Matt Holder

That is a good question - Andrew- have you pulled this one from your store? If you can tweak it without the magenta I would happily purchase it again. I dont know what you did with the highlight roll off but it works a treat. 

Hi Andrew - just thought I would throw in some feedback on success I have had with your GH5 Pro COlour LUT applied to natural colour profile base image. I am getting this beautiful creamy highlight roll off - when you switch it  on and off in FCPX you really see how harsh the highlight roll off is (and I protect my highlights when i shoot)   - Yes the LUT has a bit too much magenta but its easy to pull it out with FCPX new colour tools - especially the HUE / saturation curve which lets you isolate the range of colours you want to pull down. 

The images look really filmic.  I THINK it might be as much of an upgrade as going from the GH5 to the GH5s (which seems to handle roll off better) 

- so basically a cheap gh5s upgrade alternative. if you like.

Coming from the corporate production world - here in Australia - There is a lot more to production crafft than pretty pictures - it is still rare to see producers who can create a tight story that is on brand for clients. Your high maintenance small business operators will go for things like Freelanced at a cheap rate -which is good because it weeds out the "scratchers" from the industry - you know the ones that think their amazing corporate event , product launch video should be shot and edited for $30. 

  Those that take pride in their brands are immediately suspicious of cheap quotes - in fact the cheap operators put them off.  Once they have experienced missed coverage, delayed turn arounds, low production value,dodgy sound and inflexible non client centric service the lesson is reinforced. 

There are plenty of businesses that have a real communication need and are willing to pay for a fast responsive  operator that anticipates their needs and exceed their expectations. 

use the 12-60 alot - i have the 12-35 too.  

The 12-60 is a great event lens where you don't have time to change lenses. The 12-35 is great in the studio or in controlled shooting environments. The voigtlander 25 gives you proper depth of field focus fall off if you need it

The reach is great - with etc in 1080p you can get to 240 ff equiv at the snap of a button. SUPER HANDY (dont use etc at high iso thoug or you will be reaching for neat noise reduction)

None of these lenses should be used for anything other than a snap zoom. Weird things happen mid zoom Reframe and then hit record - if you need a zoom lens then look at something with a servo on it. 

3 hours ago, tweak said:

Memes are pretty funny, but Ibis is actually a huge thing (at least for me)... if there were a work around I'd possibly be shooting with a few different cameras over the GH5. Let me know how to stabilse vintage anamorphics/lenses in a waterhousing... we're talking big money. 

a.....

monopod- shh! its a secret.

Luke - the sound was boss in the film -   and the daylight hilight roll off was exceptional in the outdoor sunny scenes. 

An intelligent story too - Great work.

The highlight roll off is the one thing that i can't get my Gh5 to do well without exposing to the left.

I am very / incredibly  happy with my GH5 but can see myself having a Gh5s as well. Gh5s with my voigtlander 25 / f.095 is going to be a beast.

Its all about the lenses folks!  

my guess is that Panasonic fixed up the not so difficult to fix highlight roll off - the simplest thing to do that creates the biggest imporvement in image quality

And I am a fan of the GH5s image quality. Just sick of jumping through hoops to get a soft roll off.

This sounds like a job for the grumpy bloke over at personal-view.com

4 hours ago, jcs said:

Start with the Panasonic 12-35 2.8: great all-around lens. Also the Voigtlander 25mm .95: fantastic character and bokeh.

This is solid advice - i use this combo - 12-35 (actually i just got the 12-60   to replace it) for events where you need focal range coverage (ETC is your friend) and the ability to go handehld to chase random events (where the focus rendering is the last of your concerns)  and then go to the 25 f.05 for the full frame / APSC look (its my go to lens for interviews and funky product close ups) - add in the 35-100 f2.8 - which delivers a near APSC  look due to its longer focal length and wide ish apertures (i shoot on it wide open nearly all the time)  and you are set. 

Without a doubt you definitely want some voigtlander glass

8 hours ago, dantheman said:

From what I have heared you need the canon mount speedbooster version if you don't want any issues, it appears that version does not require you to dial in the focal length each time you zoom. Autofocussing by halfpressing the shutter works but is reported to be slower then with native lenses. I also have the 12-35mm f2.8 which is one of those must have lenses if you are on m4/3, I also have the olympus 12-40 f2.8 which I find to be a better lens, it has a clutch focus ring which you can pull back to switch to manual focus and eventhough it still is fly by wire it feels more like a mechanical lens with very good gradual focus changes, something the 12-35mm can't do, it also has hard stops making repeatable focus pull possible. The IBIS from the camera alone is good enough to keep your shots stable since the 12-40 has no IS. When things move fast and if you work solo these zoom lenses can make a big difference compared to fully manual primes if you want to nail your focus.

 

Very true regarding focus pulls - however the new focus transition feature does allow a smooth focus pulls on native panny lenses - however you do need to spend a bit of time setting them up in menus. 

2 hours ago, Thpriest said:

Andrew, what is it you dislike about the GH5? I mean do you prefer other cameras for general video shooting, walk about photo camera...?

its pretty hard for me to dislike my Gh5- i mostly use the old 12-35, 35-100 and voigtlander 25. i shoot wide open most of the time with the 12-35 and 35-100. Results are great.

High contrast shot- click into vlog, slo mo- one click and your there. need more reach- click on the etc mode. 

IS is pretty good on native lenses and ok on non native- handheld work is pretty damn good.

i shoot a lot of corporates, CEO s , council mayors, finished building projects, health department comms, a few weddings, sports events. But also shoot for love- pick up and play on GH5 is so easy.

Downsides- its small so i have to rig it with a mattebox and top handle/ cage for high end corporates to keep the suits happy.

battery life is a lot shorter than gh4.

all up its an epic offering

I would say more like 1.5 to 2 stops - anyone done any tests to answer more accurately?

4 hours ago, Orangenz said:

I'm getting a refusal to take a photo on this scene unless I turn af off. 

?

regarding dynamic range- when a challenging backlit shot presents itself i go to idynamic high. seems to see into the shadows by a few extra stops.

happens a lot with real estate where i am trying to hold the sky and the building.

anyone have any reason not to do this?

anyone know if the Varavon GH4 cage will fit the GH5?

35 minutes ago, Emanuel said:

Matching dramaturgy, Thomas Vinterberg used the clever technique to downgrade the video acquisition down to the point everything else can shine when compared to. Exactly the same effect when shallow DOF seemed high def when wide shots on SD were lacking enough definition to properly resolve anything in the landscape.

This trick works brilliantly with the 120fps on the gh4 - shoot shallow DOF (12-35 at f2.8 or 25 Voigtlander near wide open) and it looks great- and the codec doesn't have to work too hard to create sharps across the whole frame. 

Insane Image stabilisation, Slow motion, weather sealed and 24mm fov with a $300 camcorder - good luck with that!

While you guys debate about skin tones and color here is something very impressive - IBIS is working a treat here

check the shot at 32s. 

2 hours ago, Orangenz said:

Tips: Have at least 3 batteries with you. Will need more for all day shoots. The GH5 does eat them up twice as fast as the GH4. The entire body warms up a bit after a while - great heat dispersion. When using 6kPhoto there is a warning if you choose the "shoot forever" mode that "Note: automatically change to 6K burst mode if camera exceeds temperature rating." Sounds like a challenge? Who's going to overheat their GH5 first?

My GH 4 spoiled me with battery run time- looks like the battery grip is a must have. On the upside- The extra mass should polish handheld work even more.

Can anyone give me a tip as to why are we waiting up to a month in Australia  for delivery when the camera has launched in the rest of the world ? (I'm a tad over excited to receive my preorder)

i found the gh4 viewfinder to be horrible- having to squish right up to the camera to use it- i mounted a magnetic magnifier to the screen which worked well to give a sense of focus - it is actually a pretty decent solution. 

So is the gh5 a lot more accurate for pulling focus and exposure?

Good hand held is good handheld - and i like yours! And it matches the content and feel really nicely

 The comment was aimed at others...

I actually use a monopod when i want that weighty handheld being there feel, or for POV shots. With my GH5 inbound and its IBIS i get to leave my monopod in the car! 

a nicely framed locked off shot works for me - but i dont have ADD. Handheld often but not always reveals a lack of training / discipline and subconsciously breaks the fourth wall as it reveals to your mind at a camera was involved. Weighted / heavy handheld hat matches narrative / stress in a scene is ok

Having said all that i like Casey Neistat's jump cut handheld aesthetic - and for sure that is influencing a lot of "do it because you cant" crew

 but he combines it with a get to the point editing style that i really like - but would only apply to suitable content.

That softness can be really nice - skin , especially on older people in interviews looks great at .095 - if they move during an interview eyes come in and out of focus though!

THE VOIGTANDER 25/.095 IS THE WOW LENS - its great for low light, has a super close focal distance which when teamed up with open aperture settings lets you get some really magic shots

- but you will need a wider and longer option also for complete angle coverage.