Davey

EOSHD is perfect for what its suposed to be, a color profile that requires little to no grading/correcting, you either like the look or not but it works perfectly!
Below is a test i did, first two clips are in SLOG2 graded with film convert, other two are EOSHD with no grading
 
 

It seems Film Power is out with a new gimbal stabilizer, one where you don't need to balance anymore (that would be great if it worked, considering the criticism the 4200 got). Balancing the camera on the DS1 drove me nuts. Hope this is the way forward for all gimbals.
 
 

Sort of HDR on Steroids! That video was a waste of 2 minutes of my life. And I am running out of minutes! 

Maybe because the masses who buy this camera will film everything - and I mean everything - at 4K60p for the first six months until the novelty wears off and the views die down. They will not care for bit rates or efficient codecs. Those who buy the GH5 as a production workhorse are in the tiniest of minorities and will likely only use its showcase feature very sparingly.
Just as the YouTube viewing market was swamped with rats scurrying about at 4am in deserted cities when the a7s first came out, it will shortly be swamped with slow motion skateboard gimbal videos from the end of this month onwards. None of them will care for h.265, let alone Anna Morphic or whatever her name is.
Panasonic need to make money and they do that via the masses and not the serious filmmakers, just as every company does that sells prosumer gear.

Maybe because the masses who buy this camera will film everything - and I mean everything - at 4K60p for the first six months until the novelty wears off and the views die down. They will not care for bit rates or efficient codecs. Those who buy the GH5 as a production workhorse are in the tiniest of minorities and will likely only use its showcase feature very sparingly.
Just as the YouTube viewing market was swamped with rats scurrying about at 4am in deserted cities when the a7s first came out, it will shortly be swamped with slow motion skateboard gimbal videos from the end of this month onwards. None of them will care for h.265, let alone Anna Morphic or whatever her name is.
Panasonic need to make money and they do that via the masses and not the serious filmmakers, just as every company does that sells prosumer gear.

Maybe because the masses who buy this camera will film everything - and I mean everything - at 4K60p for the first six months until the novelty wears off and the views die down. They will not care for bit rates or efficient codecs. Those who buy the GH5 as a production workhorse are in the tiniest of minorities and will likely only use its showcase feature very sparingly.
Just as the YouTube viewing market was swamped with rats scurrying about at 4am in deserted cities when the a7s first came out, it will shortly be swamped with slow motion skateboard gimbal videos from the end of this month onwards. None of them will care for h.265, let alone Anna Morphic or whatever her name is.
Panasonic need to make money and they do that via the masses and not the serious filmmakers, just as every company does that sells prosumer gear.

For those of you struggling with the white balance setup, here's a super easy way of doing it. Since you can't adjust the Kelvin on Custom 1, 2, & 3 (for some stupid reason) on most Sony cameras, you have to point the camera at different light source and hope you nail the desired kelvin. Instead, open up a white background in photoshop. Ad a second layer and fill it with orange color. Then you just point the center of the camera on the the computer screen and dial the opacity of the orange layer to achieve the desired kelvin degree. If you want to go higher on the kelvin scale, just switch the orange layer to a blue layer and adjust the opacity accordingly to get the desired white balance
//cheers

I nearly didn't buy the 55mm f1.8 by Sony because it wasn't £900 like the 90mm f2.8 and the 28mm f2 had to be rubbish at only £350. Everybody knows about the Sony lens premium but I went ahead and bought those two lenses with great suspicion that there must be something wrong with them - which there isn't.
I shall do the same with the Sony 85mm f1.8 (£600), worrying that I should have got the Batis at £1000 or the f1.4 GM at £1600.
Half price camera bodies and lenses - or half price anything for that matter - whispers to us there must be something crappy about it.
The BMPCC is £70 cheaper than a GH4, so the end product (image) must be worse.
The saying "You get what you pay for" can deceive us.

I nearly didn't buy the 55mm f1.8 by Sony because it wasn't £900 like the 90mm f2.8 and the 28mm f2 had to be rubbish at only £350. Everybody knows about the Sony lens premium but I went ahead and bought those two lenses with great suspicion that there must be something wrong with them - which there isn't.
I shall do the same with the Sony 85mm f1.8 (£600), worrying that I should have got the Batis at £1000 or the f1.4 GM at £1600.
Half price camera bodies and lenses - or half price anything for that matter - whispers to us there must be something crappy about it.
The BMPCC is £70 cheaper than a GH4, so the end product (image) must be worse.
The saying "You get what you pay for" can deceive us.

Nah, I'm really just a hobbyist too. I spend most of my free time writing screenplays, and then a couple years ago I got the great idea that making my own shorts could be another outlet to sell my scripts... and that's when I was bit by the filmmaking bug... other than a bunch of test shots and a short or two, I have mostly been on the search for the right camera for me.
I am looking for a camera where I can get two good looks out of it... a modern look and a vintage look without too much post needed. So far I have found it with the XC10, the D5500 and of course the BMPCC.
Although I loved the XC10, I didn't love how quickly it depreciated in value... 2 grand was a lot of money for me to spend at once and I kinda missed my lenses while shooting with it. I am pretty sure I would like a C100... but again, it's just a touch out of my price range.
The Nikon is the most enjoyable and frustrating camera I've ever used but the image is undeniable... it's modest 1080p, but it's clean with great colors and when you lower those midtones, there's a nice weight to the image.
And finally, the BMPCC... what a legendary camera that's image still holds up today... nearly 4 years after its release. It's a very versatile camera that can be rigged out for controlled shoots or fitted with a native lens with OIS. And it is so simple in its interface that it works nearly like a point and shoot cinema camera. Shoot prores or raw and even an untalented hack like myself cannot help but to capture cinematic looking footage.
I do agree though that I really need to pick a camera and learn the ins and outs of it and start producing material instead of boring tests. 
You must have some cool stories from your ENG days? Did you end up with any spare lenses... Are they B4 lenses?
I agree 4K is definitely the future, but at this point I'd rather have good 1080p than okay 4K... especially since I don't have the computing power to edit 4K without downscaling it to 1080p beforehand.
I appreciate this article and I hope Andrew's lead will inspire other bloggers to test and write about the raw capabilities of this camera and Olympus and the other manufacturers will hear the call and start implementing raw in future cameras.

You can now follow my friend's band (and long-time EOSHD collaborator, Herdwhite) on Patreon! Click here to follow the progress of the Berlin based group and pledge as little as $1 per month
The ideal run & gun solution for music videos?
Read the full post here

You're not wrong there. Utterly bland.

You're not wrong there. Utterly bland.

No need to add to that. Saved me a heap of time.

The Oscars are rubbish. These days, anyway.

I believe filmmaking is the most powerful art-form. It has the power to influence hearts and minds, and allow people to feel things - truly feel things.

I really believe filmmakng can make the world a better place by means of subjective immersion, empathetic response, and telling the story of the human-condition.

Hence, I think success is if your film allows viewers to feel raw emotion via empathy (even with the most questionable of characters), and allow viewers to learn/experience something new from their subjective interpretation of your film.

I say this in regards to narrative fiction filmmaking.
With documentary filmmaking, I have the same beliefs, but the responsibility of remaining objective on the filmmakers behalf is very important.

With documentaries, I believe filmmakers have an obligation to remain objective - to strictly document - like a James Nachtwey photo - for the sake of the truth. However, even then, no matter how objective a documentary maker remains, the viewer will ultimately determine their own truth by means of their own subjective interpretation/research - well, I hope they do, anyway.
 

The a6500 smokes them both for autofocus, with the Olly performing terribly at times. Just a shame that the Sony makes Max's brother look like the Hulk.

I was reflecting to hyalinejim's comparison. Not sure if you understood my (previous) posts, I was not defending panny colors, I said that you'll open the lumetri panel anyway, so there are plenty of ways of fixing the panny colors.
This whole conversation about colors and specs does not lead anywhere and I am getting sick of it. Light a scene and setting the camera properly improves the final image (and colors). Why not choose a camera based on the needs? If you need a REC709 look, buy a broadcast cameras. If you want a camera with various specs you have to live with compromises, like fixing a colour channel in post.

The a6500 smokes them both for autofocus, with the Olly performing terribly at times. Just a shame that the Sony makes Max's brother look like the Hulk.

The a6500 smokes them both for autofocus, with the Olly performing terribly at times. Just a shame that the Sony makes Max's brother look like the Hulk.

@jonpais
Fact is, 99% of people NEVER hold the GH5 in their hands. Most AF talk is speculation and assumption.
Furthermore there are surely fanatic GH5-fanboys defending the camera, even it was complete crap (for sure it is NOT). And paid "social media marketers", paid to spread / advocate the most positive aspects of this product and fight criticism...
On the other side, there are enough Pana-hater, trying to question and miscredit nearly all features of the GH5. Why? No clue...Fanboyism and hate aren't very useful for curious potential buyers, but this "war" does influence their decision for sure...It's all about money and fanatism - and this is quite sad...Take a look at the comments on this video - "The GH5 AF-War":
Let's wait until one can regularly buy and properly operate the GH5 and then praise or hate it...It will be more than fair...

Make that 24-70 2.8 Sony mount (and not cost a leg) and im jumping in.

Many example videos using EOSHD Pro Color settings are either taken exclusively at night or mucked up with Luts that completely alter the color, so you cannot see what the Pro Color settings do.
So here is a video shot using the Sony A7s ii in daylight with no Lut applied in post. The main subjects are flowers - nature's color palette (although there is also a cat). There are plenty of blues, greens, yellows, whites, reds, etc (though no human skin).
 

Yep, tends to be big boy stuff, and I understand it.
Funny though, the paradox is that it's *very* valuable for quick and dirty, low budget stuff, and events. The very places it's used the least is when it can help the most. A lot of times, lighting is minimal, set up time is minimal, they don't want to mess around staging stuff and repeating stuff, so you end up getting what you can get quickly and on the fly. It's very freeing to not have to worry about getting an accurate white balance while shooting. So many times I wish I could go RAW at weddings, but the storage would be horrendous. Crappy mixed lighting conditions,  quickly moving between indoors and outdoors, harsh exteriors during mid day. All sorts of things where Raw and lattitude is invaluable. 
I love only having to worry about composition, focus, lighting ratios (if controlled) and getting a fat negative. The rest is all done in post. 

Very impressive. The acting was so good that I forgot to look for any issues with the camera.
I guess that if the story is good enough, the vast majority of people will not care one jot for anything else.

Yes, the youtube click bait vultures are all over the place.
That is Martin Wallgren's video. He uploaded that to Vimeo a little over 3 weeks ago, he also had another GH5 video titled ( Winters Grip ) that was linked here a week or so ago. Who ever it was that re-posted Martins video used every GH5 tag one could think of for a stolen video.
I guess people have decided to start stealing content to get views.