Mmmbeats

4K? 10-bit? Low-light? Budget limit? Surely that's a no brainer. The GH5S is the only fit (until the BMP4K arrives). Don't know what you've heard, but it's a fantastically capable camera.

Do you have any detailed info or a link about the differences between the 5000 'Classic' and the 5000 RF? I'm thinking about getting the classic, but want to know more about the CRI change you mention.

Getting quite tempted by these. One note though - don't go diving with your 8000, as unlike the 5000, it's weather-proof rather than waterproof!

I did some measurements that confirmed this. The Stella 1000 is significantly lighter. Stella 1000 : Fixture alone (including internal battery) - 310g With Fresnel and AC power supply - 530g Boltzen 30W (Daylight) : Fixture alone - 990g With AC power supply - 1550g With Sony battery also (NP-F770) - 1770g However the Boltzen is a much more powerful light, so perhaps the comparison is a bit redundant. Except that people are using them for a kicker / accent light, so if weight is a major concern (as it is for me) then you might find yourself looking at these two units in competition. Lux at (1m / 3m) : Stella 1000 @ 25˚ - (1000 / 113) Boltzen 30W 15˚ - (18784 / 1889) I've used the manufacturers claims for the output, rather than my own measurements.

I think for a kicker / accent light the CRI (90) is fine. The thing about the internal battery is that it's so light you can almost forget about it's existence. I haven't verified this, but I imagine the Stella with internal battery is lighter than the Boltzen even without an external battery attached! As to the personality of the CEO, I couldn't comment. These things put me off companies too from time to time, so I can sympathise. As you may know, they are bringing this all to film from their origins in scuba lights, and I think there are some innovations emerging as a result.

I've actually gone with the Stella 1000 for this purpose, because of weight. I had originally gone with the boltzen, but it's just a bit too heavy, especially when you add on batteries. The Stella was a pricey buy though.

Would it be possible to use a SATA ---> USB 3 Caddy enclosure, so everything stays permanently in place and you're just swapping out drives?

Yowsers!

If I'm understanding this correctly it actually sounds quite interesting. Are you proposing a strap or sling that would alleviate arm fatigue in a hand-held (or, I suppose, chest rig) setup? Got a diagram?

Does anybody have any experience / info on the battery life of the GH5S compared to the GH5 and GH4. The GH4 has *insane* battery life, but the GH5 has significantly less, which we were told was largely due to feeding IBIS. How does the GH5S rate on that scale?

Any chance you could explain in simple terms what the difference between the two methods is?

The author admits that his resolution calculations are speculative. That won't have affected the outcome of his tests though.

I don't have time to go back and like all those posts, but just to let you know - I like all those posts!!!

One thing to note about Mitch Gross is that he's the *cinema* production manager at Panasonic, and as such has no responsibility for the GH5 or GH5S. I don't know what the context of that comment is, but I've very rarely seen him drawn into comment on the consumer range. He is someone who would likely know what they're talking about on this topic though. I believe he spent the previous while working for atomos on their recorders.

I don't think you do. Never used the codec, but as it's fully supported I imagine you can just import the files like any other format.

As far as I know ProRes is not supported in Windows via any properly licensed means. There are a few apps that convert or support it, but I don't think they use an official licence (from Apple) so it's all a bit dodgy.

No, I think you were right first time. It's ProRes that is difficult to implement on Windows, not QuickTime files themselves (which work just fine in Premiere). I'd learn about DNxHR flavours if I were you, as it is no longer just an Avid-facing format as far as I am aware. I use CineForm as an intermediate codec, which works very well for me, but would add a transcode to your workflow that you probably don't want or need.

I'm excited by the GH5S to the point that I'll probably pick one up this year. But one thing does trouble me a little... Somebody on here a while back (sorry, I have searched but I can't find the post) was ranting about the noise reduction leaving a soft, waxy image. I kind of dismissed this, as I'd seen, and am continuing to see, so much excellent footage from the camera. However, some of the images that I see that have been marked as being 6400 ISO and higher do seem to suffer a bit from that 'noise reduction smoothness look'. Any thoughts or experiences?

The original comment that I thought was debatable was that FF has more impact on picture quality than bit depth (8-bit compared to 10-bit); that's what I found contentious. But I do think it's become a bit of a derail at this stage.

I agree there's a dip. I've never done a side-by-side, but the little I shot, and watching others footage, I'd say you lose around a stop. BMPCC footage in Prores easily bests GH4 / GH5 for DR in my experience.

It's also based on my practical experience of using Sony, Panasonic and Blackmagic cameras over the past few years. There are definitely areas in which the FF bodies have had an advantage, but I'm convinced that people have become seduced by the 'bigger is better' hype, and lost all sense of objectivity. I hear and read people tying themselves in knots trying to convince that sensor size itself bestows advantages that it does not.

No, I'm quite happy to base my knowledge on industry stalwarts like Adam Wilt, thankyou. And confident in sharing his contributions with others. He's clearly a great deal better informed than your good self . I'd love to know what you mean by 'all else' in your phrase above? Surely you don't mean codec? There's plenty of footage from the BMPCC for example recorded on Prores (obv. not RAW) that still displays high dynamic range. You (and others) might have to revise your thinking a bit.

I'm picking up a point that @markr041 made about sensor size, which I'm interested in since it's relevant to this conversation about the GH5S, and particularly peoples' misconceptions of it. Join in, or don't - but don't tell me where to post.

There seem to be quite a few people here who are under the impression that some of the achievements of Sony's camera's, such as dynamic range, are due to the size of the sensor. DR is inherently initially a product of the sensor (retained or reduced during compression). That's why I pointed out the BMPCC's relatively tiny sensor's ability to produce wide dynamic range - it is not a quality inherent in full-frame sensor acquisition.

Full Frame does not confer more detail, or dynamic range. Low light sensitivity I'll go with. And DoF - but APS-C cameras provide more than adequate DoF options. There are some fantastically well-featured FF cameras about - but people seem to think that some of their features are a function of Full frame itself. This isn't the case. If you think that Full Frame = superior dynamic range then you should take a look at how the Blackmagic Pocket Cinema Camera performs in this regard as a starting point.