Michael Coffee

Hmm - some seem to have it, some don't.. the standard for me is film, then Alexa's..  the impression I get from my Panasonics is that it almost seems to have artifacts similar to early video compression codecs.. jerky, stuttery, frame tearing .. maybe the higher bit rate codec is why the GH4 seems to do a little better than my gx7.. if the gx85 doesn't have more pleasing motion (this is all at 24p) I will be looking into external recorders, and also filming at 30p and twixtor/optical flow to 24p .. I'm already shooting at less than 180 shutter (1/40 at 24p) - it helps alot when usable for me. Global shutter camera's seem to help, but things like the BM cams, Canon's and even the Sony's just seem to have more filmic motion for me out of the box, however some cam's with really low rolling shutter like the NX1 in 1080p seem to have similar cadence issues to the Panasonics in the footage I've seen.. again the Panasonic's and Samsung's motion seems to be more together in 30p mode - I have been putting off experimenting 30p- 24p in post because I hate having to do another step! 

There is Tessive TIME SHAPER app but seems it needs more than 60fps source to mimic film looking motion blur http://tessive.com/time-shaper-info/

If there is any issue its not big enough for me to notice.
I have some samples and side by side in this,
 
BTW, if anyone wants to buy the Nikon to Samsung NX from the video above, I can sell you mine.

Hey Fuzzy - have you tried something like this? http://exercises4eyes.com/ - really helped my vision a few years ago - I don't need glasses anymore!

C100 II. DPAF, 60p, and significantly improved low light performance make it pretty boss for doc work.

Hands down.

true thanks
I've just come back from a day out with the kids - party, dry ski slope tubing
cannot believe how much better video is with the GX80 vs my G6 - obviously 4k vs 1080p, but that aside, the overall quality seems better, and what a difference the extra stabilisation makes, makes the videos seem far easier on the eyes to watch - no constant jiggling
it even coped with me taking a video from one tube to my daughters, whilst zooming down the ski slope
that video looks smoother than ones I've taken with the G6 just standing !
very impressed - great little camera

Heya John, even my el cheapo focal reducer just seems to give some sort of s35 thing to my little gx7 - I use mostly vintage manual lenses, really should have got it ages ago! Highly recommended, and I will be moving up to a lens turbo 2 soon, eventually an active speedbooster - plus I hate maths, so now I never have to translate for s35 sensor equivalent! 

Rent an Alexa:)

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.  

Just remember, if you are on a speedbooster, adjust accordingly - so if the focal reduction is 0.71 it would be ie: 50mm x 0.71 = (approx) 35mm

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.

Focal length is focal length.  So, your answer is 20mm and 50mm. 

I'm picking up my GX80 tomorrow! So excited. 

If you're fine without 4k and RAW the c100 is a great camera. Shot my first feature film on the mark ii and l freaking loved it. I think it's one of the only cameras that can cross over between the 2 different kind of shooting you do in that range. Still getting a professional camera that can output good color externally. I'm in the same boat man thats what I'v been leaning toward myself recently. 

yeah, since it seems Panny may have fixed the colours a bit (gx85), have the ibis now, if they improved the autofocus, codec and rolling shutter the GH5 would be the best hybrid for video yet for sure!
 

Thanks Michael! I used the GH4 Natural Profile, KD P400 Ptra, film color 90% and film grain 30%. 

that would be cool. The camera says, hmm, don't like that shot, how about we frame it up this way - then downloads 50 reference shots to the monitor:)
"based on your preferences, we suggest this shot" - download a Scorcese director profile etc
 
 

Haven't shot colour charts yet.. might start.. probably a good idea to start doing this - always nice to have great colour straight out of the cam though - my idea of the perfect grade is the one that you barely have to touch, ha!
 

Hi, I´m Javier and I´m the autor of this video, sorry my English is so bad!!. I am very grateful for the nice comments. I love this forum, I have learnt a lot about filmmaking for years as a follower of EOSHD. Talking about the video, in camera setting was Natural Profile all parameters -3 noises reduction -2, i-dynamic and i-resolution OFF. A few shots in 4k and the rest of them 1080 50p for slow motion. Everything was shot hand-held. It was edited in Final Cut Pro X, I applied post-stabilization in a couple of shots, I don't remember which of them. The primary color correction of each shot was made in this program too with color correction tool and finally I applied film convert plugin in a adjustment layer to all the video.
Greetings to all you, and thanks again, nice to be here!

I have been using SLOG2 with the black gamma and saturation increased. Basically becomes a Standard profile but with more much headroom in the highlights.

yeah, to the camera it is seeing 35mm lens with a 35mm field of view, and that is the correct focal length to enter for the ibis/camera calibration..

Honestly. That's probably the nicest footage I have seen from the camera.

Thanks Justin! So the camera suggested the correct focal length. 50mm = 35mm.

To get the full frame equivalent, you have to multiply the focal distance of the lens (50mm in your case) and multiply it by the focal reducer coefficient (0.71x in your case I believe) to get the final Full frame equivalent (which makes ~35mm in your case).