Zak Forsman

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips yesterday and today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

I'm lucky to report that i have no problem to play all of the files without a glitch. (Premiere CC 2017)  
Both windows and mac.
On windows computer the graphics card is a gtx1080 and on mac a gtx780ti.
Both computers run the latest version of adobe premiere. 
On the other side DaVinci won't recognise  the 10bit files.

in motion...
 
 

if the BMPCC speedbooster fits, like it does on the GH4 for those brave enough to try it, that'll get you to a 1.10x crop.

in motion...
 
 

in motion...
 
 

in motion...
 
 

Thanks for posting these clips. They're fun to play with.

Thanks for posting these clips. They're fun to play with.

But will I be able to use my Blackmagic Pocket Speedbooster on this one like with the GH4?

I've had the Tokina for years. Very, very easy to match the Sigma 18-35 and 50-100 so i keep them all together as a zoom kit. It's a little warpy for my taste but that can be fixed in Resolve with the barrel distortion adjustment. The BMPCC speedbooster opens up FOV by x0.58.

Of course not since cameras have their own calibration, but if you want to adjust the how bright/dark a scene is in Resolve you have to use gain. 
The point of this post is about changes in hues that occur even with no clipping in Premiere Lumetri color panel when adjusting either the exposure/contrast/curves. 

http://menexmachina.blogspot.com/2018/07/skin-tones-with-premierefcpxresolve.html

I think he's referring to converting from 23.976 and 24, and vice versa. I do this all the time for clients that i make DCPs for and it's seamless. they typically deliver a 23.976 master that needs to be 24 to meet the DCI spec. and you could do the same with your camera originals if you knew you had to meet a specific framerate delivery requirement. I save the old Apple Cinema Tools app for this specifically. No one has made an app since (that I'm aware of) that makes the process as easy.

yes, a 180° shutter angle will maintain it relative to framerate. if you were dealing with shutter speed, on the otherhand, then you'd want to manually adjust it to match your framerate: 24fps and 1/48, 120fps and 1/240, and so on. of course you can divert from this for creative reasons.

Going to be a little more cautious with the GH5 than I was with the GH4. I took possession of two of those on day one and spent a year trying to wrestle that image into something it wasn't capable of -- and VLog was a massive disappointment. Have been much happier with the Blackmagic line -- especially with the more cinematic motion cadence of those cameras. Optimistic about the GH5 but again, taking a wait and see approach.

Cary, I have to thank you for reminding me about this because I did actually forget about it. The easy way to fix the problem actually (in Premiere Pro anyway) is just to use the Fast Color Corrector and change the white OutPut Level frm 255 to 235.
Before:

After:

I can definitely understand what you're talking about - but that's not something I would at all class as "motion cadence", which to me implies a) regularity in frame exposure duration and b) regularity in frame exposure timing. Judder is a big factor here - the playback interpolation of frames during 24p -> 60p telecine pulldown to match most modern monitor refresh rates makes a far bigger difference in the viewer's perception. For instance, when shooting GH4 footage at 30p it will often be described by clients as more "cinematic" when in fact, they are discussing video shown on monitors versus what they see in projected 24p theatres. So, there's a big perception difference in frame rates, pulldown effects, and frame timing (which is provably inaccurate on some cameras at certain frame rates), all of which I would classify into perceived motion cadence issues.
The "quantized in-frame capture" you mention on the other hand... that's odd. I'd noticed it before on some footage (can't remember which camera) and wrote it off to perhaps the lighting in the studio (60hz AC versus 23.97p) doing something a bit funky, but now that you mention it outdoors, I'll have to comb through the footage again. This said, I can't say that would make a significant difference in "motion" perception, although perhaps if it's randomized frame to frame instead of consistent it could lead to a flicker effect. But of course I've seen 35mm film in fast pans or fast cross-frame motion "flicker" too, thanks to our inherent perception of the motion differences versus blur in those large-delta situations, so it's entirely possible.
Then again, I did a lot of my GH4 recording externally direct to ProRes... might make a difference.
Edit: thinking about it: are you sure this isn't including telecine effects of frame interpolation? It sure as hell looks like it, some modern telecine implementations (in FCPX, for instance) frame blend instead of just blandly repeating...

My understanding is that it's a codec issue, but I'm far from an expert. I just know what i see. the GH4 handled it better than most low-cost cameras, but it still often rendered motion with a "doubling" or "tripling" of the fast-motion portions of the image in single frames. It was always easiest to spot on specular highlights on passing cars. Take a look at the car's grill in this image from a clip I shot many moons ago. You see how fast motion in this frame is rendered in three "steps", rather than one smooth motion?



On the whole, this subtly nudges the perception of motion closer to a "video look" (for lack of a better term) when played back at speed. It's something that I don't see on the Alexa (the Mini specifically) or even the BMCC, BMPCC & BMMCC sensors when shooting in RAW. Certainly there are more important considerations than this when choosing a camera -- and many would say this is acceptable -- but given the choice, it's something I try to avoid.

Going to be a little more cautious with the GH5 than I was with the GH4. I took possession of two of those on day one and spent a year trying to wrestle that image into something it wasn't capable of -- and VLog was a massive disappointment. Have been much happier with the Blackmagic line -- especially with the more cinematic motion cadence of those cameras. Optimistic about the GH5 but again, taking a wait and see approach.

IMO the motion difference has a lot to do with the recorded format. The BlackMagics, Alexa etc all shoot to intraframe formats. The GH4 is all interframe (IPB), except for the 200mbps 1080p mode, which is bitrate-starved for intraframe and thus is a little soft. I do use it a lot for high-motion stuff, though. 

never owned a GH2 or 3. Had an AF100 prior to owning the pair of GH4s. Dont think I ever shot 1080p. Pretty much 4K exclusively.
there's a few threads on this site (and others) that cover the topic in-depth if you'd like to learn about it.

Going to be a little more cautious with the GH5 than I was with the GH4. I took possession of two of those on day one and spent a year trying to wrestle that image into something it wasn't capable of -- and VLog was a massive disappointment. Have been much happier with the Blackmagic line -- especially with the more cinematic motion cadence of those cameras. Optimistic about the GH5 but again, taking a wait and see approach.

My production company produced this microbudget feature, shot on the GH4. Only have the :30 teaser available right now. But the feature will be released next year.
 

No, that's not me. But you're not the first to ask... the actor's name is John T. Woods. We just happen to look related.