TwoScoops

How can you compare image quality without using actual images?
SMH.

Unbelievably, the shop had an actual Panasonic rep in who was eager to help me evaluate the G80 so I had to think on my feet.
"Can I just see how the focus tracking works when its being controlled by the app compared to my GX80?"
"Of course"
"OK, you go over the other side of the shop and I'll put the app on and then you walk towards me. Slowly".
" OK....Is this far enough? "
"No. Further away".
(Faintly) " How about now?"
"Yes. Now walk back really slowly"
(pretend to study app screen while sending commands)
"How did it do?"
"Its the same as the GX80 so I'll stick with that for now"
 
What's also the same on the G80 and the the GX80 is that VLOG doesn't work on it either.
I have an idea about a clue in the GH4 that might shed some light but don't hold your breath.

Its because of Tony Northrup and some other mistaken jebroni's that people think cropped sensors gather less light than full frame.  

Because you probably shot all the footage.
It takes a lot of fucking time nailing camera movement, lighting and getting a good take from the talent. So when you get to the editing bay, you're far more unlikely to be willing doing the necessary: trimming that shot (that took all day to get,) down to a few frames, or worse, omitting it from the final cut.
Can't believe this thought took so long to dawn on me.
Got into a huge fight with a friend who asked me to help edit their short. His main argument was something akin to, "YOU CAN'T CUT THAT OUT REEEEEEEEEEEEE-"  Made me think like: oh fuck, am I this attached to what I shoot?
Sorry for the clickbait title.

Hey all, just joined the forum and am excited to spend more time in this community. I recently finished up a film called "IN HAITI" that was the first project I shot on the Panasonic GH5. I absolutely loved the camera, especially the improvements over the GH4. I wanted to share it here and get people's feedback since it's still a relatively new camera, and if anyone has any questions I'm happy to talk about what I did and what my experience was using it. I shot in vLog at 3840x2160; a few shots were captured in 1080 at 180fps. The film was graded with FilmConvert.
As I said, I loved shooting with the GH5. I'd been considering several cameras, such as the FS7 and C300MKII, before pulling the trigger with the GH5, and have no regrets. In my opinion Panasonic really pays attention and they made very smart and necessary upgrades with the GH5.
 

They're fine for transferring docs or music when you just want to plug something in quick. For the rest there are the rear ports, which are plenty fast on my 4ghz iMac retina.
Cheers
I'm not using the keyboard to move large files, just for the convenience of a USB at my fingertips and a much better keyboard pared to the wireless one. I have enough fast ports on the back of my iMac retina.

I've bought the 17.5mm after considering getting a Metabones SpeedBooster and some fast adapted lens and can only say I'm happy I decided this way. It's a great lens, both from a mechanical as well as an imaging standpoint. The downside? I now really lust to have the others!

This was one of the worst offenders:
 

You're gonna get a bit of an echo chamber here, lots of people with new GH5s... and also lots of people who haven't used a bigger setup.
From the style of work you make, I think you will miss having a truly top quality image in your main camera (raw, 13 stops dr, nice rolloff, HFR etc)
I sold a combo of 5DIII (ML raw) and FS700/OQ7 setup to move to NX1 and A7s ii... regretted it massively. At the end of the day, IQ is what really counts and I traded that for mobility and specs. I have now sold it all up and gone back to a 5Diiii.
You already have some great cameras for the mobility stuff, why not just use them on the shoots that you feel you would benefit from mobility, but have an F5S, C200 or whatever for the shoots that need a higher level of IQ.
I did used to hate tethering the OQ7 to the FS700 though. C200 or the new panny look far more interesting, small but with internal cinema quality IQ.

Only in Panasonic image he looks like has a blood circulation. 

A patriot in his little front garden, which he thinks is a battleship.

You really need to start reading people's posts properly & perhaps between the lines a little.
Some of us actually have genuine experience filming for proper production companies & have learnt a lot over the years.
I'll repeat myself, Zebras should not be completely trusted & I wouldn't ever advocate someone using them at 100% - i've been filming for 15 odd years & I still don't put them at 100%. And we aren't allergic to scopes etc...it's just that sometimes you do need to trust yourself, rather than a computer, which might not always be right. In all frankness, a light meter is the way to go - always has been, always will be.
Oh, and you can only properly use or get good results using ETTR with RAW! Not going to change my experience/opinion on this.
Also, if people cared about image quality, why are there so many high profile TV dramas & Films that are loaded with Moire/Aliasing?
And don't get me started on the Soft image vs. the Super Sharp.....
Sound & Image are completely different animals - please don't confuse the two or use one as an example for the other.
Amazon & Netfilx are really shaping up to producing some great content - watched OJKA last night & it was amazing (on Netflix now!).
Good Grief, sometimes its like slamming your head in the fridge door & realising you should be using the oven.....

@Andrew Reid
Hmm...From own experience, I doubt it. Most of the "pros" (doing a "normal" photography business) who use Canon are usually "sheep" who can not ascertain what's right. Similar to their "Canon God", they don't care about contemporary customer demands and requirements. They take photographs the same way as 40 years ago and complain about customers not willing to pay them adequate rates - many of them in my region closing their business/studios. Helpless crybabes, without any creative/innovative answer to nowadays "smartphone revolution"...Their logic is nostalgy and self-pity - but the "good old days" are gone...
Their photography is not bad - but not good enough (by contemporary requirements) to make a living out of it, measured with creative and adaptive guys of the industry...They keep using Canon because of their reluctance to move their lazy/ignorant ass out of the comfort zone and change their own attitude...Instead of doing this and facing today's reality and their own failure, they complain all day about the downturn of the photographing industry...
 

This was one of the worst offenders:
 

This was one of the worst offenders:
 

This was one of the worst offenders:
 

I have the 58 and 28. They are really nice. The MFT Voigtlanders are even better.

As mainly a stills guy so far, I've found this too...

I'll swap my 550D for your RED!

With regard to audio, I think the innovation has largely come from the music side of the fence rather than the broadcast/film side to be honest.
From that point of view, there have been numerous 5DMKii moments.
The Portastudio was one, the LinnDrum was another, the Akai S900 sampler, the Atari ST with Cubase, the ADAT digital multitrack, the Yamaha 02R mixing console and of course SoundTools as it was and ProTools as it became.
Arguably, these were all much bigger game changers than the 5DMKii, particularly the latter ones as they changed the entire industry at the high end as well as the low.
The 5DMKii let you make images that looked somewhat  like the movie studios could do, the audio products didn’t just allow you to produce audio that sounded like a real recording studio did but actually became the real recording studios.
The nature of broadcast and film is intrinsically more conservative.
I’ve been involved in product development for one company where it seemed inconceivable why the BBC, for example, would spend five times more for something that did less and then for another company where it seemed inconceivable to me why they would spend five times more on what we were proposing to them than they could on something similar they could get from a music store.
Some days you’re the statue, some days you’re the pigeon !
The problem with audio developments for music is that it plateaued and then became a race to the bottom price wise from which it will never return. It means that the innovation is now in the cost reduction and arguably why not because there really isn’t many more places for it to go in terms of functionality or quality. Which is good for us!
As all of this rapid development was going on in music technology, say between 1982-2000, it was like the wild west at times with companies coming from nowhere with bombshell products that either drove their competitors out of business or drove them on to greater heights.
And the vast majority of these companies were small ones (generally created by musicians who had to invent what it was the market didn’t have for them to buy), which made them lean and agile.
Over time though, the eating each other’s lunch routines often combined with little, no or reckless business practices (and ESPECIALLY poor cash flow from over ambitious product developments) left them vulnerable to being put out of business or, more usually, being bought out by the major manufacturers who were predominantly large Japanese companies. The likes of Oberheim (Yamaha), Linn (Akai), PPG (Korg) and Sequential Circuits (Yamaha again) all went that way and the innovation generally went no further for them once they were under the wing of those bigger manufacturers.  Eventually freed from their ‘consultancy’ deals, most have resurfaced as boutique operations serving an ever more niche market.
If I look at someone like Fairlight and my relationship with them as an example of what happened to an innovative company, its quite informative. I went from being an awestruck kid when they brought the CMI out, to then working for a manufacturer who basically drove them out of the sampler business they’d created, to eventually working on OEM development with them when they transitioned to broadcast. In the subsequent 20 years they’ve changed hands countless times and are now just a tab on a piece of free(ish) software. Its hard to grasp such a transition for me but for anyone who’s too young to know what the CMI was, its the equivalent of RED’s RAW pipeline ending up as a free download in the Sony PlayMemories store for your RX100.
Lexicon are exactly the same. From making jaw dropping almost other worldly products to being gobbled up by a company that was making most of its money off providing car stereos for GM etc and Lexicon was reduced over time to being included in every low end mixing console and software bundle that it could be licensed to. The company that bought them has done the same to every company its bought and I can’t even dignify them by mentioning their name even 20 years after them destroying the company I worked for !
So there’s just no incentive there for anyone to be innovative in music audio anymore as its littered with similar stories and the ones left standing wouldn’t see the amount of volume in broadcast/film that they need to press the button on the mass production runs they now need due to how cheap everything has to be now.
The company that COULD do it are the much maligned Behringer. 
If you look at something like the X Air XR12 digital mixing console and see what they can knock out for £239 retail (inc VAT!!) then it doesn’t take a genius to see what they could do against Sound Devices if they had the inclination but there just isn’t the market there. Because, believe me, they wouldn’t have blinked if there was.
So, unfortunately, I don’t think we’re going to get that 5DMarkii moment and the innovation such as it is will come from individuals themselves looking at products from the music side of the fence and modifying it themselves. Like getting that X Air XR12 and powering it from Sony NP batteries to make an extremely capable digital field mixer and recorder for £269 (including the £30 for the bits to do it) or being a smartarse and using cheap midi controllers to create remote focus and control systems for Panasonic cameras for under £75  (ahem!).
Because music audio had its numerous 5DMKii moments a few years ago there is a backlog of a ton of cheap stuff that flies under the radar for film makers that is waiting for them if they look for it. 
 

As mainly a stills guy so far, I've found this too...

When the BMPCC was new and I posted test footage I often got asked about the look I got.
They used the same lens, same film convert but didn't get as "nice", "sharp" or "filmic" results. The reason was that I always used the levels tools to slightly crush the shadows and blow some highlights.
People, and Im talking about real non nerd people, still like contrast.

I'm sure this is up there with some of the most impressive single take drone shots I've seen for a while, carried out by a very talented pilot using a micro FPV drone and great use of Reelsteady software. Use of reverse playback and sound design makes it even more impressive...
 
making of...
 

Yes it's a great camera, I just wish the staggering image was backed up by a willingness at Canon to make it more usable, from a video perspective. Whereas Blackmagic had ProRes on a $800 pocket camera, Canon lumbered us with MJPEG at 500Mbit, which yes is a great image, but it's not a preference over ProRes in the eyes of anyone who uses the 1D C... They all wish it had a more convenient codec, with the same image quality or better. Indeed for the initial price of $12,000, you'd expect not just 4:2:2 but 10bit as well. The banding in 8bit can be an issue especially at low ISOs with Canon LOG.
I will keep my 1D C forever... One day, it will be a museum piece!

Great video deezid! This video is so good in so many ways that is surprising that the first thing that cross the mind of some ppl is that "the blacks are crushed". If thats the first thing that someone wants to say about this video its says more about "you" than the maker (or the piece). Even if i think that the blacks should be "less crushed" (wich i also do, but thats not the point) thats the last thing i think after i saw i video like this. But hey....thats me.