Mmmbeats

I always use this HDMI cable in the camera so it never comes loose.
HDMI LOCK
 

"How do you define dynamic range?" is the question that underlies and undermines most of these discussions. We could measure it as the difference between maximum signal and the point at which signal:noise reaches 1:1 (how DXOMark measures RAW still dynamic range). We could decide that 1:1 is too noisy, and that "usable" dynamic range starts at 8:1 meaning 3 fewer stops of dynamic range. We could measure from any signal at all, adding one or more stops of dynamic range relative to the 1:1 reading. We could weight RGB in various ways, perhaps considering the beginning of dynamic range to be when any one channel starts to have signal and then terminating only when all three channnels are saturated (this gives the highest possible rating).
 
The ARRI linked pdf only tested out to 11.75 stops and didn't find dynamic range limitations, if I'm reading it correctly. It didn't test for the limits.

I notice no discernible difference between my GH5 and GH5S. Honestly, they seem about the same. I would not let battery life be a deciding factor. 

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). 
The new album (last I heard) was at No.7 in the official UK chart. 
I'm a big fan of what Panasonic has done with this camera. 
That said, the shining star of this video is the band. 
 

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

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

Its the distillation of my hardware Panasonic controller experiments from last year.
Self contained, internal battery, pocketable, magnetic base for mounting.
It acts as the central interface to the camera so can be used standalone to change settings or as the middleman to pass on commands from more ergonomic controllers for focus and aperture control etc.
And it actually sort of kind of works as well.

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.

Some observations:
The clip is obviously dropping frames. No doubt the SD card the person popped into the camera wasn't fast enough to keep up.
The clip was shot with a frame rate of 25P. I figured this out by interpreting the clip at different frame rates and at 25 the sound syncs perfectly with the picture. You can hear the clicks on the camera when the operator was changing the exposure. Each click should sync with a change in brightness of the picture. And this happens when the clip is playing back at 25P.
All in all a good showing.
 
 
 
 

Just thoughts from me... but I could be recognized for call because I provided somewhere earlier in forum my own test about similar achievable results between GH5s internal vs using Resolve's or Neat Video external NR intervention above iso 3200.
But everything above iso 3200 means, imo, anyways stepping into realm of subjectivity and matter of task: how much of losing image details - leaving aside how good or bad is camera's resistance against color shifting - somebody consider tolerable.
My conclusion is: GH5s has truly one stop higher margin of fully safe (details and color wise) lowlight capability for any professionally usage than GH5 - and that's impressive and really great, or, more precisely, that's a dream come true for all long time m43 users. Also, if someone is constantly in circumstances of shooting in dark conditions - GH5s also greatly save you time because of respectable but pretty aggressive internal NR.
Advance in color science, although obviously exists OOC is, as I see, quite incremental or marginal, and its visibility greatly depends of usage mastering and lenses - even mr Altiser in his lovely enthusiastic youtube presentation admit that he is little bit "picky" regarding color progress compare to GH5... I'd say that any sort of ode to somehow revolutionary GH5s color magic is little bit exaggerating and owe to hype for new nice instrument - I'm personally more fascinate with results providing by such connoisseurs аs @Sage or Juan Melara showing how close in results could be GH5x or other top-prosumers cameras to these of highend professional instruments.
Does all of that make enough reasons to prefer GH5s instead GH5 if you have to choose just one of them? For my needs - unfortunately not (although at the very moment I have great opportunity to exchange GH5 to GH5s + roughly 350e)... but, of course, for someone's else needs conclusion easy and fully justified could be contrary.
...
I'm just regretting not to have opportunity to test GH5s with Atomos recorders - bypassing internal NR algorithm.

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 differs from territory to territory.  i believe the GH4 sold for the EU market has the limitation, other models do not.  I also believe (from memory) that the GH5 is unrestricted in all territories.

Hey guys,
I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF.
The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. 
With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight.
For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738
I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35.
It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now.
However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely.
As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. 
I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this
Anyway, here are some pictures for those that are interested

 

Been playing around with the GH5s and hope to have some samples up soon. I will say one thing about VLogL. The vast majority of people aren't properly converting V Log into a proper Rec709 color space. Using a LUT in Premiere just doesn't fully cut it. If you go to Resolve and set your input gamma to V Gamut, and output to Rec709 Gamma 2.4, luminance mapping to 500 nits, and saturation mapping ON (min 0.9, max 1.0) you get a full range of DR to manipulate contrast/saturation in Rec709.

Yeah sometimes you loose the handheld feel

If I need to grade so much that Canon 8-bit clog doesn't hold up, then I need raw. 10bit mid codec wouldn't save me.
In my experience 8-bit from Canon can be pushed alot and looks gorgeous. 
I totally respect that people want a mid codec. Im not judging. Im just saying that for me personally it would never ever be needed and Im glad Canon did what they did. Hopefully they will do the same in more cameras so if I end up buying it one day, I won't have to pay extra for some prores license.

If the bottom codec is an 8-bit codec that admittedly looks great, but by it's very nature is going to struggle under heavy creative grading, and the top codec is a RAW workflow that is gorgeous, but slow and cumbersome, then yes, you need a middle codec for robust 10-bit goodness, when speed and creative flexibility are both of the essence.
I happen to take mellanmjölk with my cereal too. 

You want predictions, or wishlists? Its a bit early to make predictions I think, assuming it's still two years off. Who knows what could happen with the competition in that time. And hasn't Panasonic stated they'll be 8K-compliant by 2020? That could screw the whole thing up. Nobody wants a 32MP m4/3 camera.
Wishlists are fun though!
-4K60 at 4:2:2 10-bit, with an intraframe option (400-500mbps)
-ability to record four audio tracks, two from the XLR box and two from the 3.5mm jack.
-move both the 3.5mm jacks upward so they don't block the screen.
-a physical lock for the IBIS- a little lever or switch is fine, doesn't have to be servo-operated.
-internal NDs
-tilting EVF with an optional big eyecup
-focus punch-in while recording
-1080p output to the app
And of course improvements to ISO performance, VFR, AF, etc.
 
 

Sounds like a plan. I don't want to piss anyone off on here. I want people to learn new stuff. We are Not the experts on everything on here. I would argue that every Video on here that shows a test of the GH5s, or a DJI drone, etc. etc. is a link to a Blog, even people that are on here all the times Blog!
But I will stop, let things just go the way it has been going, and well, not sure.

I don't know if it's proper etiquette to post stuff from other forums here, so please forgive / delete as appropriate if it's not the done thing.
I thought this was a really good comment by a user on DVXuser (Thomas Smet) :
  I'm particularly excited about points 1 and 5.  I've mentioned lenses before, but I'm constantly wishing I could add more diffusion to LED lights, but until now there's been too much of a loss of output.

Well, as much as I admire your photography, I'm going to have to respectfully disagree with a lot of what you've said there.
Everybody prefers the quality of primes.  I shoot almost exclusively on them.  But that's not the only consideration.  When you're filming actuality that's changing fast in front of you, you just can't afford to faff around changing lenses.  That's where a good quality (and yes, that does mean pricey) zoom wins out.  Every time.
This comes down to the shot.  DoF is a storytelling tool like all others.  It works best when it is used with an awareness of contrast.  Shallow depth of field, after shallow depth of field, just starts to lose it's impact and meaning.  Mix it up a bit in keeping with the flow of the storytelling, is my preference as both a viewer and a shooter.
One thing I feel strongly is that super shallow DoF is destroying the relationship between the subject and their surroundings in a lot of short films I see online.
The main thing is that you should be able to make the choice based on your own creative interpretation, not just because you've run out of exposure options.
It's pretty easily demonstrable that most lenses are indeed sharper slightly stopped down (regardless of cost).  Having said that, I'm generally happy to shoot wide open on most lenses despite the slight difference.
Erm... that's exactly the thinking that's driving me towards the GH5s - it opens up more creative choices.
His comments apply to just about any LED panel or hard light out there (apart from the massive new 4 x 4 flexlights, or the really high output lights like the 300D or whatever).  Getting them to look nice and soft *and* retain a decent level of brightness is often a struggle.  I actually think this will be one of the biggest benefits of the system.

Funny that about 36 hours ago, even without camera to test, I had mention 3 stops seemed to me too much:
Here comes this one now:
 

Here something that Sean Robinson (Panasonic) said on Facebook, if it helps:
 

Here something that Sean Robinson (Panasonic) said on Facebook, if it helps: