JazzBox

the G7 is significantly better in low light than the GH4 it has a newer cleaner better sensor , you dont get those issues with the G7 , its very clean in low light blacks . its is noticably better .

There's always going to be something more to buy. I don't know that you "have to" buy a new system to get the look you want. I'd use more light, but in the same proportions, get the iso down. With 8-bit footage, I try to fill in the blacks a bit more, just a big source of fill to bring everything up a half stop or so. Sort of like "lighting flat" vs. a flat profile, and then push up the blacks in post. I never mess with faux-log or anything-log with 8-bit though, just seems to noise everything up in the long run.
By the way, on my screen at the posted resolution, there was no noise that really jumped out at me. Full screen there's a lot of noise in the mids, which is odd. But nothing neat video wouldn't work well on.

You're welcome  Is there a point to get the G7 when the GH5 will be announced in mid september? 
Anyway, try to turn the grain and the noise to your advantage, make it look like it was a part of the post process  I shot this with (James Miller like) Cinelike D, but after half of year shooting with the GH4 and these settings, I'm going to switch to Cinelike V. The reason is pretty straight forward, there is no point shooting "pseudoflat", your DR is not better, you're getting far more noise and you have to grade heavily. Of course there are scenarios where you have to blacks from crushing, but otherwise, shooting to near rec709 seems like a better option with the GH4. I need to get these LUTS and after that we'll see If I regret it :D
I really hope that the GH5 will have a rec709 preview with the V-log.

I think there lies your problem. I keep saturation to 0 or even plus 2 when shooting in the dark. It doesn't prevent the 'grain' but it keeps "grain clouds" to a minimum. Not a huge difference, but visible.
Apart from that I think your choice of lights (green red) might have amplified it and explain why it didn't happen at other occasions.
...for what it's worth.

Your GH4 is not faulty. I'm having the same issue with mine. Just shot a video at night, and it's full of noise, I was shooting with ISO 400. IMO it's the downside of the MFT sensor, but I noticed that grading helps to smooth this noise out.
Here are some snapshots from my footages (straight from the camera).  The second one was shot in 4K, the first and last one in 1080p 200mBit/s

Thank you Andy!
It is something I'm considering for a web series: maybe it is far more easy to ADR six episodes of 5 minutes each then having perfect audio on the set

The guy who made the short Lights Out that catapulted him to a Hollywood directing career, always ADR'd his shorts. I don't think he even plugged in a mic for a scratch track. 

Thank you Andy!
It is something I'm considering for a web series: maybe it is far more easy to ADR six episodes of 5 minutes each then having perfect audio on the set

most big Hollywood films are ADR , Fincher has been doing it for years now , as it lets the actors craft a performance for the dialogue , I do prefer it as you get a much better contralled dialogue sound in the studio , also outside in a big city its impossable to get useable production sound as you have car traffic noise , airplanes, policesirens etc etc all messing up your sound , so I prefer crafing at all in ADR and post.

Director is being bold ! and decided to ADR the entire movie - partly as the sets where built in a building under Manchester Airport flight path so Jumbo jets very five minuites made on set sound unusable !! that decission made it alot faster and easier for me as DOP !!

Andy, did you record the dialogues on set with shotgun etc or will you go with ADR?
If you recorded sounds on set which setup did you use?

Ive been doing alot of tests with the G7s on my custom made shoulder rigs and Im not having issues with the rolling shutter .
with regard to Pandora movie I did alot of tests to show the Director Arri Alexa v Red Epic v Panasonic G7 internal recording v Panasonic G7 and Atomos recorded .
and he liked the look of the internal recording on the G7 with Metabones XL speedboosters and Nikon lenses , its very very sharp clean image and he decided to do the whole movie with it , the image is superb and grades very well ,  using 6 x G7s was the best option for us time wise as I wanted to shoot multicam.

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made ,
I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance .
Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc .
Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus .
So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

Multi Cam is great for dialogue scenes as you can shoot over the shoulders in both directions at the same time and sneek in a 2 shot wide side on plus ECU head shots in both directions at the same time too !
5 cameras for all that and the actors love it as they can play the whole scene in one pass and its all 'real' the performance can be cut for one actual take so it all edits together perfectly , yes you have to light for it and set up the shots but I do highly recomend it !
its so much faster then with one camera .
I started shooting multi cam on my pop videos after I stopped shooting on film as its so much more useful to get all that coverage faster, so its not something new to me and when the Director of Pandora embrased this way for filming for this movie it was great to be let free to hunt down cool shots with all the extras cameras I had to use.
here you can see a shot from the movie and below it a BTS photo of the set up and how I lit it and shot it multi cam , I used 5 cameras on this sofa scene shooting both sides at the same time. cu head shots, 2 shots and wides all at once - saved loads of time !!

We gained from a narative point of view as the actors perfered this way of working doing longer takes and complex moves with marks all over the set floor became the norm, we did this alot and the movie gained from that freedom , I always opperated the A camera on every take so that handled all the complex moves and focus pulls ,
yeah Panasonic bullet time here we come !!
the Director wanted David Fincher/Nicolas Winding Refn style of shooting so alot shot on legs careful framing , using symmetery where we could find it , and slow dolly moves , the camera only moves when it needs to ,no sudden movemets or randon pans,  there are only about 6 or 7 hand held shot in the whole movie , the Director is not a fan of hand held Paul Greengass wobblecam ,
I do like the hand held look alot and my next film is a Bourne /Bond syle classic British spy film and Im shooting this movie mainly all hand held as it add a dynamic realismto that style of movie.....I'm just starting pre production and tests shoots for this film now.
here are 2 test shots from last week I did for the Spy film with one of the actresses Joanna Bright, Panasonic G7 and Nikon 28-70mm with Metabones XL Speedbooster.
Arri 300s and 150s gelled and diffused.

who cares what super 8 looks like now - it's mostly an image in our heads.  It's all psycosemantic. As long as you like the look, thats good, whether or not it confirms to "reality"

I bought an old Panasonic SDX900, it's the dvx100's big brother.  I thought maybe SD had something interesting about it - lacking resolution and dynamic range.
I tested it quickly against my Sony F65 going to 8mm or 16mm, and it seems to have its own weird unique feel that's kind of interesting.
Anyway let me know what you think - post workflow I can post as well how I kind of "destroyed" the image too.

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on .  Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms
note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !!







 
ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

yes the camera sits on a quick release plate and the lens is cable tied to the lens support to its rock solid for the follow focus , the whole camera lens unit can be quickly taken out the rig if needed with minimal effort .
those are Gini Rigs CANON MK111 cages they are great on the G7 as you have lots of room around the camera for easy access , like the record button ! - doh !

not tied any of them - but I should do as the sigma 30mm f1.4 is very good - I do use it alot of night time exteriors shoots -  alot of the night stuff on Pandora Movie was the Sigma - its is very very good on a Metabones XL speedbooster in EF mount - micro 4/3

the Nikon AIS 28MM f2.8 is one of the best 28mms ever made optically no distortion edge to edge - it is Nikons finest hour! not much comes even close to it - plus long throw for follow focus ,these Nikon AIS lenses (the glass out of them )were used as the base spherical elements in Panavision E series Anamorphics - they are that good!! 
ps - if you are shooting micro 4/3s just stick your 28mm  on a Metabones speedbooster that gives you x0.7 on the back of the lens - saves adding a front wide adaptor which are optically inferior
also consider the killer SIGMA 30MM F1.4 - its APSC only so wont work on a FF camera but is stellar on APSC and Micro 4/3 I use it on a Metabones XL alot
 

I've bought the same after I saw your! Which ND filters do you use with it? 

Thank you Andy!  

That's a great news!
You really deserve it! Congratulations Andy!
I'm sure that with people like you they can be closer to real needs of filmmakers, because you really squeeze their cameras and you know every pro and cons 
 

Hi JazzBox, i have the first version of zhongyii speedbooster E mount - FD canon, and E mount - M42 . What i can say i achieve great resutls with Nex5r  even with pics ( 
not video only. However, blue spot occurs if you point it in the sun, or you don't use a hood. That might be solved with the second generation. I do hope so. They cost however as little as 100 Euros. on the video it is less of the issue.  
. however i do think metaboens would do a better job, the only question is : "is it worth that amount of money ?" why not rather get a full frame ? cheers