Jonesy Jones

I could care less about labels. No camera to date has been perfect, so it is absolutely reasonable to desire something that checks more boxes. The current GH5 is a great camera. But we all know the GH6, 7 and 8 will be better still. If you can upgrade without breaking your budget... then why not?
Ask yourself this, would any manufacturer add features or enhancements if they believed no one would ever upgrade to the new and improved model? If we as consumers choose not to reward and recognize when companies innovate, then innovation will die.
If the GH5S... 0r whatever it’s called is substantiallly better than the current GH5, then I will buy it. Hell, I might buy two and put my old GH5 up for sale. I know many other will do likewise. I don’t shoot film to pay my bills. I just enjoy it as a creative release. I do it for the love of the art. If something I shoot gets likes or entertains, then that is payment enough for me. 
People need to understand that just because a new model is released, does not mean that somehow the current model will be rendered incapable of shooting the images it did when you first bought it. Your old GH5 will still be every bit as good as the day you purchased it. If you choose to upgrade to the latest and greatest, then you are simply confirming that there was indeed room for improvement. 
Personally, I hope the GH5S (or whatever the name) is amazing, and makes my current GH5 feel like a piece of junk. Because if it can do that, it’s gonna be a keeper... well, until the GH6 

Ok, I’m leaning towards a new camera as opposed to firmware. A second image has emerged that shows a red ring around the dial of the camera that Casey Neistat is using in the helicopter video. This would seem to confirm the earlier analysis of the frame grab from the video posted by  @Neumann Films that seemed to show a red ring on the right dial. Since this red ring is Panasonics new design language to signify top tier cameras in the Lumix lineup this it stands to reason they would use it on this more expensive model. 
Also there is another image of the front of the camera that seems to show s red letter below the model designation.

 
So why did the GH5 not get a red ring? Will future GH5 get the red ring?

I was just about to say that the white car makes the perfect bounce.
Good to know the new camera has IBIS... doubtful you held that monster lens on a close up steadily without it.
I think the real question is... what camera was the BTS shot taken with? And are you contractually obligated to say a Panasonic? Lol. 
And is the robot’s name Eva One?

The link for those curious:
https://www.bhphotovideo.com/c/product/1331924-REG/tascam_dr_10lw_dr_10l_mini_portabl_recorder.html
 
 
 
If you want true wireless, you'd need to spend much much more.
Other option is be wired to them, but that is a pain in the arse.

Hi Jonesy, I was just taking a shower thinking I should do a video on this subject.  I'm still not clear on it all, but this is my current understanding from my experiments with the Sony X70 that has both 8 and 10bit.  
Theoretically, what you say is correct IF the 10bit value ends up in a 10bit space.  So when I shot 10bit on the Sony X70 I expected to see a big increase in DR.  I detected none.  Why?  I haven't seen any big real DR improvement of 10bit anywhere on the Internet.  Just a lot of marketing "you'll see" type of stuff. 
Excuse me if this is confusing.  I'm still trying to figure it out in my head.
When you use RAW values you'd have 1024 per channel, as you say, so there's a big difference between 256 at the stop of 8bit, and 1024, right?  That's the way I see it too.  So let's say we have 3 RGB values of 100, 256 and 1024 so multiplied we have 26,214,400.  Can we fit this in a 10bit space?  Absolutely, IF we're saving CHANNEL data as 10bits.  And when I've shot some limited Magic Lantern at 12bit I DO SEE a marked improvement over 8bit H.264.
So when I looked at the 8bit vs 10bit files from the X70 they were roughly the same file size, but I did see a difference in banding (but I had to super pixel peep).   So how could it really be 10bit?  And if it isn't really 10bit, what is it?
My guess is that it is really 8bit with an extra couple of bits added to the full color data.  So it really isn't 10bit, it's more like 26bit full color (24bit plus 2 bits).  That would explain why the colors would band less on close inspection.  There is more precision between shades.  
Time will tell if I'm wrong, but so far I believe everyone has fallen for a lot of marketing hype, nonsense.  Not surprising to me, if you read my other posts few understand DR properly   Panasonic loves to muddy the water with all manner of CODECs and bit-rate-mumbo-jumbo.  So that's my take so far.  It's not 10bit acquisition.  It's more like 8.1 bit display  

"Dynamic Range" is such a misused phrase.  It's the MacGuffin of filmmaker dreams and fantasy.  When someone writes the camera could have 15+ stops of DR my head explodes.  Measured how?  I'll try another way to explain how I see it.  In an 8-bit DATA space (which Panasonic is probably shotgun married to in its electronics), you only have 16 million color values.  If you shoot in 6 stops, you have 16/6=2.6 million colors.  If you shoot in 15 stops you have 1 million colors.  The data "word"/bit size is what sets the maximum colors you can capture.  So after the camera comes out various camera experts will show on YouTube/Vimeo how you can see 15 white/gray bars, each exposed 1 stop away from the other.  So yes, if you're shooting white bars you have 15 stops of dynamic range.  However, change each bar to an individual color chart and you will see banding because you can't spread color out in 15 stops in 8 bit without seeing it in many situations.  Again, you want 2.6 million colors at each stop, or 1 million?  10bit full color compressed video is not the same as 10bit single-channel RAW, not even close.  Arggggghhh!
What's so mystifying to me--the million dollar question--is why Panasonic can't offer RAW.  A GH5 with RAW output would be a game changer.  I'd buy one immediately! Anyone?  As for the focus stuff.  I agree with the above.  Sony and Canon invested in low-level tech that can't be done without changing manufacturing.  No one wants to hear this, but Panasonic is married to the wrong sensor size.  Might have been one of the points @Don Kotlos was trying to make.  Yes, there are many tricks that can be done to improve the image.  But GROSS Dynamic Range?  As they say in cars, "there's no replacement for displacement"   If Canon can get 4K on its consumer cameras Panasonic will be in very serious trouble.  That's my thoughts on their desire to keep announcing.

Lumix GX90/95... my guess is Panasonic is in the process of redefining their camera lines. The GH5 went up $4-500 higher than the GH4 as the continuation flagship camera. The G9 jumped up about $8-900 but turned into their flagship stills camera. So the GX80/85 will jump up to $1200 and have a little more oomph as their mid-tier video/photo hybrid camera.

"The Middle Path" A ***** **** Short", I count five starts followed by four stars. Making a five letter and four letter term? "A Lumix GH5S Short" then?
GH5S, what could that be?:)

That's a good question, why?

IBIS in G9 looks excellent and the 6.5stops in without stabilized lenses accurate: http://www.photobyrichard.com/reviewbyrichard/panasonic-lumix-g9-review/
Can't really see a difference between dual I.S.2 and just IBIS:
If they have improved the AF performance in video as well then this will be a hell of a hybrid camera. 

Agreed, while I do find A7rII have more solid colour than FS5 the GH5 is definitely better.  (had a7RII for 2 years)
 
Below one is on C500 on RAW to 7Q+ and one on GH5
 

Gotta disagree with you, I really like the Gh5 colours 

Had the A7R2, it’s a great camera, but imo, the GH5 is the better of the two for video. The codecs hold up much better in post. Personally I was never wild about the lowlight performance of the Sony, I think the 1DXM2 is much more organic in this regards. The GH5 checks most of the buttons. But if stills are the main use, Sony > GH5. 

Thanks Jonesy, I really appreciate that. Man, this movie is so Lo-Fi it’s kind of taken on a mind of it’s own. Due to a family medical issue, I lost some filming time this Fall and due to casting issues... nobody likes working for free... I am constantly rewriting the script to accommodate actors and tempt them for casting. Over the next month I am going to put together a 30 second teaser to try and drum up some interest from a couple actors I want to cast... so to make a long story short... soon hopefully. I’ll leave you with another screengrab from my last shoot and best location I have found...

Still plugging away on my film. And still could not be happier with ML Raw and the 5D3. I went out on Saturday to to do a couple pick up shots because my first attempt was a little noisier than I wanted and I wanted to get this scene before the water gets too cold. So I took out the Canon 35mm f2... what a lens.
Anyway here is a screengrab from the shoot and a test color grade after I processed the footage. I'm still hoping to test the 3.5K builds soon, but right now... for my needs... the 1080p is more than enough.
 

I just visted a super trippy art installation in Santa Fe. Shot this in 4K anamorphic on the GH5. SLR Magic 50mm 2x Prime.
 
 

Thank you Jonasy. Everyone here says the same... If you start filming anamorphic once, you always will do that! I started a year ago and the anamorphic lens is standard on my camera. I love it. There are a lot of ways to start anamorphic filming. I also did investigation which lens I would buy. I made a choice for the best and bought a Bolex 16/32/1.5x. But I also sold him and bought a Kowa 1.5x, Iscorama 36. Those lenses has already a new home and I have now again the Bolex (another one - lucky me). 

new shirt film of an afternoon in Amsterdam 
 

new short video of my visit at the Zaanse Schans. Now with the Voigtlander 58mm f1.4 and speedbooster NXL paired with my NX1, Bolex 16/32/1.5x and HCDNA.... a lot of lenses. Not sure if I wil continue this setup... 
 

Here's a still from my 6K anamorphic video of the Grand Canyon sunrise. Full video coming soon.
 

More new tracks are ready:
On the Dark/Ominous page:
"Into the Haunted Forest" (Looping and standard)
http://soundimage.org/dark-ominous/
On the Fantasy 7 page:
"Enchanted Winter" (Looping)
http://soundimage.org/fantasy-7/
On the Funny 4 page:
"Fishbowl Circus" (Looping)
http://soundimage.org/funny-4/
And on the Puzzle Music 2 page:
"Puzzle Trance" (Looping)
"Hypnotic Jewels" (Looping)
http://soundimage.org/puzzle-music-2/
I hope everyone had a great Halloween! 

"Journalism has become so polarised. Right-wing or left-wing? 99% of the the debate happens in an extreme bubble on one side or the other."
 
Absolutely Incorrect. 90-99% of the Main Stream Media is Left (/Libertarian) Controlled and Funded. Therefore the Majority of Right (/Conservatice) Wing Media is relegated to Alternative News Streams and/ or channels with high viewerships but very uninspiring monetary models.
Also a Leftist Reporter or Documentary Filmmaker saying it was an effort was exaggerating the effort only 1000 times. 

Lol! You really think s35 was a standard created by Red? It was a standard film size for decades before that! DECADES.
And ask your focus puller whether micro four thirds is easier to pull focus on than full frame. Go ahead, I'll wait.

ive been looking for some d850 footage of humans in daylight... is there such a thing?
lol ill keep looking
EDIT: whoops this applies
 

Agreed about the close ups. Any smaller scale formats really shine in this setting. The extreme being Super 8 or Polaroid film. Portraits on polaroid look like they've already been airbrushed. 
On the discussion of 16mm. Stuff I have shot with the Bolex has just been the most rewarding for me. The colors, skin tone, and overall feel are very hard to replicate. 
I think someone saying they can easily copy the 16mm look with filters, is the same as saying the GH5 can look like an Alexa or a F35. I suppose there's different traits that people would to copy. To some people that would mean analog inconsistency; film burns, grain, jumping gate, etc. There is a huge difference in the film stocks alone. 
These first two frames are 1080p scans on the Shadow. This is a 10+ year old scanner. The 3rd frame is a 4k scan from a Scan Station. This is just cheap c-mount glass. I've n ever used Zeiss on a bolex, but I am sure the results would be very nice. 
I've never seen this but the trailer looks good. I'll be checking that out this week.