with it? And I'm not versed in grading techniques - no problem in learn that, but I don't know wht is the learning curve... b) For the indoors and night scenes, Cinelike-D is adequate, or the shadow noise becomes a problem? c) If Cinelike-D is not recommended for me (because of use cases / noobism / complicated post processing), which profile and settings do you recommend? d) For Cinelike-D and / or other profiles, how is the base ISO and exposure recommended method? ISO 200 and ETTR? e) Shot a color card (X-Rite or something) is each lighting situation is useful? - Slow motion: would like to make some shots in 1080p60 for slowmo; I know that the GX85's 1080p is somewhat bad, but it is usable? If not, someone tried 4k downscaled + Twixtor or something similar)? And if I put this 1080p60 in a 24fps timeline, will there be some cadence problems? Thanks in advance for any help.

Good idea, will open a new thread.

I was almost opening a very similar thread, but I think that I could jump in the bus in this one (if @meanwhile approves) - get a lot of good info already. My case is very like meanwhile's one - albeit I've experimenting for some time before now. But now I have a incoming trip - London, Barcelona and some Portugal cities in september / october), and I wish to make some travel videos with a little bit better quality. Since I will go with my girlfriend, time consuming setups are out - my idea is to buy a Crane-M in London (than I could bypass a tripod for panning and slider-like shots), and use the 12-32mm or the 14-42mm with a VariND for daylight shots, and the 14mm 2.5 and the 20mm 1.7 for indoor shots. Probably will use the GX85 for stills too, planning to get Xume magnetic adapters to fast removal of the variND filter. My questions are somewhat overlapping with the @meanwhile ones, but I will ask them again (pardon for the repeats): - White balance: since we don't have raw, I guess that it is good advice to set the wb manually. The best practice is set the camera in the profile that you will use and set the wb with a gray card, and set again if the lighting changes? Any other procedure needed? - Profiles: liked the Cinelike-D in the GX85 (best hack ever), but it is the best profile for every situation? I guess that I will have 5 scenarios in this trip: daylight landscapes, daylight city streets, indoors (churches, castles, etc), night landscapes and night citty streets. a) I suppose that Cinelike-D is good for the daylight ones, the additional DR is useful to balance the skies and the scenery (mostly buildings). But I saw lots of complaints with it in other cameras reagrding two aspects: noise in the shadows and skin tones - how are your experiences with it? And I'm not versed in grading techniques - no problem in learn that, but I don't know wht is the learning curve... b) For the indoors and night scenes, Cinelike-D is adequate, or the shadow noise becomes a problem? c) If Cinelike-D is not recommended for me (because of use cases / noobism / complicated post processing), which profile and settings do you recommend? d) For Cinelike-D and / or other profiles, how is the base ISO and exposure recommended method? ISO 200 and ETTR? e) Shot a color card (X-Rite or something) is each lighting situation is useful? - Slow motion: would like to make some shots in 1080p60 for slowmo; I know that the GX85's 1080p is somewhat bad, but it is usable? If not, someone tried 4k downscaled + Twixtor or something similar)? And if I put this 1080p60 in a 24fps timeline, will there be some cadence problems? Sorry for the long reply, and thanks in advance for your answers.

In this one, I can help you: https://kamerar.com/collections/lcd-viewfinders/products/magview-lcd-view-finder Bought one of these for my GX85 and it worked wonderfully. Don't remember the correct ratio for the screen, I think that it was 4:3. More than blocking the sun light, the best advantage is to have one more stabilizing point for the camera - your face. With it and IBIS, handheld steady shots beacame rock steady, even with prime lenses. And the viewed image is much larger, much better than use the EVF or the LCD alone. I have this one too, https://kamerar.com/collections/lcd-viewfinders/products/qv-1-m-lcd-view-finder, but is only better if you plan to add some serious rigging (like follow focus), and you could have some issues with the camera height relatively to the mounting plate (did not tested this model with the GX85, only with my GX7, but I remember having some troubles with the LX100). Only problem with these is fogging (it winter here now), but I'm sure there is an easy solution .

Only used external mic on E-M5 II one or two times in the brief period that I had one, and remember that the preamps are noisy as hell... Maybe you could try to record the audio in a very quiet environment, to have only the hiss recorded, analyze the hiss to see the peak frequency of it, and then reduce this frequency in post with an equalizer or filter.

Just updating, GX85, firmware 1.2, ir worked (some terror moments when the "restore" link returned "error" in the response, but repeting the process since the start restored the original settings. Used the C slot method, now I have Cinelike D in my C3. Never used a Panny camera with Cinelike D before, but comparing with the Natural profile, the picture is much more flat, with more data in the shadows and the skin tone is MUCH better (less orange / magenta). Thanks a lot, BTM_Pix. (and hoping that Panasonic do not close this method in the next firmware update...)

One doubt: what is the filter thread of the ANUS?

Newbie question: the image quality in 400 Mbit ALL-I will be better than 150Mbit IPB? Or is just to make editing more fluid? (I was starting to evaluating ALL-I vs IPB in my E-M5 II, but I've returned it to Olympus for a refund - long story).

John, I've just read the manual, and one info is not exactly clear (and could explain the very high bitrates of the both 4k modes): in one point it says "AVCHD/H.264 / Motion JPEG" as video formats, and that the bitrates of the 4k modes could not be altered. Could you confirm that the 4k and 4K DCi modes are Motion JPEG, and not H.264? Waiting for your further tests. #Correction: Forget it, a closer look at the manual (page 56) clarifies it. 4k and 1080p modes are MPEG-4 AVC/H.264, the Motion JPEG mode is 720p.

Unfortunately, looks like that no IBIS on the GH5 - IBIS was extensively mentioned in the G80 announcement, and since IBIS had disappeared in the last rumors about the GH5 (and the rumours are right in almost all of the other features), I guess that no IBIS in the camera. Maybe the line of thought (or line of excuse) from Panasonic is that this is a "camera for professionals" (it was very highlighted in the press conference, mentioned a lot of times: GH5 is the professional camera, the G80 is for enthusiasts); no other "professional" cameras (Canon's C-line, Red, Blackmagic, Arri..) have IBIS,and they will probably say that professionals could get better results with gimbals or steadicams (not that I agree with them). "Oh, run and gun"? Use the G80 or the new FZ2500 (which even have V-log now as a paid upgrade). That will probably be their excuse (the real reason could be avoiding any more heat around the sensor - the camera still have no fans). If they are right or not, only time will tell. I think that the sensor is not new too - it's the same 20mp sensor from Sony. Albeit with some improvements (the sensor is in the E-M1 MKII and Olympus are saying that it have a 1-stop gain). The press release mentioned "6K photo (18mp)", that is the marketing gimmic that I mentioned some posts ago. Apart from that, the camera looks awesome. And the joystick to change the focal point is very interesting for stills (and was a surprise).

Looks like that my theory was right: http://www.43rumors.com/ft5-panasonic-gh5-6k-photo-mode-works

About 6k: since it is (now) mentioned as a "photo mode", probably they are considering it in a 4:3 aspect ratio - than the quantity of pixels is approximately the same of a 6k DCI image (and sounds better for marketing, and is in line with Panasonic 4k photo modes). My concern it that IBIS was not mentioned in the specs...

My two cents about the camera (that I have no intention to buy, by the way): - It just made clear that, for Canon, if you want a serious camera for video, you will need a C line camera, DSLR video was an accident. Nothing new; - Hence, it is a stills centric camera (and for stills looks like a very good one), with some video features for less demanding needs, especially events; - I think that is no coincidence that a lot of previews that were appearing in various sites features opinions from event shooters - especially wedding ones. And for event shooters, turnaround time is crucial - this means less file transfer times, colors right (or almost right) out of the box; it is an area where 1080p is still the king. In event shooting rack focus manually is a problem - lots of movement without stage marks and coordinated positioning, and in this conditions the Dual Pixel AF is a godsend. For them, the MkIV probably will be a very practical camera - and I guess that is a market that sells more than specialized movie shooting. - A question: it is not possible for Metabones to make a focal reducer EF->EF just to get the full frame circle from EF lenses and reduces it to the 1,74x crop? I know that it was not possbile in the NX mount, but if they can do it for the EF...(if Brian Caldwell is reading this, maybe he can answer that)... Yes, for video, is a deception for a lot of us - but will make sense for a lot of people, will be an "enough" camera and easier to use with the Dual Pixel AF. And will sell like hotcakes. If Panasonic decides to upper their game and make the GH5 a true video centric camera, they could go for the A7S route and offer it with a 12mp S35 sensor (or even a m4/3 one) - less data to process for 4k, and much more sensitivity in low light (for me, the main problem with my m4/3 cameras), and leave the true hybrid role for a G8 camera with a 16 or 20mp sensor. But all the rumours says that it will have the 16mp sensor from the GX80.

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