TrueIndigo

I got quite nostalgic there seeing those vintage cars as I regularly went on Sunday trips to the beach in one of those as a child. Sadly, it was the Ford Anglia and not the E Type Jag !
Got to admire a man with the self assurance to still be able to dole out a suspicious "what on earth are you up to?" look at someone else when he's the one casually taking his Dalek for a walk.

 

Well, I haven't posted on EOSHD for ages, but when I saw this competition I thought that sounds fun. I dropped by on Bexhill-on-Sea on the South Coast yesterday on my way to somewhere else, and shot this footage over an hour or two.  No grading, straight out of camera. Manual settings (although fairly limited choice that's all I'll say). Edited on my laptop this evening. I bought the used camera on ebay for £133. I'm not sure if this is the sort of thing you're looking for Andrew.  As long as I don't come last.
 
 
 

Not necessarily....
That's camera #1.  I'm still yet to shoot with camera #2.  Stay tuned.

Yes, I've watched quite a few videos shot by the GH5 which is why I'm interested in it as a future camera. And what you have said on other threads about grading makes a lot of sense to me. An attractive straight out of camera look is nice to have (I'm thinking of Fuji or Olympus), but not so important as grading (knowing what you want and being able to achieve it using the software of your choice). And camera usability now becomes more important to me since the technical threshold of UHD resolution has been met for most cheap cameras. I favour Panny because they just get out of the way to let you go to work (I owned a GH1 years ago and have a G7 now). Regardless of what may come next, I think the GH5 will remain a viable camera for some time because of it's high levels of usability and economic 10-bit codec for advanced post flexibility. The GH5 is as close to the mythical pocket cinema camera as I am likely to need for my skill level; what it makes available answers a lot of video shooting questions.

The beauty of the modern Panasonic cameras now is you can use the footage right out of the box if it is not super important. That is a huge time saver and a God Send for people not too familiar with Grading. Sort of a modern Canon C100 in that aspect. Their CS has gotten really good as of late. The Panny S1 I think is amazingly good. Well to be honest most of the top name cameras now have gotten very good CS wise. Glad to see it happening.

Many thanks, mate. Might be looking at getting this one later in the year (going to sell some lenses and books to help off-set the cost), so I wanted to get familiar with it early -- I have some reading to do ?

My wife that died was a huge photo fan.

Shot this one with my X-T3 in April. I was happy with my Samsung NX1, but X-T3 is way better (except battery and grip). Filmed with anamorphic lens Bolex Moller 16/32/1.5x.
 

Stop showing that stuff lol. Eye Candy for sure. Show us a good B&W photo using it. I would think that might be it's sweat spot for output. A "somewhat" cheaper Leica maybe?
I am sort of torn from buying it, a S1 or an Canon 1DC. If I save for a few months might make one of them happen. Kind of worried about lens cost on the Panasonic though.

I'm way late to the party, but just ordered the GH5! 
I have no illusions that it'll be some supremely groundbreaking image, but I do think it'll be the funnest and easiest camera I've ever used to just pick up and shoot stuff with.

Because I am of a certain age, in my youth I had a 16mm Bolex which featured a turret containing three Switar primes. You pulled the hinged chrome central stick to one side to use as a leaver and: click-click-click -- you immediately had a different lens in place. I don't miss the dark and dingy view through the prism block, though.
 

Stop bumping it you buggers, I'm working on 50 different things as it is without being guilt tripped that I haven't finished this one
I'll put up a pic of a new iteration of it next week hopefully. It will of course be in an elecrtic blue case as I still haven't changed that spool on the printer.

Sure; it depends on what you'd like. Fuji and BMD have very good, usable color. I personally will use P4K with GH5; I hope to have EC to do a production this summer.
8 bit is tricky; I'd prefer to only support 10 bit cameras, though I will try to find a way that will give viable production level results with 8-bit. I think Log is not really in the cards there.
 
Bit of really cool news; last weekend, the director of a film starring Josh Hartnett wrote to me to say that they were using the GH5 with EC as a pick-up cam alongside Alexa Minis and XTs.
He said that a senior Star Wars colorist was doing the grade, and said that 'everybody was very impressed' with it. I was pretty thrilled with that

I'm going to be back up to full throttle on EOSHD starting today. For those of you who are wondering where I've been and what I've been doing, here's a glance at what I've been working on...
Read the full article

Here’s a mock-up poster for my film. It was shot with the Canon 28mm 1.8...

If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag.
I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor.
Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.

There are a couple sort of obvious innovations that have somehow escaped the feature list on most of the current crop of cameras. Things like IBIS that can be locked down when disabled is a big deal, and really adds to the flexibility of the camera.  If you think about it, what good is it to be able to disable the camera intelligently moving the sensor, when the other option is just having it flop about inside the camera willie nilly? It just seems a bit silly to have the disable feature without this locking capability.
Another obvious, but absent feature is the sensor cover that is present on the new Canon EOS R. It's so nice to not have to worry about dust getting on the sensor when switching lenses. Both these features are things ALL mirrorless cameras should have as standard features. 

Sweet!!! Get yourself the SMC Pentax K 50mm 1.4 to go with it... a nice lens as well.
Yeah, I shot that wide open at f/2.
I think you’re probably right on both accounts. He was moving and I added zero sharpening. ML Raw doesn’t have any Sharpening and I forgot to add some default. The one thing I do miss is the Midtone Detail function in Resolve which adds a little crunch to skin and takes away that smoothness but for a wide open, fast Nikkor ai-s lens, I was surprised by how sharp it is.
I’m in the process of putting together a teaser for my film. So stay tuned for a moving image.

@matthere That's the plan, I prefer video tutorials myself. As soon as I can, I will do that. I will be working over the holidays; currently enmeshed in site coding at the moment (server side back end that is a first for me). At its most simple, GHa is summarized as:
1) Applying Main, Soft or Linear
2) Setting Luminance (to conform to cinema luminance, outlined on the waveform guide)
Send me an email with a few tiff/dpx stills; I can do example grades with them and walk you through them

Ok, take the risk, ordered one, it is arriving today. Will try to make some comparison videos with the GX85.

 

@Oliver Daniel Thanks Oliver. Looking at his previous posts, I think he might be referring to luts for LogC, and was confused about what you meant
I hope people will find it worth it, and consider my own personal investment to get it to where it is today. I believe in doing free updates and personal service because I want people to have the best, and to do right by the people who put their faith in me (no matter what or how long it takes)

Emotive Color Version 3
Core LogC Details
- Rewrote engine to work at 65x65x65, main files are now at eight times resolution (supporting files processed at that resolution)
- Fine tuned multi-pass/smoothing technique, to achieve absolute smoothness of final files
- Introduced Averaging (averaging two separate measurements/conversions of a light source)
- Corrected LogC rolloff artifact introduced with Verde
- Corrected far magenta-red artifact
Emotive Color Component Details
- Remade EC component to incorporate new Arri primaries  that were quietly revised this summer for Alexa LF release
      (much deeper, more accurate red placement in relation to blue/green, and subtle hue shifts throughout)
- Incorporated 'Sat Lock-Out", like hue lock out, that is fully accurate to saturation distribution between relative hues of Arri RGB primaries
      (corrects excessive saturation of orange/yellow/green in highlights, and under-saturation of blue in shadows)
- Significantly refined saturation model
- Unified EC for both WBs (taking a que from Arri's single R709) [Tungsten has significantly more contrast, higher ideal exposure]
- Smoother rolloff placement in EC component
- Replaced Pop with Linear (no highlight shoulder, better alternative to Arri R709)
 
- Remade all PREs with latest process (at 65, provided at 33) - much more accurate and smooth
- Entirely new PDF (and supplemental waveforms)
- Added Daylight Skintone SBS
- Updated 'Always Already' with V3 (Download 'Original File' - *Avoid watching in Firefox)

I’ve said this before but I’ll say it again. I’ve worked on about a half dozen DIY feature films and I am finally working on mine now. I don’t think a lot of people realize how near impossible it is. Moving boulders would be easier. It’s as if the world is constantly fighting you. Sheer will and determination is the only thing that gets you to the end credits. So be proud of that. And go make another one. And another one. And if need be... another one until somebody notices it. You have all of the tools and the talent.
I’m reminded of a theory I read when I first started screenwriting. The theory goes, when you first start, there are a thousand other screenwriters aiming for the same sale as I am. After a couple of years, half of those other writers quit and move on. After 5 years, half of those quit. After 10 there are less than a couple of dozen of those original screenwriters still writing. In those 10 years, the odds are in your favor and your craft has grown exponentially. So keep plugging away and tell the stories that show the world who Jonesy Jones is.

@webrunner5 posted it above. I didn’t want to directly embed because I didn’t want any confusion in this GH5 thread since that was shot with a 7D. But my original point stands... if you already have a camera that is really good, in this case the GH5, then don’t worry about what else is available or will be available, just go out and produce work. This is very hard for me sometimes because I want to try all cameras but what I already own is way more than enough.
And in Jonesy’s case the GH5 is also way more than enough. And with Sage’s color, the GH5 is a top notch tool.

Sorry to hear that, makes you realise what's really important!
Very true and it's so relentless, there's a new temptation around the corner every few weeks. Easy to get hooked. These companies are spending millions on getting us hooked. Just like us, they're never satisfied either.
It's like in home audio... Eventually you will end up with an end-game, which is perhaps 5 or 10% better than what you had mid-way through the spending spree.
I am going to review the E-M10 III next. $500 camera. I'm going to use that instead of the Pocket 4K, forget raw. I'm going to go out, have fun with strange Russian lenses, and appreciate how short life is and how the time is better spent with family than with disposable consumer goods.