anonim

GH5 with Voigtlanders, done very fast but I hope it turns out sympa...

And with their awful batteries they'll last... What? 50 or so minutes, assuming it doesn't overheat? And they'll still lack decent stabilization, awful Sony colors, low bit rates, and all the other features the GH5 introduced. And don't get me started on the rolling shutter I'd have to put up with for something as fast paced as wrestling or other sports! 
It's so weird that people always try to sell me, and other satisfied users, on FF and Sony in particular.  Part of it is they don't get my production situation, which is understandable, but part of it also feels like they just can't understand that there are legitimate benefits to MFT and that sensor size really isn't that important. 
Wrestling events are generally 3-5 hours, with an 15 minute intermission in the middle. I NEED a camera that can shoot 90 to 120 minutes straight. I can't worry about batteries, overheating, etc. because every second I'm not recording during the action is a bad thing and creates issues in post. Sure I can work around them but why not avoid them completely if possible? I'm also constantly moving around the wrestling ring, so that stabilization and the weight of the lens and camera is a godsend. I don't want to have to use my gimbal or shoulder rig on these shoots, the simpler and lighter my set up the easier it is on my fat ass for the 3-5 hours I'm on my feet and shooting! ?
Maybe I'd feel differently if I wasn't regularly just a 1 to 2 person crew. But I have way too many responsibilities and things to worry about when shooting events and these MFT cameras make my life a lot easier. 

Although it is obvious that you are extremely accurate, clever and experienced to find all appropriate answers, maybe it can help or be encouraging a little bit: it is very safe to buy second hand Voigtlanders - for the quality their price is, actually, IMO unbeatable.
Again: for the quality. I had and tested many Zeiss's an Leica R's - m43 Voigtlanders are mechanically even better build than Zeiss lenses (same comment I got also from some old skilfull lens-repair masters), closer to Leica precision.
For example, interesting and passionate review if you missed it:
http://streetsmartphotos.blogspot.com/2016/05/105mm-f095-voigtlander-nokton-8-month.html
Metabones speedboosters are, of course, great, but after some time, if you don't tend also to use FF lenses on FF cameras, they could become annoying - regarding existence of Voigtlanders, SLR Magic Hyperprimes and, maybe (I didn't try them, as also Sigma 16mm) newer Olympus pro primes.
About Nikon 28mm f2 - it is the must to check it before buying... they easy could be different kind of "lemons" samples. 28mm f2.8 Ais is brilliant lens, but speedboosted will be f2.
With base f2.8 FF lenses options are many...

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...

The new 'in Post: Cinematic Luminance' section on page 2 of the new PDF is critical, in addition to the new supplemental waveforms
Essentially, the top third of the waveform is where extreme highlights place when conforming to cinema standard luminance. The GH5 is missing the three stops on top, and EC Main/Soft really encourage correct placement of luma for the cinema when exposing for them (moderately), and have beautiful handling of harsh skin detail

That makes sense @UncleBobsPhotography and would explain why I'm not getting 50MBps in the GH5 on a card that gives 80MBps in the computer
I must say though, I went out again today and took some random test shots and the 150Mbps modes just floor me.  Even the FHD 180fps mode looks great.
The phrase "digital film" keeps coming into my head when I look at a clip, either fullscreen which looks soft and with wonderful colour subtlety or zoomed in hugely where it just looks like film grain.  My vintage lenses will be helping with this, but even the 14mm F2.5 still gives that impression too.  It's a mile away from the brittle and digital look most 4K mirrorless cameras shoot these days.

I think that there's not at all anything special in general about shooting with GH5, distinctive from any other hybrid camera... For specific settings in detail you may ask or search...
The same about shooting with 10bit HLG profile, once after you "normalize" footage to rec709 space. In Resolve it is possible weather using Driftwood's free "tecnical" luts while keeping common value "Davinci YRGB" in path Project settings=Color Management=Color space&Transform=Color science, or change that value to ""Davinc YRGB Color Managed' following with "Rec 2020 HLG" (somebody use 2100HLG) as Input and Timeline Color space, and Rec.709 HLG as Output Color Space in corresponding fields... Further you make grade changes as to your choice.
Or you could use some of the paid Luts... it seems that most appreciated are GHa by @Sage or those by Paul Leeming (One).
So, just to wish for you old good... happy shooting.

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.

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...

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!).

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...
 

If you need to color grade then raw is the preffered option. Isolating skintones even in 10 bit is not a perfect science. There is still a fair bit of blockiness. The bmpcc has a good codec but its advantage also lies in the fact that the image, sans grading, is more pleasing as regards skintones etc. This saves a lot of time in post. It also looks more filmic and has better motion cadence, that is, it is generally more like film. Whereas the japanese mirroless cameras dont have the same pedigree and in fact lean more towards a camcorder look. So i dont think codec is the only difference. This was always the appeal of the original pocket. 

None of these recent camera releases has persuaded me to parts ways with the GH5, here’s why: 
- Ergonomically awesome for video with loads of custom functionality. Feels MADE for video. 
- 10 bit 4:2:2 codecs are very strong. 
- MFT sensor, while Speedboosted, is easier to focus than a full frame sensor. Very adaptable. 
- Great battery life. 
- IBIS is excellent.
- EVF and Flip Out LCD are awesome. 
- @Sage Alexa conversion makes it a different camera. 
- Anamorphic modes. 
- Monitor LUT - super useful! 
I’ve tried the AF on a gimbal with the GH5 and it works quite well. Not Canon or Sony level, but decent. 
Theres features in the other cameras that look appealing, but the way I view it, how much will it change my videos? 
I’ve opted to spend and upgrade my lighting to a full Aputure setup and camera movement. These things directly influence the picture more and invite increased skill and knowledge in composition. 

Oly 12-100 & 7-14 ISO 100-800.

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.  
 

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.  
 

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.  
 

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.  
 

Well I've found myself in a place where I can see a lot of these films, and am hoping to see 'Girl' tomorrow morning. 
This afternoon I watched 'Beautiful Boy', and it was brilliant. Timothee Chalamet wasn't the most convincing, but he was far from wrong for the part. The camera and lighting was fantastic, and I like Steve Carell in these drama roles. 
I'll post back on 'Girl' when I can.  

To those awaiting your Pocket4K's.....stock up on LPE6 batteries!
So far I've only used the camera with the battery that it's supplied with but the camera chews through it at an alarming rate. Also, the battery meter with the supplied battery is not very reliable at all. It jumps around from 1/2, back up to 3/4 then flashes red for less than a minute and dies. The first few times I used it, the camera died when the meter showed more than half remaining but with a few discharges and charges of the battery, I think it's getting better. I haven't done any real tests to test record time but I got less than an hour of powered up time before it died. I was shooting outside though, with the screen at 100% brightness (more on that below).
The manual states that the battery meter can be set to show a remaining percentage with supported batteries but the BMD battery does not seem to be supported as I only have the option to show the battery graphical icon (unreliable) or voltage. I have four Wasabi 2600mah  batteries arriving on Monday so will test with those.
In direct sunlight, the screen is not really usable. At 100% and with a LUT on it makes it a little easier to see, but it's highly reflective and not quite bright enough especially showing a flat Film Log image. I'll need to make a shade for it, but then with it not being tiltable will mean that II'll have to hold it at eye level when shooting with is not comfortable and doesn't lend itself to steady shots. 
BTW, sorry, I wasn't able to do the sound tests yesterday. The inbuilt mics sound pretty good and you only really hear the fan if you are in a dead quiet room. I should be able to do it on Monday.
So far, the battery and screen issues are disappointing BUT I am absolutely LOVING the images the camera is producing. The images are very detailed but not too sharp (a good thing!).
I have shot with most DSLR's out there from Sony Aseries, Panasonic GH series, Fuji X-T2 and have never seen any Hybrid cameras produce the images the Pocket4K does.......and this is just shooting ProResLT to an SD card as thats all I had on me at the times.
 
 

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. 

Safe to say that the X-T3, like so many other cameras these days, is very capable of shooting narrative stuff.

I am moving back to the GH ... GH5s arriving this week ... to supplement my Leica SL which is challenged in low light.
No one else gives us 10 bit 4:2:2 internal dual UHS2 card slots HDMI A connector in a small portable form.
This short sums up my thoughts of its adaptability and function for small projects :
 
 
 
 
 
Jordan Drake in the GH5s introduction mentioned that in reality 8 bit may be preferable to 10 bit as there is much less noise 
in the shadows ... if exposed correctly. This mirrors his experience.

Yeah Super 35 has taken off from the 90s... the 1890s.
Honestly, I kinda find all of this irrelevant anyway. The only difference it makes for me is FOV for my lenses. But since I prefer 2:35 or 2:39, I end up cropping even more out of the frame. Anything between FF and M4/3 is pretty much acceptable. And if I am looking for a really different aesthetic, FF with no letterbox gives that vista vision look, or a one inch sensor will give that S16 look. None of it is exact and most people who watch movies would even notice the difference or even care. But there really is something cool about FF... I just wouldn’t make a purchase decision on that alone.