tellure

No 10bit and oh my god, we're still at a 100Mbps bitrate for 24p/30p 4K?!?!  Goddamn Sony.. throw us a bone for video here.

No 10bit and oh my god, we're still at a 100Mbps bitrate for 24p/30p 4K?!?!  Goddamn Sony.. throw us a bone for video here.

No 10bit and oh my god, we're still at a 100Mbps bitrate for 24p/30p 4K?!?!  Goddamn Sony.. throw us a bone for video here.

No 10bit and oh my god, we're still at a 100Mbps bitrate for 24p/30p 4K?!?!  Goddamn Sony.. throw us a bone for video here.

My opinion is that new A7siii camera MUST have 10bit and HDR (and H265 in some form). These are the new video standards, GH5 has them, everyone should follow.
Processing power is not a problem, there is plenty in this world, fast writing speed and memory too. The key is thermal management. Even gaming laptop's only problem is how to keep -relatively- cool, not computing power.
GH5 went to dSLR lengths (size, weight) to fight those limitations, and on a smaller sensor. I am just waiting to see Sony's (and the others) move in this new age of videography.
4K will be enough for traditional filmaking in the next, many, years, HDR standards are here, and in my opinion they are here to stay.
I am not sure Sony were ready to fight the "all-in" Panasonic attitude, whatever they had ready, they are back in the lab.
A9 is a good indication of what is coming, it certainly is a notch or two better than A7 series, by design and a couple of other things.

Hello. 
I'll maker this short but informative. 
Firstly, I sold my FS5 Raw setup - took a big risk, got a GH5 to replace it. The reason was mostly down to portability. 
Recently shot an entire paid music video with the GH5 and some stuff on the A6500. I'd never used the GH5 before - it practically just came out the box. Shot in Vlog L. Had an awesome experience. 
 
Main Pros
IBIS. Much better than the A6500. Invaluable.  Speedbooster XL gives a very different look to typical M43. Sigma ART's + XL = win!  1080p 10bit modes are fantastic. Made the A6500 in 1080p look fuzzy and blurry.  Body design is one of the best I've experienced. Battery grip definitely gives a steadier feel to handling and definitely gives a higher impression to the client. Big impact. VlogL is fairly easy to get into (coming from Slog). Colours are accurate and lovely when graded.  Custom white balance is very quick and easy.  Menu system is pretty nice, especially the My Menu bit. Way better than the A6500.  Small and powerful enough to put straight onto the Zhiyun Crane and Edelkrone Motion Kit.  Battery life is decent (but nowhere near as good as the GH3 - which was ridiculous).  EVF nice and large. Again much better than the A6500.  Full Size HDMI. Yep. Main Cons (I'm being picky here)
CineD skintones - finding it hard to get it where I want. Looks very odd off the bat. I need to work more on this as V-log isn't always the best profile to use.  Photo Style options are very lean (compared to Sony). Not a massive deal, but would be nice to have more options.  Autofocus is essential for my gimbal stuff. A6500 is excellent here. GH5 before V2 firmware is not. Hopefully this is reliable now.  Dynamic range is a bit less and steeper in the rolloff than what I'm used to. Again, need to mess round with things to get it smoother in the grade.  I think the record button is in the wrong place. I just use the shutter button anyway.   
Overall
An absolutely outstanding piece of kit. 
I've only used the camera for one shoot, but using this camera has already made a big impression and is already serving my creative choices to a greater level than the FS5 did.
I've not updated the firmware yet, but what Panasonic have give us is an incredibly valuable tool with almost very single feature you could ever ask for, or actually need.
With a great emphasis on online video distribution, and video being consumed on smart devices - if that's how you're playing it, I would say you would never need another camera for a very long time. 
If the Autofocus is reliable in V2, it would relegate my A6500 to just a carry around camera. 
Got to say, I'm incredibly pleased and looking forward to shooting more. 
 
(see below for quick VlogL grade). 
 
 
 

Nice chickentones  

If I may embellish.  I suspect many people are confused about 10-bit video.  When we look at a colors on our 8-bit screen we're looking at 256 shades of each primary color, R,G,B.  The dynamic range is generally around 6 EV between darkest and brightest.  In 10-bit compressed video, like that of the GH5, We have 1,024 shades of colors, but STILL IN THAT 6 EV dyamic range.  What this means is that if you shoot a wide DR shot of the sky and some people under and umbrella, you can't bring back more detail from the clouds in 10-bit then you could in 8-bit.  The only real benefit of 10-bit compressed video, that I could see, is banding  where there are fine gradations of color.  And that benefit, is almost impossible to see in a moving image.
In 10-bit DNGs, that Andrew is mentioning above, you're getting 1,024 shades OUTSIDE that 6 EV gamut, so you can recovered highlights or shadows.  If all ML did was get 10-bit RAW to work on the 5DIII, that alone, is worth the guide right there!!!   
As soon as they port this stuff to the 7D I'll buy that guide immediately!

Banding is easily seen in 8 bit moving images but not necessarily due to them being 8 bit but because of the high levels of compression on internal codecs. 8bit files recorded via HDMI to an external recorder in a good codec like ProRes can be very smooth and banding free even when pushed around in grading. 10 bit allows even more manipulation and opens up the use of LOG without fear of banding.Some cameras on the other hand can't record a blue sky without showing banding even straight out of the camera in a non log profile. 10 Bit RAW is probably just about OK for a Canon 5D3 which tops out at a theoretical 11ish stops of DR but in practice due to it not being able to ETTR perfectly on every shot means 10 stops or less as a practical limit. From this you can generate good 10 or 8 bit files with the benefit of a RAW conversion done outside the camera where quality rather than speed can be prioritised. We know for instance that the RAW converters in NLE's like Resolve are not as good as those for stills in say Adobe Camera RAW or Capture One due to the CPU overheads required  so imagine what a tiny camera CPU does with RAW sensor data in real time in order to spit out an HD 8bit 4.2.0 file at 25mbs........

I wish they would actually make something Nice...
(Like an A69 that's a mirrorless APS-C camera with the rough formfactor and functionality of the GH5 and a plethora of exciting compact lenses native to that sensor size)

I'm watching the YouTube app on a PlayStation 4 Pro
https://www.engadget.com/2016/09/07/ps4-netflix-youtube-hdr/

I just spent the last two weeks in Costa Rica with the family and put together a video of the trip.  Almost all of the footage was filmed in 4k/Cinelike D with my GX85 and 14-150 II.  There are a few GoPro shots (scuba, zipline) and a few shots during a night hike with the 45 1.8, also my wife had a zs100 I used for some monkey shots (also using Cinelike D).  Due to my old under spec'd MacBook air, I could only export 10mbps. There are blown highlights and crushed blacks but I'm very impressed in what this camera can do.   Coming from a 5DII I can see a huge difference in quality.  There was a lot of rain so I had a ziplock bag and elastic band to create some weather resistance.
https://vimeo.com/231261700

The new Feiyutech a2000 was sitting at my door waiting to great me on Friday. I had purchased this gimbal as a replacement of the Zhiyun Crane V2. I had found the Zhiyun to be less than ideal for flying the GH5 with the anamorphic adapter installed. The is largely because when counterbalanced the movement of the camera is more limited. Comparing the two I would say the Feiyutech is better made, and better thought out. It can easily accommodate the larger anamorphic setup and at no point feels overworked. The remote is built into the handlebars, which can be folded for transport. setup is a breeze and minor changes to the balance of the camera do not require rebalancing. It is easy and fast to use. And these are two things I like a lot. Below is some quick footage of the GH5 with SLR Magic 40 Compact anamorphic adapter on the a2000. The taking lens is the 35-100mm f2.8 ver 2, which is quickly becoming my goto lens when shooting anamorphic.
Comment welcomed. Enjoy!
 

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.

We filmed Sammy the dog touring around Asheville, NC. Filming a dog is a crazy man's work. So difficult, but working with the cutest actor makes up for it haha... Let me know if you have any comments or questions!
 
 

I was able to visit the Nashville TN area and took a few images.
There was on and off light pockets of cloud veiling, but I took these as it was getting dark, then darker and when it was emerging.

 

This weekend I had the chance to get out a little with the GH5. So I geared up and headed out to take some footage with the new SLR Magic 40 Compact and the Panasonic 35-100 f2.8 ii. All the shots in this video are using the aforementioned combination. I was not expecting much as the anamorphic lens are not supposed to like low-light. But in the end I feel the combination might have some use at night. I am becoming quite impressed with the GH5. It is a very inspiring and liberating camera to shoot with. In any case, check out the video below, and feel free to add your two cent worth.
 

Logarist now supports Premiere Pro and Premiere Elements with a free color correction plugin.  Logarist applies the principles of raw image processing to video color spaces, to make color correction easier and more accurate.
Supported Video Applications:
Premiere Pro Premiere Elements DaVinci Resolve Vegas Pro Final Cut Pro X Supported Camera Color Spaces:
BT.709 (standard HD video) Arri Alexa Log C Canon EOS Neutral Canon Log 1–3 Fujifilm F-Log GoPro Protune JVC J-Log1 Panasonic GH2 Standard Panasonic GH4 Cinelike D Panasonic GH4 V-Log L Panasonic GH5 Cinelike D Panasonic VariCam V-Log Sony Cine1–2 Sony HyperGamma 2, 4, 7, and 8 Sony S-Log1–3
logarist.com

When the BMPCC was new and I posted test footage I often got asked about the look I got.
They used the same lens, same film convert but didn't get as "nice", "sharp" or "filmic" results. The reason was that I always used the levels tools to slightly crush the shadows and blow some highlights.
People, and Im talking about real non nerd people, still like contrast.

I attended an event in downtown LA on Saturday, June 17 called DisclosureFest 2017. It was about meditation, healthy products etc. While it was called DisclosureFest, I didn't see any booths or promos for UFOs/aliens etc. During Robot Nature's performance (pretty cool new band), people began pointing at the sky and everyone with a camera started pointing up and taking pictures. I looked up and saw a tiny spec of white, with bright flashes. I said out loud that looks like a drone, and everyone said, no, that's a real UFO! I put the 70-200 F2.8L II on the 1DX II and looked at the object through the optical viewfinder at 200mm. It looked very strange, kind of like a human-like form, all white floating in the sky. There where kites and some balloons floated by- windy enough to move balloons. This object didn't move- a balloon would float up and with the wind. I took a few stills then switched to 4K video. It was super sunny and I couldn't see anything on the LCD. So I just pointed the best I could...
I learned a few things for this kind of shooting:
A viewfinder is absolutely necessary! Go to manual focus and set for infinity with a high f-stop DPAF couldn't hold focus on a small object, however I did get a few seconds of decent footage. The RAW stills showed so much more detail vs. 4K video. That's when I realized I should have looked through the optical viewfinder and shot a few rapid bursts of RAW stills at 14fps!
I found a decent VF for $110: https://www.amazon.com/gp/product/B00D3551NU/ (on the topic of Amazon- need to start supporting other vendors. Low prices are great but killing all competition is not):

I shot this pic using a little product box I picked up at Samy's a while ago. It works pretty well.
The only issue with the VF is base plate needs to be adjusted/shimmed to get a better fit to the LCD and VF. Even as is, it works great because when you put up to your eye it pushes forward and blocks all light (no leaks).
I'm pretty sure at least one of the objects was man-made, some of the others it's hard to tell. I'm editing all the shots into a short video and will post when done.

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film.
I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good.
Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).
 

Cool stuff, thanks for sharing.  Those are some ..interesting vocals indeed.
Minor color / grading question.. what's up with her face at 0:48?  Bad makeup or is the banding kicking in after grading/LUTs?  Think I saw it again later on also

Don't hear any motor noise with my H2.

Just watched Max's video linked above, he says "no screen dimming whatsoever".  Thank god.  Now if they could just add picture profiles via firmware..

Does anyone know if the A9 still darkens the screen when recording 4K video?