Marcio Kabke Pinheiro

You forgot the "Is it the 8th yet?", clearly a mention about 8 bits on footage.

Let's ruthlessly dissect and analyze Neumann's first comment of 2018:
First of all, let's look into his first sentence, why did he write "Happy New Years" and not the more common "Happy New Year". Or the more grammatical correct "Happy New Year's Day"?!
What deeper meaning can we mine from this?
& why did he next say "everyone", does this hint at a well rounded GH5s being a camera for "everyone"? Suitable for wedding videographers, news reporters, film students, doco shooters, Bollywood and Hollywood big productions too?

Did you mean perhaps a few weeks earlier.... on April the 1st?

Panasonic didnt announce anything. Please close thread!

Panasonic was going to release the GH5s yesterday but after reading this thread they realised it would never live up to expectations and cancelled the whole project.

Arriving in London on Monday. Better be far away from that store...

Great for post stabilizing in 16:9, too.

The problem is that focal reducers naturally want to shrink the optical path, which is why a boosted lens is shorter than the same lens with a plain adapter.  To do an anamorphic focal reducer you need to overcome this tendency, which is much easier said than done.  Even if you succeeded and were able to produce an anamorphic focal reducer I don't think that people would go nuts over it.  The reason is that it would be a rear anamorphic adapter, and therefore would not produce the horizontal flares, oval bokeh, and differential depth of field that are the main reasons why anamorphic is used nowadays.  No doubt there would be a flurry of interest in the market, but then people would be spitting mad when they discovered that their newly created rear anamorphic lenses just do not look anamorphic.  And then the mob with pitchforks and torches shows up at my house.  No thanks!

It's a great lens for sure, but it's not so great for video except in very limited circumstances.  It breathes a lot and isn't parfocal.  
But it's a beast for stills.  I wish Olympus would repirsise the F2 zooms they did in 4/3 for m4/3. (They made a 14-35 F2 as well)

JB
 
 

CEX deals in all electronics so more geared towards phones,laptops, iPads etc but sometimes they have a bargain photo wise. The rule of thumb usually with them is the higher the price the more chance you have of a bargain as they don't usually have the clientele looking to buy it.
They are in most UK cities and are popping up in other cities in Europe.
Directly opposite that particular CEX store is ApertureUK where you can get some great bargains and you can generally haggle a bit more off. Always worth a browse if you're around there (just off Oxford Street)

My reward is in helping people and seeing what they're doing using it.
Nah, only kidding.
Send cash.
Shitloads of cash.

I've spent a day converting the existing GX80 Cinelike-D hack html file into an Android APK. There's an added color temperature function.
This app should yield some usability advantages as it allows on the fly changes to the various picture profile settings and contains all settings on a single page. It also saves your last selected settings.
 
Notes on installation:
-Allow installation of apps from unknown sources
 
Instructions for use:
1. Connect to your camera's wifi network
2. Start the app
3. Click handshake (ignore any update warnings)
4. Click recmode
5. Change settings before or while filming
 
Other notes:
1. The app may erase existing settings saved in your various picture profiles
2. Camera IP selection is not yet implemented, apologies to those who do not connect to their cameras directly
3. Tested on a G7
 
Download link: https://github.com/lippyt/lumixlib/raw/master/lumix.apk

Don't worry about the codec on the E-M1 II, it's very good. Minor differences between that and the superior 10bit on the GH5.
And that price is very good indeed.
The flat profile can actually be graded quite a lot before it falls apart.
I should get my GH5 vs E-M1 II comparison shootout article and footage out, it's been a while and I haven't got round to 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.

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.

Its a bit mind boggling to consider the sort of fanboy cult an alliance between RED and Apple could potentially produce.
Its going to be like the moonies merging with the scientologists.
Via USB-C

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

Excellent discussion of exposure for video
http://www.leeminglutone.com/#usage
More on audio
https://www.premiumbeat.com/blog/record-indie-filmmaking-audio/

My experience with Cinelike D is that if you nail exposure (I like to have it a little underexposed) it looks great straight out of the camera...but....if the lighting is mixed, exposure is off a bit then it can go orange!
I used the Eoshd Canon Lut and whilst i liked the result I'm trying to get the best straight out of camera look. Today I'm going to test the Portrait Profile and see how it goes.

I think you should use EosHD Pro Color.
AWB is fine on Panasonic cameras. Much better than leaving at 5600K at indoors by mistake...
With non-LOG profiles just simply protect your highlights. Usually 0EV or -0,33EV with auto exposure is fine.
In europe use 25p for 4K and 50P for 1080. Yes you lose some frames in slomo, but you can save a lot of work in post. 60p > 24p is ok but far from perfect
4K 25/30p + twixtor introduce lot of artefacts if you really want to slow things down.
And the most important thing: live for the moment on the trip and not through the lens. You are collecting memories with your girlfriend and not test footage for facebook/youtube.

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...

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.

I know that the EU version have the (stupid) 30 mins record limitation, but it is PAL locked (25/50 fps) or it could be switched to NTSC (24 / 30 / 60 fps)?

I will be in Barcelona next month and would like to get one, but if the region is locked, no game. :/