anonim

If you plan to buy GHa lut, there is conversion from CIneD to VLG and further easy workflow, so it seems logical to use CineD?... especially regarding correcting algorithm that @Sage makes in it to nicely tame greenish color shifting that polutes GH5 skintones image OOC. For normal usage (without extensive motion demands or maybe greenscreening) I'd say there's no noticeable difference between 400 and 150 mbit modes. But 10bit is so convenient in disposal as still (strangely) unbeaten advantage of GH5, that I'd say it is the must to use it whenever is possible... Simply, avoiding of any banding/posterization in any non-extreme grading changes is fantastic - and such safeness doesn't exist in 8bit mode, even if final result may often look similar.

But freeze resistance is very important for not just few of shooters and I had whole day shooting with Voigtlanders and GH5 at -10C. It seems to me that Veydras are very close or same ih building quality with Voigts... But of course, I don't know how Pocket 4K would behаve in such circumstances. So, argument of @Jon Pais is not out of reason at least regarding freeze resistance quality of some Panasonic and Olympus cameras.

Kye, I'm afraid I have not too usable advice about VFR modes - so far I'm not using slow motion for my needs, except very rarely 60p, and that just because of better stabilization or exposure controlling usage - saying that, as far as I know you can use HLG mod in 60p... But I'm sure Jon Pais have all answers. As I already mentioned, I tend to treat any camera as much as possible as base cinema type with as low as possible bothering with settings - even thinking about AF buttons looks too complicated to me (besides being uninspiring)... Just set ISO and WB, HLG without bothering with lowering sharpening and NR and other settings, as often as possible just 24p, always MF lenses, etc. - sparing all precious time/concentration for evaluating composition of image. And enjoying/trying to master manual focusing precision... that's I'm always shooting with Atomos recorders and why level of smoothness and extremely precise linear focusing respond are, for me, the most important feature searched in lenses. What I missed from BM cameras is corrective advantage of raw files. 10bit image of GH5 offer indeed great and enough flexibility in post, however you have to think about close-to-proper WB... but I tend not to think about anything, just about picture in front of me. In GH5 you are safe up to iso 1600 although in dark conditions there are always some grains above iso 400 but it is very fine and often even desirable. BTW after all talks and personal testing, for me that's where finished GH5s difference - in GH5s you are safe up to iso 3200... of course, I'm talking about aesthetically and professionally most demanding shooting scenarios. Some kind of NR can spread range in one stop above respectively... Internal GH5s NR becomes too aggressive above iso 3200 and image, especially with humans, looks too cheap and plastic. Color science... GHa is a little marvel of devotion and knowledge. Combine it with Resolve's precise grading instruments and you can mimic quality of look of any high end cinema camera for exporting in HD resolution. That's one of the wonderful example when progress in technical side of simulation capability (anatomy of color, digital achievements in providing its impressions) and person's know-how, beat market position. Yes, today you can shoot totally competitive movie with GH5, as also with Fuji XX or Sony A7iii or Canon-Mercer etc.. If you are UK located, I've found that Ex-Pro newer type of battery (those with bigger capacity) are perfect for replacing original one, as also for Sony battery for Atomos recorders... (And in UK you can buy new GH5s for about 1850-1900e at the moment, GH5 for 1380, order Pocket 4K for 1350e...) EDIT: As idea, if you already didn't find it - you can map all important settings just in joystick's positions! I don't know if it is possible with other cameras, but that's so great for lazy persons like me...

I don't have Pocket4k, but with previous experience, first to come in my mind for comparing with Panasonic is - question of reliability of parts, connectors, even electronics. Maybe there's no reason to worry, I don't know. Also GH5s is in some sort of discount at many place (in Europe it seems that difference is about 550-600e now even in clean distributors, but Pocket is not yet available) - at the moment that you can really get Pocket in hands, price will be even closer. But - as already being mentioned before - GH5s and Pocket, although similar actually are also very different, highly depending on other components and preferences of your usage chain as whole (starting or not from scratch, other camera in disposal, raw usage, and mostly your budget - it could be easy turning out that Pocket finally become more expensive than GH5s!).

For me as previous owner of many BM cameras, story in practice always begin with third party solutions for better usability - as it seems we still have to wait for the most clever cage solution with additional compartment for fixing powering/stabilization/monitoring/filtering/file saving demands. And than to see how much all of that will cost (for indisputably untouchable raw possibility for sоme area of usage) - or, to stay in recent forum's mood/vocabulary: what will be degree of massacre that Pocket will make to our pocket.

Congratulation... I think that GH5, with its plenty of customization choices, offers also extremely simplified, a la "cinema camera" solution for concentrating mostly on composition's tasks. Maybe as probably totally needless little suggestions that me personally like and use extensively: - explore greatly effective ETC solution and set it to one of the button or mod - try to shoot everything with HLG, because there's so little or nothing of settings to bother with (as with Vlog) and results are the best in DR (resolving shadows/keeping highlghts - besides it will work easy with GHa luts in post - set button switch for two different ibis options, regarding "steady" (IS video lock) and "moving" stabilization goals (also you can set 3 different custom option for quickly change 3 focal lengths) - As you already mention, @Sage approach totally change not just "color science" and resulting look, but also, and more important, DR distribution that greatly bring up usability of tonal range (for my preferences, I like the most conversion to Alexa's log and than look for further grading if I really need it). Regarding 4:3 open gate mode, it seems that there's less sharpening in it, but files are huge and demanding and have to be converted first even for the extremely powerful computers. Of course, for some difficult and unprepared compositions task, it could be life saver... but I'm sure you already guess it better than me. For artistic inspiration - we are happy here to have some talented shooters with obvious open minded freedom and time to explore their talent, say @Oliver Daniel as first to come in mind. For different orientation in professional spectre - If you did not already, maybe check infos and suggestions from that nice professional wedding shooter couple "White in reverie" - although their color preferences wouldn't be your first choice also, but they obviously are very serious in business and not joking at all preferring GH5 for its friendly and wide working flexibility/usability/durability. You have 2-3 more clips on youtube...

Yes, that's the highlight news

Camera and one of the Seneca's book being close, perhaps wouldn't be bad experiment? (Of course, that just in the case you are not using already "dead" system.)

Thanks - but it seems to me obvious that quoted sentence is separate from its comment? Nevertheless, I really enjoyed in such rafale macabre in just one impressive review ...so this argument is dead ...I believe M43 is absolutely dead ...the same people who believed in Sony A-Mount being not dead ...all M43 cameras bigger than XT3 are dead ...Anyone buying a GH5 vs a XT3 is (deadly?) out of his mind

Thanks for so welcome relief after facing with so many death-oracles and fact that great authority disclose out-of-mind state of some members here!

Uh, so much reminding of death must be sign of something significant... But, yes, unfortunately - it has to be that for all of us death is the only one really absolute truth.

Actually, I've found all content of presentation in general more serious - as little bit shameless: actually showing anything but achiеvable possible plan. Even about future codec their words are shamelessly indeterminate: "codecs will be best possible for video work"... i. e. clearly with idea to wait and see what other manufacturers will do and than try to surpass their offer. Probably having better cooling know-how and codec-science knowledge in sleeves by which could beat concurrency, I think that Panasonic makes step further in a cheap (and not just a bit dirty) game of delaying, aka stealing time as more and more main business strategy... What is ugly to me is that Panasonic indeed can - as it looks like - make, for example 24-105 lens with f4 , f2.8, maybe even spectacular f2 - but decision again depends solely of selling need - as they come out with m43 10-25 f1.7 lens only just at the moment when m43 system selling seems jeopardized... It has to be tolerated, but lesser from company that earlier had idea of "serving to community with best possible tools" as one of the main marketing motto... What a difference in comparison to proudly disclosure announce of GH5 with road map... Of course, all such business background procrastinated estimations are logical and even expected, but know they are made so brutally obvious that looks to me very unattractive - even if there's no any doubt that Panasonic easily could make the best and most advance offering.

Of course, that's the point... Fact that it could be matched is important, I'd say, for this topic and my commenting position: or, from recent example from XT3 thread - put Fujinon MK (not so astronomically priced)18-55 on XT3 and around it provide normal production accuracy, and your movie ("A Different Beyond") in HD monitor will look as good as RED's or Alexa's for any spectator. Put it on GH5s and you could make briliant "Ettore’s Stargate" promo video by Filippo Chiesa from corresponding thread. Give it also to, say, Oliver Daniel's GH5 and result will be similar.

https://www.zacuto.com/revenge-of-the-great-camera-shootout-2012 - than look further etc, even at EOSHD and Andrew Read comments... Fact that in the blind test GH2 with 8000$ lens in similar controlled production may be chosen as best looking (let be even just equal in rivalry) not just by Copola - speaks for itself about importance of sensor size per se in actual film making results... But here interfere our eternal compensating thirst for newer, bigger, just-once-spec-more - and endless passive theorizing. When ask for concrete distinctive traits in equalized PoV and lightened image examples side by side between enough capable (DR/resolution wise) cameras - there's no answer... Always just inexplicable "feeling", "look", repeating "physics" reason etc. taken as fact or utter sage. Big boy cameras are mostly powerful production relief (versatile, durable, adjustable, theatrical presence orientated) tool - not so much (or, no more) incomparable image (brief sequence, HD) resulted tool. Big boy lenses make a difference... So, I'd say: if your pocket is not appropriate for jumping from system to system, from sensor to sensor, from manufacturer to manufacturer and vice versa... put (especially nowaday, 6 longway going years after above mentioned shootout) most of your efforts (and money) in carefully inspected lens possibilities - and, of course, to skill how to utilize them.

Yes, that combination But from experience I'd say - for subtle but crucial impact that touch quality of imposing "emotional" reaction, lens characteristics (power of discerning details, space plans and way of their rendering) are much more important than anything else (in approximately equal well lit circumstances). For unexpected result in famous Zacuto Shootout 2012 responsibility (besides skillful operator) lays in usage of Fujinon 18-85 Premium lens on GH2. From some technical reasons that are far above my knowledge (quality of glasses etc), lens construction (in case of superior quality lenses) overrides and tamed cameras differences, especially in today's so closely extremely capable cameras. Contrary, modestly constructed or too software dependent lenses simply exaggerate sensors/digital processing nature, codec and "color science" receipts.

Thanks. IMO deserves to be noted as one of the few best looking achievements posted in forum for some time from any camera.

I will take the opportunity and gather courage to ask (anybody) probably stupid and totally ignorant question: what would be ingredients of "full frame look" in video besides easier getting shallow DOF, UW solution and better lowlight usability? Namely, I had once upon a time just Sony A7S II as FF representative and to my shame I must admire that I didn't notice anything special in comparison with equally framed and proportionately illuminated crop sensor resulted HD delivery image, even in comparison with BMPCC 2.88x crop factor.

Maybe, I had no it for any extended period to check... But it seems that author of above posted clips has found nice solution for that camera's quirks and flaws? From my side, I'm just trying to think by myself and to estimate and weight my own needs out of external influence ... So, for example, I've found that for my shooting purpose - that means, up to pretty serious short film attempts with non-professional actors - I got more respect, sympathy and willingness to play from others when I don't use too much equipment... I mean, after drone revolution etc. people in general and mostly expect marvel from technical stuff packed in little space so, contrary for higher budget and controlled movies, they look at me as more "professional" if I'm not suffering with clumsy gimbal while filming So my modest decision is always to have two cameras - both equally A-type - ready for use, mostly with two extremely fast primes (so to be prepared for many different light conditions), and being ready to move and construct shots fast and "elastically", immediately showing "actors" or, better, collaborators how things go evolving... Therefore best possible IBIS for me is the must. So, Em1 II has its steady place in my consideration for such scenario... Maybe, I don't know... All I know that I had no any problem with their service and quality. Besides, maybe something for their side could say fact that such extremely transparent and pretty longlive marketing must be under the control radar (at least by competitive sellers) and still not get any law sanctions or bad echo from customer? I'm really not in position to judge, people from UK probably know more, just as I wrote - every my purchases from them were completely fair till now... to knock to wood Actually, they help me to safely try, play and easy resell many of products from their shoplist, which is always big plus for me!

If you have someone in UK, there are now best prices... I have friends in UK and already made several purchases via eglobal - everything was extremely fast and professional.. At the moment list price for new em1 II is 890 pounds = about 1000e - 1180 USD. https://www.eglobalcentraluk.com/om-d-e-m1-mark-ii-body-digital-camera-black-5tu6fva.html I sold my Zhiyun Crane gimbals (and earn some money :) and rather look for best IBIS/image quality combination (of course with UW lens) for these proportionally rare walking-type shots that I really need. That's the reason I like em1 II. Being extremely hoarder and spare about video equipment, it looks to me funny to still wait a little bit and then buy Oly em1 II for the price I sold Crane 2 And yes, I tried it with friend's camera and Voigt 10.5mm - with very easy care (even not ninja-style) walking you can get pretty close to gimbal smoothness.. Not to mention that I earlier get usable side running shots with GH5 and SLR Magic 10mm... About "a very interesting image... I would say filmic even" - I'd say, if someone can't achieve any type of image for 1080p delivering with today's top con/prosumer cameras and Resolve, well than... there's always at least one place/forum for exchanging day and night consolation and endless considerations... guess where it is

I think we have here one of the most precious inside-out tester and authority for that question - @Sage.

I also found him as very interesting and inspiring freelance filmmaker... What I understood from interview, his recent works - i. e. that I posted - are done with his newest acquisition at 2016, em1 mk2... Earlier - not at all less interesting - logically, were with em5 mk2.

From my experience with women - that unfathomable beings of absurd - I read these remarks as declaration of deepest connection and love.

No, quite contrary... but as I see/understand it with my modest knowledge, all concept of comparing DR of GH4 and GH5 in a such way looks to me, say... bizarre, so it seems to me nice to show respect and try to think in comments with touch of bizarre accent So, again, if - in spite of all efforts from Panasonic to convince that GH5 represents progress in every aspect (except battery life and weight) in comparison with GH4 - Mattias with his extraordinaire experience and authority has some doubt - I simply think that it is very hard to uncover something that he already don't know.