Lux Shots

Well the title pretty much says it all. It seems the latest trend is dual ISO and Red is now jumping onboard.
 

Well a Panasonic has had it on the Varicams for years... so yes.

Where are you seeing the noise? It's surprisingly very clean from what I've experienced. Especially at the native ISOs.

Last time I had one of my GH5Ss outside it was plenty bright. To the point where I couldn’t see my external SmallHD monitor which is daylight viewable. There was snow, grass and lots of sunlight. I recorded in VLogL and had no trouble getting good highlight roll-off. Have you used this camera? The ‘S’ might look like the GH5... but they are very different cameras. 

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.

Even a GH4 would work. They are pretty cheap now.

It's not only  GH5, people are forgetting there is also the GH5s option. I would rather go for that right now.
Depending of the use of course, but when you do video, for semi pro or pro work, you need a lot of recording time. The bulk of our job is to record something, be it a live performance, a sports performance, reality TV, long documentary takes etc. Even the NX1, a 4 years camera can do 78min continuous take.
If I was in the market, and split between the a6500 and this, then definitely this camera wins, I would go for that 11 out of 10, but if anyone wants a workhorse video camera, the GH5 and S are so far ahead that it isn't even close. There is also the option of the A7Sii, it seems it is coming down in price while it will go further down when the III comes. 
I do not see a lot of people buying this, mostly Fuji users that do a little bit of video, I am not sure how big of a market share that is, maybe something like 0,5% of total ILC sales. The good thing, is that it maybe pushes Sony to make a real PRO APS-C camera.

If your primary use is long form video then get a GH5  

For me... the 15 min. time limit is not a big deal. Most of my takes and cuts are within a couple of seconds, max. 10 to 15 of dialogue, but nobody has the attention span to watch something in one single angle and/or one scene for 15 min straight.
Man... the GH5 & GH5S really ruins things.... I come from a more modest background.... remember the good old days? lol... that wasn't even that long ago....
Canon 5D mark 2 - had only 12 min recording limit.... remember that?
It only had 1080p at 8 bit 4:2:0 too
This is definitely a huge departure from that....
Not anywhere close to the GH5/GH5S though.
I have to agree with Jonpais that since this is advertised as a more video oriented camera it's a little let down... However... in my eyes... this is a true hybrid the photography aspects don't outshine the video aspects and vice versa. Whereas in the X-T2 and in fact, all their cameras... photography is primary use... video is an after thought.
I might get 2 of these.... one for myself and secondary one for the wifey.... depending on what else is on the market by the end of NAB 2018. I might even wait till photokina 2018 (is it a photokina year?). I will definitely have to wait for some reviews.... 
Hey Andrew.... please review this camera!
 
 

So :
- no 4k50
- no 10bits (Meanning FLOG is useless)
- recording time limited (one battery for 20mn in FHD ? Really ?)
Not for me

GH5s is used on Season 3 of Frontier TV show for some low light scene. 
 

Yeah but 10 to 12 stops is pretty damn good to be honest. A lot of older cameras are at 8 stops, 8.5 stops. You have to figure pretty much the finial output to Rec. 709 is going to Only be 7 stops!
If you go down to the bottom of the page it shows the DR of a lot of cameras. And Anything we can afford to buy is lucky to be 12 DR tops.
https://wolfcrow.com/blog/where-cameras-stand-in-dynamic-range-film-vs-digital/

The world is not heading to full frame... The world is heading to smartphones with sensors that are on average  about 1/2.5". DOF will be handled with tech similar to what Lytro has... which btw was purchased today by Google. 

Hahahahahahaha... LOL. I'll remember  this  every time I watch a video that shows the crap highlight rolloff (fall off) of those 8 bit Sony cameras. I have Sony, Canon and Panasonic  for video Panasonic is all around best. For stills Canon rules the  day. Sony is ok, but with no weather  sealing it's not really in the same league for serious use.
 

Just arrived

I recently did a test with the GH5s + Speedbooster Ultra and Ursa Mini Pro (Super 35). They were nearly identical. Actually the GH5s might have been ever so slightly wider FOV.

Shot this one and put a real gritty/grungy CG.  Still shooting for max cinematic feel from this camera.  Feedback welcomed.
 

Pictures or it never happened! I guess Links on here apply.

(This is a repost, as the other post was labeled RAW GH5S footage, which the GH5S clearly can't do real RAW )
Here is some rather uninteresting video I shot at night with varying ISO ranges so users can do test grades. It's way too cold right now on Ohio to do anything artistic! Most of the footage is in V-Log, but some is in HLG. Video 6 was shot in ISO-4000 even though I said ISO-400.
Video also contains 150Mbps 10-bit and 400Mbps 10-bit samples.
I've noticed the HLG videos can be pushed past IRE 100 in Premiere Pro CC, so that may be a good format to try and create an HDR H.265 export from premiere.
https://drive.google.com/folderview?id=1BPHKWVRXA8ynNSQCCBaLuB9hZ4fxgpB8
Happy Grading.

I should have known better that this was going to spark a my camera is better than your debate. 
Don't get caught up in specs. If you've taken a good shot, its a good shot regardless what camera took it. The horse goes before the cart here. 
There's nothing inherently better about full frame in the context of good or bad photography. If that were the logic, then simply owning a medium format camera would make you the "best" photographer in the land.
At the end of the day crop factor is entirely arbitrary when you speak in terms of talent and message. The differences in field of view to shallow depth of field ratio is physical, but not creatively insurmountable.
A lot of clients hear things said about this or that camera, but don't really know or understand the difference between them. All they know is that their buddy had a recent shoot and the photographer used XYZ camera and they liked the result and thought it looked professional to them. What they don't realize (because they are uneducated) is that in the right hands there's a bunch of other cameras that could also deliver this. In other words, it's the photographer not the camera.
The camera simply captures the frame. But what is your frame communicating? 
 

100% with you here! Exactly how I feel. With video, I'm much more confident in my opinions and work since I have more experience. Photography, I'm more prone to insecurity, but that will change with time. 
On another note, photography is a whole lotta fun. Similar in some aspects to video, but different enough to make it interesting. I feel like doing both keeps each discipline from feeling stale..... and not worrying about audio is a DREAM sometimes.

The only reason I don't own one is that I own a GH5S. I've used the GH5 for a number of jobs, I just don't do stills often enough to consider it for my work.

Here is some rather uninteresting video I shot at night with varying ISO ranges so users can do test grades. It's way too cold right now on Ohio to do anything artistic! Most of the footage is in V-Log, but some is in HLG. Video 6 was shot in ISO-4000 even though I said ISO-400.
Video also contains 150Mbps 10-bit and 400Mbps 10-bit samples.
I've noticed the HLG videos can be pushed past IRE 100 in Premiere Pro CC, so that may be a good format to try and create an HDR H.265 export from premiere.
https://drive.google.com/folderview?id=1BPHKWVRXA8ynNSQCCBaLuB9hZ4fxgpB8
Happy Grading.

lol come on, you've never shot a sky or a wall with a subtle shift in light intensity across it?
banding exists in all 8bit footage

We just had an interview graded with the director of a big franchise release that was shot on an A7RII in SLog. Producer says he was surprised because this shooter was supposed to bring an FS7. The interviewee was wearing a black shirt that was reflecting some purple/pink gelled light (the movie has a vibrant color palette) but the shadows were a disaster because of this. Noise, no tonality, just crunchy garbage. There was also a skin tone issue with a lack of tonality between yellows and pinks. Colorist did what he could to clean it up. Keep an eye open for an HBO First Look debuting in a week to see what i mean.