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? 

4 minutes ago, Turboguard said:

So you say that when I paid B&H 1400USD it goes straight to BMD? I’m just curious, I would think that all vendors already pay BMD for preorder stock so they already have the initial funding. Say that B&H might get an overload of preorders and then give BMD even more money as result. Again, personally, I don’t think is preordering has given BMD a dime of our money (not as of yet at least). Just my 2 cents and I have no actual idea how this works. 

Again, Jonpais, you have to calm down. If people dislike the footage produced by a camera then that has nothing to do with your final product. They’re talking about the footage out of camera, not your personally graded and corrected footage. Jesus, calm down. 

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.

9 hours ago, IronFilm said:

I'll be very curious if come September if the Pocket and Micro Cinema secondhand prices will finally drop below US$500 (which is what the BMPCC used to sell for new!)

Total nonsense. 

Crowdfunding is to get money in before manufacturing starts.

While BMD won't see a penny of this prior to them being sold to the dealers 

 

 

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.

8 hours ago, Luke Mason said:

Trust me, I have my hands on some ProRes and DNG materials from the camera (acquired from NAB), it's clean af up to about 6400. Noise pattern is very pleasant fine grain, due to lack of compression obviously. The sensor is confirmed to be IMX294CJK, it's the STARVIS line from Sony Semicon with BSI design, originally intended for low light surveillance.

ProRes screenshot:

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

11 hours ago, mercer said:

To update a previous comment where I mentioned waveform. I had thought I read it on BH but apparently I read it in the Cinema5D article. There is no mention of it having waveform monitoring on the BH site and in the pictures it doesn’t show waveform as an option in the monitor menu, so unless Cinema5D is privy to information that we are not, then there is no reason to assume the Pocket II will have internal waveform monitoring.

With that being said, it does have false color and in my experience false color can be more useful for quick, on the fly, exposure adjustments. Ymmv.

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

20 hours ago, Mark Romero 2 said:

Glad you brought that up. I still seem a bit confused by the HLG workflow if outputting to SD

You just shoot in HLG profile and then is there a LUT for converting from HLG to rec.709??? Or is there more that needs to go into this?

And if so, do you need to use a whole different lut (and re-grade everything) if going to rec 2020???

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.

16 hours ago, Rinad Amir said:

Sorry if this has been asked but does it have waveform? Id be really happy as i always use it istead of Histogram 

It has false color though.

On 4/9/2018 at 2:36 PM, Snowfun said:

Has any other camera ever attracted this level of attention?

(except on reduser obviously)

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

10 hours ago, Andrew Reid said:

If Panasonic did a RAW and ProRes firmware update for the GH5S.... Wouldn't that be game over Blackmagic?

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!

31 minutes ago, TwoScoops said:

I was talking about the first video as far as cellphone, not the low light. Maybe I'm wrong but that video doesn't make me want to spend 2k+ on it. 

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

29 minutes ago, Cinegain said:

Panasonic just dropped a few clips:

 

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.

12 hours ago, webrunner5 said:

... I can't believe how many people here on a Video site are thinking of buying a Fuji X-H1 over a GH5s!

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.

3 hours ago, Emanuel said:

As simple as: avoid VLog on GH series. HLG is your friend, no reason to complain :-)

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.

2 hours ago, DBounce said:

Took some shots with the GH5S using the Tiffen BPM1/2. I feel this combination really adds something extra. It just feels more filmic to me. What are your thoughts?

 

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.

44 minutes ago, webrunner5 said:

I really doubt either camera even has 12 stops of DR at base ISO let alone 2500 ISO. In Raw Photo mode maybe, video nah. You have to be shooting Raw 12 bit, 14 bit stuff to get that high of DR. Even the 5D mk III in ML Raw is not getting 14 stops. BMPCC is 13 stops. GH5s Ain't got no 14 stops.

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

36 minutes ago, markr041 said:

I think the issue of the true DR of the GH5s compared to the Sony A7 iii is not as clear cut as you say. Highlight control is available on both Sony and Panasonic camcorders, so your overblown statement about rolloffs on Sony cameras indicates your ignorance of Sony cameras.

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. ?

28 minutes ago, markr041 said:

 ...I have Panasonic and Sony cameras too. The limited DR of the Panasonics make them not for serious use. And highlight rolloff is a setting in Sony cameras..

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!

7 minutes ago, markr041 said:

Here we go again. You want Pro DP's? cinematographers? Wedding videographers? Or just wannabees posting rude remarks on video forums? I think, by your posts, you need to know a lot more about a lot more than video.

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.

8 minutes ago, markr041 said:

You are correct. By world, I meant the world that matters here - serious videographers.

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