John Matthews

Hey, if you like, you like it- that should trump everything else. I might try it too, just to see what it gives, but I think the most important is to simply be consistent within a project.

Thanks for the credit, but I haven't been using "cloudy" WB. I use Sunny instead. I've also been doing more tests with the A3G3.

Where can I go to teach myself about this? Finished downloading the file and looking at in FCPX, it looks highly detailed, but whenever there's movement of any kind, blocks start appearing around the detail- looks like crud. Let's hope this isn't representative of Fuji "fixing" issues with aliasing. Let's hope this isn't what the final product will be!

The reason I asked this was due to a Panasonic rep saying users never really need to turn off IBIS; so, I guess it's true!

I know that it's usually better with 4k, but I saw moiré a few times on the a6300 in normal review footage. I'm thinking this Fuji would be more prone to moiré, given a seemingly sharper image... could be wrong though. It also sounds like Fuji made this a top priority; so, we'll see...

Didn't the previous Fuji have full sensor readout when it was 1080p? I remember looking at it and thinking it was really a shame that it had a really nice image, yet corrupted due to moiré and aliasing (really bad too)... I hope they fixed that issue. I'm betting just the fact it's 4k will make it better than that previous model. But man, that image seemed so sharp! I hope there's a way to "calm" it down a little.

Based on current prices, this looks like the situation for 4k shooters in this form-factor... £509 - GX80 - nice 4k, IBIS, no overheating, BUT bad rolling shutter, no mic input, crop £930 - A6300 - nice 4k, AF in video, mic input BUT overheats (lottery), horrible rolling shutter £1399 - X-T2 - nice 4k, mic input, no overheating(?), who knows? BUT Rolling shutter (how bad?), aliasing (know for this?), bad moiré (known for this?), who knows?

Yes... kinda... Set it to MF and you'll notice a AF button on the screen that is touch sensitive- it will pull your focus. What I like about this implementation is that you'll probably not notice any noise or shake in the footage.

Was it just me or did the video look too sharp? Maybe you can adjust that... Overall, it looks quite promising. I also wonder if they had to pay Panasonic any patent money... why couldn't Sony make a camera that didn't overheat? I think something's up.

I've heard some reports recently concerning IBIS. Normally, when you use a tripod, you turn IBIS off. But, has anyone tried to use IBIS on a tripod? I've been told it doesn't matter with the GX80 and it doesn't get "confused." By accident, I did this once and found no ill effects on the image.

@Michael Coffee No disrespect, but I think we just have different tastes in what looks "awesome" or "right." IMO, these are reference snapshots at best, maybe a nice reminder of a day you spent together to remember a person's face... nothing striking in terms of the tech of the 7D & 70-200 and frankly they could have been shot with any camera or phone. In terms of video, ANY camera Canon is offering right now under 1 grand wouldn't be even in the same ball park as the GX80. They're just too light on features and IQ for 2016. Maybe the 5DM4 will be available at a decent price... we'll see, but I have my doubts.

Thanks for the input Michael. I would seriously doubt if a 50d or 5D III would knock the socks off a GX80 in terms of anything, when talking about the final product of a print or "getting the shot" experience. Not saying they would do poorly either. Photography tech is at a point today (even 5 years ago) at which the "problem" is no longer the camera. Medium-sized wall prints can be had with amazing quality and ease- probably rating up with the medium format cameras of yesteryear. Back then, if just one part of the process went sour, your print would suffer. Now, the process has been perfected. It would be crazy to say MFT can't take an exposition quality photo; hell, if a phone can do it, why couldn't MFT?

From a pure photography point of view, the D5500 is better. How much better? We're talking single percentage points better. However, when you compare the feature set of the Panasonic for photography and video (minus microphone input), the Panasonic offers much more, especially for video. I'll also say that 4k trumps flat profile. Get a good external recorder and enjoy great sound. There's my take on it. I looked at the D5500, but came to the conclusion that video isn't Nikon's bread and butter. The GX80 offers cutting-edge 2016 tech and features for a crazy price.

In my opinion, stellar. Some will say EM5II is ever-so-slightly better, but that's 1080p. You get 16MP. That's enough for some very large wall prints. How big do you need? A few years ago, I was using tricks like UniWB to get an accurate reading of a histogram so that I wouldn't blow out highlights- this camera doesn't need that trick. It's very much WYSIWYG from what you see on the screen. However, MFT sensors aren't really know for their DR abilities, but this one does a great job keeping highlights down and telling you the truth about when they go over. Having shot many cameras in RAW for the past 8 years, I've seen better pure performance, but they were more of a lottery when you got it on the computer. Finally, the GX80's JPEG's actually look remarkably similar in DR to the RAW's- and that's a good thing.

This has already been posted on this thread and I wish they'd tested the video AF on a tripod.

Not sure if that's quite right. Do you mean Canon EF mount compatible? I believe the Sigma lenses (18-35, 50-100 F1.8) work, but in quirky ways... either IS working and no AF or vis-versa. Metabones lists the lenses that work on their site- refer to that. None of them will be DUAL IS enabled; and I think the challenge will be making sure that the correct focal length is communicated to IBIS, especially working with zooms. For example, the Sigma 18-35 used at 23.5mm would need to communicate: 23.5(current focal length) x 2.22(GX80 crop in 4k) x .63(speedbooster XL reducer). I'd buy from Amazon so you can send it back and please tell us what you think. The AF on all these speedbooster/lens combos are not the same level of performance as native mount lenses. I doubt that I'll ever go this route. I'd rather have good AF and slightly less DOF- low light isn't a problem for me anymore. The MFT lenses, as far as I know, all use fly-by-wire... though some of them are so good at it that I'd challenge someone to tell the difference.

Really nice shot. Great colors.

I second that. Shooting in monochrome with WB set to sunny in Custom 1 setting, WB set to tungsten in Custom 2 setting. It works well for my needs. I also have peaking set to low and red. I can't always see with shallow depth of field, but of the time I can. I'll say it again- this camera (form-factor, etc.) was made to be used primarily with its LCD, not the EVF. The latter is only a back-up when you can't use the other. This doesn't really happen to me very often... only in bright sunlight when trying to manual focus- that's it. The EM5II is more of what @fuzzynormal is looking for if he wants to use it as a EVF camera... just no 4k... If I were he, I'd get the G7 or wait for better IBIS from some other device.

Thanks for the review @fuzzynormal. You mentioned the EVF and the lack of proper sound- both of which many have conceded as being the drawbacks of the GX80. Cameralabs mentioned the field sequential EVF as more of a design limit of having the flat top (no hump like the EM5II). We've talked about syncing before and, as more of a hobbyist, it's not a big deal for me. What I'm wondering though is when you import your sound files and then your video, doesn't your NLE organise the files so they appear next to each other? In my case with FCPX, I get an audio file right next to the video file. I select them and sync. I suppose with 100s of files this might become cumbersome. Have you tried just keeping the audio going non-stop and just letting the video files attach to it in post? There should be some sort of technical solution. If both devices have the same time stamp, I don't see why this couldn't be done.

This is true. It's taking the light and condensing it onto a smaller sensor than the lens was designed for... a crazy-useful trick that results in more light on the sensor and less DOF. In my case, I'm just saving for a native, wide-angle lens for the moment. Shallow DOF and low light are not my issues- content and budget are.

Onboard will have what sounds like a faucet running in the distance due to the IBIS. When in a windy situation, you'll need to find a way to protect the microphones. Other than those limitations, all is good. Seriously, external solutions are the only way to go. The audio is good enough for syncing, but that's about it. Personally, I don't have any problem working this way and making that little extra effort for good audio pays off.

I concur. Sensor size has nothing to do with focal length. Sensor size will determine only how much of the projected light coming from the lens is recorded.

Concerning colors and the GX80, I'm impressed the most with the reds- they seem to really pop- deeply saturated, yet not overblown. For me, the blue channel is its weak point. Overall, I appreciate the Standard profile the most, but the Natural profile seems to be the most gradable, especially concerning those blues.

Another review. This one by Steve Huff... I like his not-so-scientific views on cameras and handling. He also did a write-up: http://www.stevehuffphoto.com/2016/06/24/shooting-with-the-panasonic-gx85-small-with-a-huge-punch/

Welcome, @Javier López, to posting on EOSHD! It would seem you chose Filmconvert settings similar to mine and @jase. However, we preferred without noise added. My logic is this: why add noise when this sensor does a pretty good job unless it's for a desired look or feel? Strictly personal taste... Great video nonetheless! Also, your English is fine (I'm an English teacher).