Lux Shots

Here is a post on DVXUSER that shows the GH5S beating the C500 in highlight roll-off. Very interesting! http://www.dvxuser.com/V6/showthread.php?359026-GH5s-dynamic-range-tests/page3

Well, it's hard to say. Netflix does have 4K HDR content, and it looks fantastic depending on the show. This is mostly due to the differences in the HDR grade from one show to another. Also, Netflix needs a minimum of 30Mbps to stream HDR, and if you can't maintain that then you get a pixelated mess. I believe Netflix and YouTube both are fairly good in 4K, but I give the win to YouTube because they even support 8K. I think the biggest benefit to investing in HDR 4K Blu-Ray is Netflix and Amazon routinely switch content. So you may want to see something you like and they up and removed it because it wasn't popular. Another thing I like about the disk is the extra content that you can't get from anywhere else, even though most times its not HDR.

Yes, and on an HDR TV, which makes a big difference.

You can send all kinds of data over a HDMI 2.0 port. The standard already has support for Ethernet over the cable, so no reason they can't send RAW. The problem is which part of the hardware of the GH5S is doing the HDMI out. Is it the FPGA? The processor? A dedicated ASIC?

It depends. A juggernaut in the retail camera space like B&H may get a line of credit in the form of net 30 or net 60. So if you pay B&H $1400, $1200 goes to Black Magic. So let's say B&H sold 100 cameras in pre-order. They will probably get a shipment for 120 and they will owe B&H the cash on the 20 in 30 or 60 days.

Bullshit! I've done this in the past, it's a perfectly acceptable way to fund manufacturing cost. You spend your capital on R&D, then you do pre-orders to fund initial manufacturing. One of the more difficult things to predict with a new product is demand. If you overestimate, you'll tap available cash flow which can be painful. If you underestimate, per unit cost are higher and lead times longer because you have to wait to get a slot for a new run. Pre-orders takes care of both of theses. Just order 20% more than your protests and that will be a good first production run.

Have you compared this footage to some properly captured GH5S footage? I'm very curious how they compare?

Yeah, I'm a big false color user myself, and I wish Panasonic added that to my GH5S.

When I grade HLG footage from the GH5S, I simply enable High Dynamic Range in Lumtri, and then set my HDR White Point and HDR Speculars by the waveform. Then I export in HEVC, HDR, Rrec-2020. It has false color though.

The GH4. This was the first 4K camera at a enthusiast price point.

It's funny you said that Andrew! I think Panasonic needs to do this to sell a single GH5S after the BMPCC4K release!

$1295? This is CRAZY!!! The GH5S is in serious peril! They will be forced to offer ProRes RAW as an add-on.

I tried this for the first time a few weeks ago. It wasn't as clear to use as I expected, and I initially struggled with getting good results. On narrative works, it's a real charm if the actors can hit their marks. But hey, if the actors can hit the damn tape on the floor, then it's time to hire new actors!

I know right! Good thing I spent my $2500, before watching these videos or I might have had second thoughts! /s

I know this is dangerous territory, but it seems like Panasonic's videos lack some production value compared to Sony's. Saying this being a spoiled American, completely understanding that in other parts of the world, creating something with minimal gear is a challenge all it's own; but it seems like the results are just a hodge podge of stuff thrown against the wall, with a hasty edit (that first video was horrid) on top of a music bed. It's very clear the Panasonic is a technology company and Sony is a media juggernaut. There is no wow factor for a camera that is such a magnificent tool to elevate it to its proper status. They should just pay Filippo Chiesa and Romspod? money to slap the Panasonic logo at the end off their fantastic works of art and they'd be much better off.

Quick test in HLG, edited in 21:9 timeline. Original files available upon request.

Yeah, this is something I quite don't understand. The m43 Pocket Cinema camera is born with Varicam lineage and in this forum it's crickets! But to even contemplate the X-H1 without having a serious investment in Fuji glass is really baffling to me. And I've really tried to get the fascination with it, oh I've really tried. I've watched the videos explain how you have to fumble through the menus, how the camera maxes out at 20-30 min of footage (or less sans battery grip) and the battery life is close to last generation Sony's. The only thing to rave about is the color. And with a few hours in Lumetri, DaVinci or Final Cut we could dial in something damn close for whatever cam we have. So it must be nostalgia. A reminder of simpler times, when the smell of developing fluid awakened the senses in anticipation of the images to come. I just can't give it a pass, and the only thing that can make the X-H1 anymore mediocre than it already is, is the GH5S.

I must confess, that HLG really is something to behold. I have a small sample clip rendering right now!

I haven't done any extensive testing on this point, but I know it depends on the profile you shoot on. I did a test where the GH5S was shooting a very high dynamic range scene. Very well lite industrial garage at night. I blew out most of the highlights in V-Log, but I was able to get some of it back in HLG.

The grade is not my cup of tea. Maybe it's a tad under exposed, maybe it's the vignette , and the color on the second grade has too much green/orange for my taste. With that said, I can tell the edge has been taken off by the Pro-Mist filter.

Yeah, this ^! In addition, your luma may be in tack, but the chroma is DOA. I'm busy prepping for two separate shoots for two different customers and two different locations this Saturday. But I will try to do a proper dynamic range test with the GH5S on Sunday.

Check out this post. It ain't even at the native ISO!! http://www.dvxuser.com/V6/showthread.php?359026-GH5s-dynamic-range-tests&highlight=gh5s+dynamic

I don't own or have used a video camera (camcorder, they still use that term?) from either company, so I'm not certain of any differences between them. I don't recall making overblown statements about Sony. This thread is about the GH5S, which I own so felt I had valuable information that I could contribute. Nevertheless, you have distinct beliefs in my inability to offer any useful information. So for the well being of everyone, let's simply not interact on this forum in the future. ?

And that's where the Dual Native ISO in the GH5S shines! Dynamic range is the maximum at the native ISO. By the time the Sony's get to ISO 2500, their DR has dropped from 14 stops to 12. That's slightly under the DR of the GH5S at the same ISO. And Panasonic also has highlight roll off control curve, but you knew that already because you have Panasonic's too right? It does come in handy! Mark, I'm not trying to be rude. But when you say videographer, I think ENG and I bet most everyone else does too. No matter your predictions, I doubt that'll happen. If so, why haven't they moved those cams up to at least m43 or APS-C by now? Discussions are one thing, heated debates are welcome, but insults will simply remove me from the conversation.

Videographers? You mean the ones using 2/3" sensor ENG cams? Okay, this response tells me all I need to know mate ?.