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GH5 Prototype


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19 hours ago, zetty said:

I don't see anyone, who cared about audio would record through any mirrorless' ADC/preamp. And even if they did, GX85 could be a great B cam which makes absence of common profiles even more regrettable. It's smaller and cheaper than G85.

IMHO it's also better suited for Guerilla shooting. Far less conspicuous than the G7 or G85, and obviously than the GH4. And most of the tech on the G85

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14 hours ago, AaronChicago said:

Noise and resolution look better for sure. I'm not sure about the highlight roll off though. Look at the specular highlight on the marble. The GX85 looks burnt. Maybe it's a more contrasted picture profile?

 

They're both set to Natural 0, 0, 0, 0. WB 6000 K and the same lens. No color correction. Even with the same settings the GX85 is a little brighter so maybe that have something to do with it? In that video the WB is almost spot on with the GH4, whilst the GX85 is very different although they were both set to 6000 K. 

After making a few comparisons I agree with you that the GH4 has slightly better highlight rolloff and yields a more pleasing image (less contrasty), especially with Cine D and off course V-log. On the other hand when I actually used the cameras it was easier for me to achieve better results with the GX85 due to new color science and noise performance.

If the GH4 sensor wasn't so noisy I wouldn't have sold it as I really liked that camera! When the GH5 finally arrives with the best of both +++ I will upgrade as soon as possible and probably keep that camera for years to come. 

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On 9/29/2016 at 10:17 AM, zetty said:

I don't see anyone, who cared about audio would record through any mirrorless' ADC/preamp. And even if they did, GX85 could be a great B cam which makes absence of common profiles even more regrettable. It's smaller and cheaper than G85.

Having mic & headphone jack is still worthwhile for those ultra lowbudget or ultra fast turnaround jobs, or even just simply so you can stick a little shotgun mic on the camera and get better scratch audio for syncing than use the camera's own microphone.

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2 hours ago, IronFilm said:

Having mic & headphone jack is still worthwhile for those ultra lowbudget or ultra fast turnaround jobs, or even just simply so you can stick a little shotgun mic on the camera and get better scratch audio for syncing than use the camera's own microphone.

True, but if you're going for a hackjob might as well just watch the levels or turn on the limiter.. As about scratch track, I have been able to sync easily even with subject being quite far from the camera (mind you, only manually though) -- under really windy conditions though it might become a problem.

But what are we even talking about here :)
I agree, it's better to have the mic jack, all I am saying it's certainly far from a defining feature or deal-breaker for me.

Now, the new GH5 hotshoe audio interface looks really promising, as it seems to feed camera directly with already digitized data. Is the standard hotshoe capable of data transmission like that? If so, it could potentially work on GX85 too, perhaps with a firmware update?

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On 10/1/2016 at 2:47 AM, Fredrik Lyhne said:

If the GH4 sensor wasn't so noisy I wouldn't have sold it as I really liked that camera! When the GH5 finally arrives with the best of both +++ I will upgrade as soon as possible and probably keep that camera for years to come. 

Is low light noise going to be better on GH5 than G85 given the higher pixel count? I almost wonder if I'd prefer the cheaper 16MP camera?

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8 hours ago, wolf33d said:

Indeed. http://www.43rumors.com/ft5-confirmed-via-trusted-sources-the-panasonic-gh5-has-5-axis-stabilization/#disqus_thread

Now let's see about the AF. If it as usable video AF then that's going to be a BEAST.

I also believe it will have PDAF and impressive AF in video. Just a strong gut feeling  (clairvoyance, perhaps).

I hope they improve the quality of their RAW on their photos.

The greatest advantage Panasonic has over Sony is price and reliability. Now it needs even better sensor (atleast .5-1 stop better), PDAF, atleast 1 stop better lowlight than the G7/ GX85/ G85, and good Video Autofocus features.

I should get off online camera forums. They just cause GAS.

Technology doesn't make good filmmakers. Working does. Technology is inspiring and encouraging at best. 

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I just finished watching the TCSTV review of the FZ2500, and think it's quite generous of Panasonic to offer things like V-log and 4K 10-bit 4:2:2 out to HDMI, when they could have reserved those features for their flagship model. And they include internal ND, which Sony inexplicably removed from their RX10 III. So what's all this got to do with the GH5? Well, first, I like Panasonic's business model. Second, I only got a glimpse of Jordan's grading of the V-Log clip in the segment, but it looks quite good, especially when we're talking about a 1-inch sensor. While I installed V-Log on my GH4, I've never used it, for one thing because I rarely find myself shooting in contrasty lighting, secondly, because I didn't want to go through the hassle of purchasing an external recorder. If it was possible to shoot V-Log internally on the GH5 without the artifacting issues that affected the GH4 (unless hooked up to an external recorder), that might convince me to try it out.

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I've seen it at an event two weeks or so ago. It seemed a whole lot bigger than the FZ1000. Then again, they needed to house the filters, the barrel extends just once and then changes in zoom and/or focus allows for internal movement only. This seems more of a camcorder, maybe a 2nd shooter or for documentary kind of stuff. Still, it looks very videoey. The sensor size is kept in check in order to provide a zoomrange like that. Too bad they went from the FZ200 with f/2.8 throughout (yeah, I know it has a smaller sensor, but the RX10 (original) did f/2.8 with a 1" sensor too) to a 20x zoom that goes from f/2.8 to f/4.5. So... it's all about having sufficient light. The dynamic range on the FZ1000 was nothing to write home about, that really killed it for me. Also, it made a lot of noise from stabilization and lens operation. Hope those things are a thing of the past now with the new FZ2500, unfortunately my attention went to the E-M1 Mark II hands-on, so I didn't really check into it that much. I think its application is vastly different from that of the GH5 and the 1" sensor is a bit of a struggle. I did find the FZ1000 to be a very good superzoom/bridgecamera for stills and the occasional video, but you'd only really want to use it in broad daylight or well lit locations. The dynamic range... the lens' sensitivity... it's just not as flexible as you'd want. And you've seen that V-LOG L footage, I thought it was pretty much awful there at ISO800, so you'd be limited to ISO400 with that f/2.8-4.5 lens. Dunno. I'm more excited for a LX200. 4/3" sensor. Sensitive glass (as a trade-off for zoom). I hope they'll also give it some treatment to make it more of a video shooter. Would pair up nicely with the GH5.

Looking forward to the GH5 with latest and greatest hardware and better integration of the GH4 FW-added modes and improvements. I remember Aaron's topic/video when first using V-LOG L. Almost looked Blackmagic-like. With better sensor performance, readout, processing and internal 10-bit with the GH5, things are looking pretty promising. Fingers crossed.

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6 minutes ago, Cinegain said:

I've seen it at an event two weeks or so ago. It seemed a whole lot bigger than the FZ1000. Then again, they needed to house the filters, the barrel extends just once and then changes in zoom and/or focus allows for internal movement only. This seems more of a camcorder, maybe a 2nd shooter or for documentary kind of stuff. Still, it looks very videoey. The sensor size is kept in check in order to provide a zoomrange like that. Too bad they went from the FZ200 with f/2.8 throughout (yeah, I know it has a smaller sensor, but the RX10 (original) did f/2.8 with a 1" sensor too) to a 20x zoom that goes from f/2.8 to f/4.5. So... it's all about having sufficient light. The dynamic range on the FZ1000 was nothing to write home about, that really killed it for me. Also, it made a lot of noise from stabilization and lens operation. Hope those things are a thing of the past now with the new FZ2500, unfortunately my attention went to the E-M1 Mark II hands-on, so I didn't really check into it that much. I think its application is vastly different from that of the GH5 and the 1" sensor is a bit of a struggle. I did find the FZ1000 to be a very good superzoom/bridgecamera for stills and the occasional video, but you'd only really want to use it in broad daylight of well lit locations. The dynamic range... the lens' sensitivity... it's just not as flexible as you'd want. And you've seen that V-LOG L footage, I thought it was pretty much awful there at ISO800, so you'd be limited to ISO400 with that f/2.8-4.5 lens. Dunno. I'm more excited for a LX200. 4/3" sensor. Sensitive glass (as a trade-off for zoom). I hope they'll also give it some treatment to make it more of a video shooter.

I agree about the lens, but I've gone on and on about how much I dislike variable aperture zooms already, no need to wear everyone's ears out. Even if it meant a slightly larger body, I wish the GH5 had built-in ND filters. Chris demonstrates how the lens barrel doesn't change length when zooming, which he says means you won't have to rebalance every time you change focal length if used on a stabilizer,  but I'm not so sure about that - after all, the lens elements are still moving. I own the G Vario 35-100 f/2.8, and while the barrel doesn't extend when zooming, when I change focal lengths, my gimbal needs rebalancing. I should double-check that though, since it's been a while. And while Chris says at the conclusion that this camera is for everybody, I'd say 'except for filmmakers'. But still I always enjoy watching their reviews. 

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Well, the LX100 doesn't have a constant aperture throughout either, I still find it a lovely camera. I don't do zoom-ins/-outs. I just treat it as multiple focal lenghts in one... so for convenience sake of not having to swap lenses. Want to change the framing/focal length? Do like on an interchangeable lens camera. Stop recording, get something that has the focal length/field of view you're after, adjust settings accordingly to get the proper exposure and hit record again. Might be a little slower than just zooming in and knowing you're good, but I'm a slow kinda guy. No rush, no stress. Admittedly not very run 'n gun, though.

True story about the weight shift, you still have internal movement. Didn't understand why he would say that either to be honest.

This camera might be great for some... I've heard some voices of people who want to use it as a 2nd camera to a Panasonic GH and in certain conditions it might be a great pair. Great as an all-in-one travel cam too. But for filmmaking, I think this doesn't really cut it. It's roughly the same price as the G80 w/ 14-140mm, which I think would make a nicer option.

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