sudopera

I will be putting a good word in for you with Panasonic
Hopefully they will do the extra stretch factors, we need 1.5x as well for Iscorama!
Awaiting the anamorphics Brian... To say I am looking forward to seeing what you come up with is an understatement

All while I'm reading this post and thinking "Why has Panasonic crammed so much value into this camera?" at the same time that Canon plays the protectionist game of doling out features on a tiered "pay-as-you-go" system. And then I read this sentence and it all made sense.
"Also the GH5 now has a HEVC H.265 4K mode for HLG added, which allows files to be played directly on home AV equipment compatible with HEVC and HDR, such as Panasonic’s latest HDR TVs."
Panasonic is thinking organically of the whole customer, not just some new camera body. A happy GH5 owner who loves their feature-rich camera also begins to love the brand. We buy lenses and accessories sure, but how about the EVA1 or an HDR capable Panasonic TV to proudly show our new footage. So while Canon and Sony may be thinking Panasonic is foolish to put so much value into a $2,000 mirrorless camera, the new GH5 owners are beginning a new relationship that will eventually show the same loyalty many of us had for Canon for decades.
As I mentioned in an earlier post, I used the GH5 exclusively on a client gig last week and never brought the Canon bodies out of the bag!

Glad to see a de-squeeze function, although 1.79x should be included since this is required to go from 4:3 to DCI 2.39:1 without cropping.  Of course, I'm biased since I'm currently developing 1.79x lenses!  Need to start lobbying Panasonic to add a few lines to their firmware . . .

Hi Andrew....one of the best camera reviews I've read....and not just because I own one, but for the thoughtful way you laid out what's important for shooting motion....and maybe the most important thing for me personally in your review, was the part about motion cadence...the Achilles Tendon of most cameras....I knew that motion would be improved with the 400 bit all Intra, but that they held on to the image quality too, is such an achievement....Panasonic has now brought the GH line into Varicam territory with upgrades that are significant (actually considering anamorphic desqueeze huge IMO) I almost no longer consider the cost of the camera...it is a little monster by any cost measures really...and I love this companies philosophy of selling you the camera, and then continuing to build that same camera out to it's potential over time....like @DBounce it's making me think of a second one...I've already dismissed the EVA due to the EF mount, but one built out GH5  on sticks and one in the hand makes for a great production package...looking forward to your 2nd part of the review, and the Shooters Guide to follow some time....I think you'll have many takers as this is no camera for a beginner, but it's so capable in a package of this size, it's almost comical....again, thank you!!

Canon are very frustrating. Their feature choices between models are so trivial. So intricately, and purposefully strategised to the point of almost complete bafflement. 
The 1DX II doesn't have C-Log. The 5D IV does. 
The C300II has 10 bit 422, and crippled high frame rates. The C200 has RAW, has 4k60p and non-cropped 120fps. But doesn't have a 10bit codec. 
The XC10 has 422. The C200 doesn't. The C300 MK I does, which is 6 years old. 
You could go on forever. 
Canon should just combine the C200 and C300 II together and sell that. Now that would be a blockbuster! But they won't. 
At the end of the day, it is just cameras, with specs and buttons and other stuff. We're actually lucky to have so many options in order to tell good stories. 
But still....  
 

29:09 minutes in.
Watch the video and let me know what you think. I'm going to write what I think in teeny tiny letters below so you read it after you make up your own mind.
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- Don't let my opinion bias yours! 
- I'm super surprised to find than the Canon to me producer the least pleasing results, often by a margin. D5 won for me but the A9 got a few votes too.
 
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Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.
 

Hi,
Wanted to make something new so I worked on this video for several month.
 
Most of the tilt-shift effect is simulated in post (masking in AE), it's not as good as the real out of focus blur created by TL lenses but much more practical than having a huge drone carrying a DSLR camera. I also modded a GoPro lens that was mounted on a custom made drone (TBS Discovery with Pixhawk FC) to get the "native" effect. The inspiration for this project came from Keith Loutit, the god of tilt-shift timelpase.

One thing that I think can be attributed to the X-Trans filter array is the high iso performance. Most other sensors give a lot of colour noise at high ISO's which is ugly. The X-trans grain is for the most part, colourless. Makes the images look a lot more film-like and a lot more pleasing to the eye.

Excellent two videos from cinematographer Steve Yedlin via the link below, where he tries to make a point that quality of pixels in a camera is far more important for the perceived cinematic experience than the race in quantity, now that most high end cameras in his opinion already surpassed the resolution threshold required for image with good clarity and perceived sharpness.
In the first video he shows the same scenes shot with 6 different cameras (2 analogue) and all of the footage is graded and matched in post. He doesn't reveal what camera was used for particular shot just to prove his point. Second video shows post production.
This is quite relevant for this topic so just wanted to share.
http://yedlin.net/ResDemo/

I got the 8Sinn with basic top handle, been working great for my run and gun needs.

GH5 cage by LockCircle

Trying to make a "filmmaker" living as the industry is getting turned upside down is a challenge.  I feel for the young grunts paying their dues in this way.  Doesn't seem like a lot of fun.
You can't run a website long term with constant 20-something turnover, and exploitation of those folks.  The quality will just be too marginal to be compelling.
People appreciate and comprehend quality, whatever form it takes.  If no one at NFS is mature or talented enough to offer some sort of insight worth considering, why read it?
Superficial stuff might get you instant numbers, but if nothing is worth sticking around for then those numbers (people) will drift after a different shining thing.  And the internet has quickly become mostly superficial shiny things.
I mean, I'm guilty of filling my head with online nonsense for no other reason than I have time to kill. "Hey, I better see what's new and pooping out of the outrage machine!  It's been 30 minutes since I last looked!"   Bad reason.
In contrast, EOSHD is a simple yet legitimate site.  The pace here is organic and justifiably so.  The site could also easily last as long as the owner wants it to.

I didn't read your post because its was to long and probably just useless insults.
But to the rest, here meanwhile is actually showing and proving exactly my point in the first post. He haven't even read the article from Reuters that writes about a successful outcome for an investor in a profitable company.
Instead he goes by NOFS click bait fake news headline that was first started by a hatemonger/blogger that nows squat about pretty much anything.
So what we have is a chain where everyone only reads and takes in the fake sidetrack story while at the same time believing that what they say originated from the original source.
And we all know this is a global problem in actual news as well. People want to believe the fake version of things rather than reality. We see it in politics, war, you name it.
And it is a problem.

I haven't been following many of those sorta sites or forums (NoFilmSchool, Cinema5D, REDuser, dvxuser, etc) as they always seemed to be for the bit more hardcore cinematographers and fanboys. Especially the forums, with a maze of subforums and early 2000's layout and users with no patience for newbies. No country or normal men. Nah, apart from rumorsites this is about the only place keep checking on the regular. EOSHD has managed to keep a fresh approach and the audience as well as the curator allow for diverse content, though the main theme is: creativity meets common sense. Most revolves around practical and affordable gear and how to use 'em to bring visions to life, not exclusive to people already well-established in the industry. There's a general vibe of chillness, openness, positivity and creativity that makes the forum content range go wherever the crowd takes it. You'll find a lot of passionate enthusiasts here, like me, that might not feel at home that well at other places (where the thing that counts seems to be being init as a professional, rather than doing it for the passion). Apart from EOSHD I think that for the more interesting informative and opinionated content you'll have to head towards YouTube, some channels there are great.

Apparently this thread is a place to call out a well liked member for his use of non-PC terms from South Park!!
Maybe I should rename EOSHD to No Jokes School.

"Meanwhile" leave it out. This isn't the place to be language police. It's a place to talk about the subject raised in the top post!

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

Here is the real question. Did you ever sat in a theater projecting movies in 4k and thinking "I wished the resolution was better". I know I didn't. 
I think 8K is way too much as a viewing format. But as always, higher resolutions can see some good uses for VFX and scientific applications.
As for myself, I shoot 1.5k 4:3 (yep, read it correctly) , so I really don't care about the resolution race :D

The trickle down effect from 8k cinema to consumer model cameras will inevitably happen, where horrible colours and in-camera sharpening and compression will no doubt be employed. Codec support and media will be slow to catch up and be supported as a standard...much like happened with 4K. Marketing will indeed by hyped, clients will assume more resolution is better etc...it's the same story each time.
I wouldn't be too concerned though, it's a long way off until existing HD and 4K is properly implimented yet. Many broadcasters and web platforms are still yet to catch up. The distribution and processing of high bandwidth data is always going to be the bottleneck...it takes time for the price point of many factors to converge for these things to become economically viable enough to implement for mass consumption.
8k camera acquisition gives amazing options for filmmakers to implement for 4K/2k delivery but 8k as a resolution for consumer presentation and delivery...is a long way off (and mostly pointless in many cases for traditional projection viewing). If a wedding client specifically asks for an 8k delivery anytime soon, then they either have a suitable budget to give you for the job, or are completely clueless.
Good colour science and dynamic range is what most camera manufacturers know is what makes good pictures, resolution boost is a bonus if it does not complicate workflow too much. But as happened with HD/4K buzz when it was new...you will initially have a load of crap coming out so it can wear that 8k badge on its side.
I suspect that s35 will be less of a standard with these bigger sensors becoming more common. The Red helium 8k VV looks like the way things are heading...camera-wise at least. That camera in particular is the first thing produced by Red that I think delivers on their braggy-jock rockstar attitude that they used to throw around.

...saying that, the example video does look a bit distracting, mainly because the detail is being combined with very deep depth of field, causing a bit of 'sensory overload' - especially when subjects have vivid colour. I'm also not sure how many actors and actresses will appreciate every pour of their skin being revealed in a closeup at 8k, they complain enough as it is at 4K which is why digital makeup has become a very common thing these days. My guess is that by the time affordable 8k consumer cameras become common place, I suspect the actual resolving resolution will be closer to 4K after broadcast/streaming compression takes its toll, not to mention whatever tricks the camera is doing at source to quickly write to compact media.
For now, Red seem to be getting it working pretty well. Mark Toia seems to describe the advantages of 8k as a capture format quite nicely (even though it's a bit of a sales pitch)..
 

Shooting 8k is not too much.
8k and beyond has/will become more and more necessary for movies that involve heavy visual effects. Being able to work with high resolution plates that have the headroom to allow re-positions and the overall detail boost for blue/green screen work is a huge advantage. When 8k live action is inter-cut with CG characters, the 8k footage (often down-scaled considerably) now matches the resolved detail that CG characters and environments can have (because they do not have to be 'captured' photographically). Traditional techniques of lightly degrading/softening the CG image to match the live action plates is becoming less of a thing when shooting higher resolution 'cleaner' live action elements. 8k is also a no-brainier when it comes to being an attractive acquisition format for archive purposes, it will have a longer shelf life in regards to being compatible with ever-evolving displays and projection systems whenever the 'negative' needs to be revisited.
All of the above has a recent real-world example....Guardians of the Galaxy Vol. 2
Back in the day, Vista Vision format was often employed for effects shots that required optical compositing and many passes through the printer would cause generation loss. Once the larger format of Vista Vision optical composite was down-scaled and printed to 35mm, the grain was effectively reduced to a regular size (or smaller) and the generation loss of detail was no longer apparent since the reduction to 35mm was effectively returning full resolution to that smaller format. ILM were the most famous users of this technique and that is why they became the best in the business...providing the best quality optical composites for effects shots in films. 
Although we no longer have optical compositing generation loss to deal with, shooting larger format at 8k+ still has many of the advantages that these old optical tricks gave. The effect of reduction/downscale alone to a lower resolution gives a massive improvement to perceived sharpness, as well as huge reduction in noise - since any noise artifacts are literally shrunk.
I remember when people were asking if upgrading to HD cameras was overkill...how quickly we forget. 4K down-scaled for HD/2K delivery works great, since compression and noise artifacts from footage is visually reduced, So 8k down-scaled to 4/2k projection makes particular sense in this regard. Consumer 4k cameras often have so much in-camera compression applied to get to that resolution, that the image suffers until down-scaled to HD anyway, which is why a solid HD camera with good picture and colour, often trumps a 4k camera, in terms of delivering a pleasing image.
So, shooting cat videos in 8k at home might be too much (unless it is really cute) , but there is an increasing need out there for 8 -16k cameras out there for film production that require visual effect integration...last time I checked, that accounts for most Hollywood releases for the past 25-30 years. 

I don't think we will ever watch films in VR well i don't i will just not the same experience human are social animals we like to watch film together be together and in my experience with VR is solitary experience and lets not forget that 20% of population cant handle VR motion sickness if VR ever takes off it will be in Games, architectural design and real estate. And watching thing in 8k that is few cm from your eyes i see lots of problems mentally and physically. PS turning your head around in 360 watching Jurassic park looking for dinosaurs looking up and down and shit i just don't see it.
 
Unless you like to see Jeff in 8k 360 up close and personal