Cary Knoop

Just testing my new camera. Glidecam DGS works great with it as well as samsung 500GB evo850 SSDs.

I recommend a PC desktop for video editing. 

It seems I only update this thread every couple of months... Shame on me. These last two months had some long awaited videos, so... check them out!
ON A BUDGET - FLAPJACK LED EDGE LIGHT C-200L
http://www.tferradans.com/blog/?p=9562
ANAMORPHIC ON A BUDGET - ELMOSCOPE II VS KOWA BELL & HOWELL
http://www.tferradans.com/blog/?p=9194
ANAMORPHIC CHOP SHOP - KOWA B&H EDGE BLACKENING
http://www.tferradans.com/blog/?p=9390
ANAMORPHIC CHOP SHOP - KOWA B&H MINIMUM FOCUS MOD
http://www.tferradans.com/blog/?p=9590
ANAMORPHIC CHOP SHOP - KOWA B&H SHARPNESS TUNE UP
http://www.tferradans.com/blog/?p=9592

ANAMORPHIC COOKBOOK - HFOV CALCULATOR V2.8
http://www.tferradans.com/blog/?p=13386
ANAMORPHIC COOKBOOK - DOUBLE FOCUS ON THE FLY
http://www.tferradans.com/blog/?p=9610
ANAMORPHIC CHOP SHOP - JUPITER 9 EXTREME MOD
http://www.tferradans.com/blog/?p=9505
ANAMORPHIC CHOP SHOP - MIR 1B EXTREME MOD
http://www.tferradans.com/blog/?p=9516
Sure, the original thread with the mod is this one: 
 
I hadn't adjusted any of the lenses for that episode, so that might have somewhat affected the results, yes.

Just a bit of fun for Christmas. I shot this a while back but have only just got around to the edit, if you enjoy it please pass it on!
 

Unfortunately, with all the other calls on my time, some months I don't get a chance to take any stills, let alone play around with them.
And I would never dream of insulting my digestive canal with anything sold by Starbucks.

I completely disagree and I am sure many others with me.
 

I completely disagree and I am sure many others with me.
 

I completely disagree and I am sure many others with me.
 

So will you buy a few dozen Nikon lenses as well??
There is the newer Tokina 11-20mm f2.8 as well!

The levels comparing the two cameras are clearly off in the video.
Here is an image with two more or less similar frames (Olympus is left, Sony is right) after the levels are corrected:

Neither frame has crushed blacks!
If look at the negatives and expand the blacks a little, there isn't much of a difference:
 

I think it is undermining to have two incompatible stabilization options for the MFT system.
For MFT to survive Olympus and Panasonic should compete but also work together to make products that are compatible beyond mere mount compatibility. 
I believe this will strengthen the platform.
 
 
 
 

The camera was just released this week so I doubt it is in a 60i wrapper. It's basically a one inch sensor GH4 with a fixed zoom lens. 

Insane price on the gx80 (245£)! I could have bought two now for less than the price I bought one for less than a year ago! 
I'm loving mine and it and the Panasonic 15/1.7 are a lovely combo.
https://www.parkcameras.com/p/P016419K/compact-system-cameras/panasonic/lumix-dmc-gx80-mirrorless-compact-system-camera

I made a small tutorial on how to handle out of range video levels in Premiere Pro.
Some cameras record out of range video levels, one of them is the Panasonic Lumix GX85 / GX80 on which this tutorial is based.
Hope this helps and please go easy on me, as this is my first tutorial.
The UHD should be available shortly as YouTube is still processing it.
 
 
 

That video has out of range highlights both for the Panasonic and the Sony, even the ungraded log footage has it.

I think that if you make comparative test you should be very accurate and make sure your levels are correct and that you match exposure based on the scopes because an ISO value in one camera brand is not necessarily the same as in another brand and unless you compare T-stops for lenses you also have to account for differences even with the same F-stop.
The train comparison uses lenses with different focal lengths and apertures.
 

That video has out of range highlights both for the Panasonic and the Sony, even the ungraded log footage has it.

I think that if you make comparative test you should be very accurate and make sure your levels are correct and that you match exposure based on the scopes because an ISO value in one camera brand is not necessarily the same as in another brand and unless you compare T-stops for lenses you also have to account for differences even with the same F-stop.
The train comparison uses lenses with different focal lengths and apertures.
 

If you are not using the 4k features for now I think you are wasting your money. Purchase a 4k camera when you actually want to record in 4k.
 

No, Premiere Pro interprets the information just fine. Many cameras do record out of range values for overhead. By the way Davinci Resolve will do the same with video levels.  In Resolve you also would need to bring down the overhead values into legal.  But Resolve does not have the 'Clamp Video Signal' so you have to look and see if there are out of range values.  You could as an alternative force data levels in Resolve.  I would recommend always to check for overhead when you are dealing with video levels.
The values in the scopes are just scales superimposed on the data. If that confuses you I would recommend to only look at the percentage/IRE scale on the left. 
If you import multiple clips where some are video and others use full range Premiere correctly maps all of those onto the 0-100% scale.  But out of range values (which obviously are not possible for full range) will be mapped outside of that range.  Which means that levels outside the 0-100% range need to be brought into legal range.
 

Fredrik, great test but there is a problem with your comparison.
You are actually clipping the highlights in the GX85 scenes.  The GX85 provides video levels but does use out of range values for overhead.  So in your NLE or color grading application you need to bring the out of range values into legal to compare the shots.  If you keep out of range values then a lot of setups will clip the highlights because they expand limited to full range.
Here is the waveform before and after bringing the highlights into legal range.

The 100% values on the left are from the titles but notice there is more highlight information above it.  The right side has brought the highlights into legal range and obviously the titles are now too low.  For indoor it is not really an issue but if you make a video outside in bright lights the out of range highlights contain valuable information that you should not discard.
 

Yachts: Too expensive!
Jets: Too fancy!
Jetpack: Too dangerous!
Trip to Mars: Too exotic!
Panasonic GH5: Just right!
 

Apart from a global shutter I do not know of any cadence differences with respect to the GH4, so as long as it is real and not crackpot "filmic" science I would certainly want to learn about it.
 
 

Apart from a global shutter I do not know of any cadence differences with respect to the GH4, so as long as it is real and not crackpot "filmic" science I would certainly want to learn about it.
 
 

Apart from a global shutter I do not know of any cadence differences with respect to the GH4, so as long as it is real and not crackpot "filmic" science I would certainly want to learn about it.
 
 

The G80 is already out for awhile!
And no, the GH5 will have a lot more to offer than the G80.
 

Darn it!