Mckinise

4 hours ago, sandro said:

Since the NX1 came out I used proxies, then Adobe added H.265 support but where you actually able to work with 4K H.265 files? Me never, so proxies are still needed. So what is so horrible in the meantime for GH5 to use proxies? They will add support for sure. 

Is resolve actually good on Windows?

Yes.  I have been using it for the past year.   It struggles with h.264 in version 12.5, but the 14 beta is chugging along just fine.  Looking forward to great things once the official version of 14 rolls out.

10 hours ago, Axel said:

For the record: GH5 10-bit footage seems to be accepted by Resolve Studio 14 (now $299, no dongle). Can s.o. confirm?

Yes.  GH5 10-Bit Footage is working in Cinema 4k, UHD, and 1080p.

 Davinci Resolve 14 Announcement.  No clue what is in it yet.  I'm watching it live.

I moved over to Davinci Resolve Studio.  Version 12.5 on PC has a few issues (GH5 10-bit 4k) and is a bit less complete as an NLE, but the engineers behind it have been pretty good at getting bug fixes and other verified issues solved by the next update. 

Just now, Andrew Reid said:

Yes a lot for them to do.

If anyone has the technology though, it's them.

Agreed. I hope they do implement each and every item we mentioned.  That camera would be the Holy Grail for many of us.  Well, at least until the next Holy Grail.  Right now, I am looking forward to using the GH5 on my next feature, and honestly, I will be content for quite some time.

Keeping up with the Cinematic Joneses is both expensive and time consuming.  I get more accomplished when I am not researching the next big thing.

"

Quote

The only chink in the GH5’s armour is something Panasonic can’t control. This is what Sony has up their sleeve in future, a camera which could spring up at any time from NAB 2017 onwards. If they ever improve the ergonomics and rolling shutter of the leading A7 camera for video, in addition to adding a 10bit 4:2:2 codec, anamorphic mode and higher bitrates, the full frame look with higher dynamic range will almost always be preferred by the majority to a 2x crop sensor.

That is a lot for Sony to add.  They still haven't added Cinema 4k or an actual 24fps option.  Canon, Panasonic, and Olympus all have those two features in their flagship models.  They also need to find a definitive way of keeping their cameras from overheating during normal use.

In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the image is used.

In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the image is used.

The Blur or loss of detail increases with each ISO. ISO 200 with NR set at 6 has more detail than ISO 400 with NR set to 1.

On 2/13/2017 at 2:32 AM, Shirozina said:

Log should not be exposed to the right - it needs exposing to place the tones in the scene in the correct place on the log curve. ETTR is for RAW. 

Doesn't it really depend on the scene and what we are trying to accomplish within the frame?  Are we truly going to look at a location and have the same thoughts on how it should be covered?  Are there not times when you think, "I really want to protect these highlights" or "I need as much shadow information as possible"?

Internal V-Log L recording on the GH4 was a noisy mess.  Even when exposed to the right, the footage was noticeably flawed.  How is everyone feeling about the internal V-log recording on the GH5 in both 10-bit 4:2:2 Bit and 8-bit 4:2:0?  

Is it worth the extra money for internal recording only? 

Would you EVER use this version of V-log with any of the 8-bit 4:2:0 modes; let alone UHD 60fps?

No matter how prepared you are for the project, there will always be a few instances where things just go awry.  The 6300 has many pros, but reliability in the clutch is NOT one of them.  The Panasonic G7 will give you that reliability you need when everything else is falling apart.

The ball is in Sony's court?  What?  I don't understand the Sony reverence.  Panasonic, Olympus, Samsung, and even Canon have introduced cameras with Cinema 4k and actual 24fps.  Sony hasn't.  Moreover, Sony can't even create a camera without overheating issues. 

Sony needs to play catch up in so many ways they shouldn't even be mentioned as a viable option for anyone but masochists. 

2 hours ago, Neumann Films said:

If you could see one test with the GH5, what would it be? Standalone test, as in, not comparing it to another camera (unfortunately).

A different type of lighting test.  Dark Colors in properly exposed settings.  It would be interesting to see how dark clothing, shadows, and other types of material are handled in both low and high ISO situations. 

2 minutes ago, Andrew Reid said:

I am impressed with how little rolling shutter it seems to have in 4K.

A much better option than a Sony A6500 for handheld shooting, I think.

I agree.  The bit rate is a little concerning.  All of the footage I have downloaded has had very low bit rates.  The noise seems to be much better than on the GH4, so that is a plus.

4 hours ago, John Brawley said:

You sure can.

I have aperture and shutter speed mapped to the two main dials.  You can easily change them in shot if you need to. It was my biggest request to the development team after the EM5II.

and yeah, you guys changing shutter speed to set exposure....really ???  You're prepared to draw attention to your shot by CHANGING the motion cadence ?  It's poor practice, pure and simple.  It's a cheat.

If you have that big an exposure change then auto ISO can work well if you don't have a focus puller to change iris for you remotely.

If you use iris or shutter speed to change exposure in shot, you'll see a stepping in exposure as you change.  You'll find ISO changes can be more seamless.

And 8 bit out on my HDMI.  (though I'm still on an early build but I'm 99% sure it's going to be 8 Bit in the final release)

JB

 

John,

Are you getting the full 237mbps for the Cinema 4k?  The online samples I have seen have been much less than that.  Also, is there an option for shutter angle?

On 11/22/2016 at 5:46 AM, liork said:

You can download here some 4K DCI video samples from the camera: https://drive.google.com/drive/u/0/folders/0B6OHIUZ9PCvNdjBsaTNYRHItclE

I know it is variable, but what happened to 237mbps?   The bit rate on these clips ranges from around 47mbps to just over 125mbps. 

26 minutes ago, Mattias Burling said:

Preorders are up but this is a wait and see kinda camera imo.

Pre-orders for the GH5?  I see links for the other 3 cameras, but not it.

2 minutes ago, Hanriverprod said:

If you're finishing at a post house in the US they will want 23.976. Most countries with 60hz will do post in 23.976.

Are you talking theatrical release?  My understanding has always been to aim for 24 fps for theatrical.  I googled DCP post production houses and found the following.  Many of other Post Production facilities make similar statements.   

Quote

Q: What frame rates are acceptable for DCPs?

 

 A: If you want to maximize compatibility, shoot and at edit at 24p and make a 24fps (frames per second) DCP.  If you want to qualify to win an Academy Award, you MUST have a 24fps DCP.  If you are planning on selling your film to foreign buyers, many will demand a 24fps DCP because it’s the established world-wide standard.  If you are not worried about those issues, you can make a DCP that runs at 25, 30, or 48 frames/second.  For 24fps DCPs you can edit and finish at 23.98 (technically 23.976) and the mastering facility will conform your film to true 24.00 fps.  DCPs only play in “whole” frame rates.  Video that runs at 29.97fps for example will be converted to 30.00fps for the theater.

http://hbfilmworks.com/dcp-info.html

We are shooting 24 fps in DCI 4k and creating a 1:85:1 DCP.  While modern projectors can use other framerates, we are going to plus play it safe and go with 24. 

6 hours ago, sanveer said:

Hahahahahahahaha. 

See, even the GH4 seriously outsold Panasonic's expected numbers, and thus production had to be seriously ramped up.

If Canon makes $100 on the C100 in net profits, then probably Panasonic makes $500 on GH4 (these numbers were obviously Very different, initially). But the GH4 probably sold like 50-100 times as much as he C100. So, in the end the pricing isn't governed by anything except net profits.

That is why field monitors cost so much more than Smartphones, despite the kind of features and technology found on each device.

At $2500 the GH5 can make a killing for a 4k 4-2-2 device, if it can attract a certain minimum numbers of people, who will primarily use it for stills. The DSLR/DSLM filmmaking community is still a very small proportion of the DSLR/DSLM buyers, and therefore its photography features would be a huge governing factor for its sales figures. 

$2,500?  That sounds like a Canon or Sony price.  I don't remember Panasonic being in the "extreme markup just because we can" business.  If they launch at that price the camera will not reach GH4 numbers. 

This defies conventional thinking about the GH4 crop but I have been estimating it to be closer to 2.5 for DCI Cinema 4k and 2.6 for UHD based upon the calculations from this article:

http://gh4crew.co.uk/?p=460

FHD 1920×1080 (16:9 Full Sensor Width) crop factor = 2.18

4K 3840×2160 (16:9 Cropped Sensor Width) crop factor = 2.18 x 1.2 = ~2.6 (test calculated: 2.616)

C4K 4096×2160 (17.07:9 Cropped Sensor Width) crop factor = 2.18 x 1.14 = ~2.5 (test calculated: 2.485)

9 minutes ago, Jonesy Jones said:

Sure, but how is it measured, or what technical aspect creates better motion cadence? For example, I can immediately tell the difference between 24P and 30P, and we can identify a technical difference between the two. And I can tell the difference between rolling shutter and global shutter, and we can identify a technical difference between the two. But with motion cadence, I couldn't say that I can always spot good or bad cadence, and even if I could, I couldn't tell you from a technical standpoint why one is better than the other. 

Still, I love the motion from the BMPC, and I attribute that to global shutter, though it could also be influenced by magical cadence sprites for all I know. 

I understand completely.  I think it is more subjective than anything else.  What bothers me probably wouldn't bother the average person.  That said, I am using a 60hz UHD monitor for most of my editing.  It tends to be very unforgiving with 24 fps.

2 hours ago, Jonesy Jones said:

The URSA and URSA mini 4K both have the 4000x2160 sensor, the Mini is the same price as the BMPC. The Mini gives you 60P, and the Major 80P. And to my knowledge, the Major has the added benefit of very little noise. I know a lot of people dog on the Major, but you'll find that people who have used it find it very nice to work with, all those screens and particularly the large one. I got to play with one at NAB and I loved it. 

Other than brief hands on at NAB, I have never used an URSA, but I did have the BMPC for a while and I can say that there was definitely something special about the motion.

I still don't really know what motion cadence is, but I can say that the global shutter on the BMPC produced the most cinematic motion that I have ever worked with. 

In this context it would be the flow of the movement or motion.  The better the cadence the more natural looking or cinematic the motion is. 

2 hours ago, Xavier Plágaro Mussard said:

Less compressed than RAW??

No, I am talking about the GH4 files. 

2 hours ago, tugela said:

Does this help?

And Hippity Hoppity HECK NO!  LOL!

7 hours ago, TheRenaissanceMan said:

Then the Blackmagic Production Camera or Ursa (Mini) 4K would work perfectly, provided you can light for ISO 400. Some of the best motion cadence on the market, and meets your resolution needs.

Awesome.  I am looking into getting one for testing.

I was also reading online that an external recorder with a less compressed recording format may help with motion.  Do any of you have experience with this?