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Panasonic GH5 - all is revealed!


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4 hours ago, kye said:

Of course, there will also be learning curves when: I pull footage into Resolve for the first time, I buy the V-Log update, I get the GHa package, etc etc etc... :)

Congratulation... I think that GH5, with its plenty of customization choices, offers also extremely simplified, a la "cinema camera"  solution for concentrating mostly on composition's tasks. Maybe as probably totally needless little suggestions that me personally like and use extensively:

- explore greatly effective ETC solution and set it to one of the button or mod

- try to shoot everything with HLG, because there's so little or nothing of settings to bother with (as with Vlog) and results are the best in DR (resolving shadows/keeping highlghts - besides it will work easy with GHa luts in post

- set button switch for two different ibis options, regarding "steady" (IS video lock) and "moving" stabilization goals (also you can set 3 different custom option for quickly change 3 focal lengths)

- As you already mention, @Sage approach totally  change not just "color science" and resulting look, but also, and more important, DR distribution  that greatly bring up usability of tonal range  (for my preferences, I like the most conversion to Alexa's log and than look for further grading if I really need it).

Regarding 4:3 open gate mode, it seems that there's less sharpening in it, but files are huge and demanding and have to be converted first even for the extremely powerful computers. Of course, for some difficult and unprepared compositions task, it could be life saver... but I'm sure you already guess it better than me.

For artistic inspiration - we are happy here to have some talented shooters with obvious open minded freedom and time to explore their talent, say @Oliver Daniel as first to come in mind.

For different orientation in professional spectre - If you did not already, maybe check infos and suggestions from that nice professional wedding shooter couple "White in reverie" - although their color preferences wouldn't be your first choice also, but they obviously are very serious in business and not joking at all preferring GH5 for its friendly and wide working flexibility/usability/durability. You have 2-3 more clips on youtube...

 

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"6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio" UM! That's what an anamorphic mode is - 4:3 Someone let our dear friends at Cinema5D know.

Here are some 1080 JPEGS from a music video that I shot with the GH5 + SLR Magic anamorphic primes.  

A couple of quick screengrabs from a recent Jazz concert I shot. I must say I was super impressed with the GH5 on this one - not only it recorded for 1h30m straight with no issues but it did so on one

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2 hours ago, anonim said:

Congratulation... I think that GH5, with its plenty of customization choices, offers also extremely simplified, a la "cinema camera"  solution for concentrating mostly on composition's tasks. Maybe as probably totally needless little suggestions that me personally like and use extensively:

- explore greatly effective ETC solution and set it to one of the button or mod

- try to shoot everything with HLG, because there's so little or nothing of settings to bother with (as with Vlog) and results are the best in DR (resolving shadows/keeping highlghts - besides it will work easy with GHa luts in post

- set button switch for two different ibis options, regarding "steady" (IS video lock) and "moving" stabilization goals (also you can set 3 different custom option for quickly change 3 focal lengths)

- As you already mention, @Sage approach totally  change not just "color science" and resulting look, but also, and more important, DR distribution  that greatly bring up usability of tonal range  (for my preferences, I like the most conversion to Alexa's log and than look for further grading if I really need it).

Regarding 4:3 open gate mode, it seems that there's less sharpening in it, but files are huge and demanding and have to be converted first even for the extremely powerful computers. Of course, for some difficult and unprepared compositions task, it could be life saver... but I'm sure you already guess it better than me.

For artistic inspiration - we are happy here to have some talented shooters with obvious open minded freedom and time to explore their talent, say @Oliver Daniel as first to come in mind.

For different orientation in professional spectre - If you did not already, maybe check infos and suggestions from that nice professional wedding shooter couple "White in reverie" - although their color preferences wouldn't be your first choice also, but they obviously are very serious in business and not joking at all preferring GH5 for its friendly and wide working flexibility/usability/durability. You have 2-3 more clips on youtube...

 

Thanks Anonim!

I've mapped the ETC and IS Video Lock to buttons.  That IS Video Lock is really great - I just tried it for walking and it does a really respectable job - almost gimbal-like movement, and in a couple of places perhaps even a bit floaty for my tastes.  Definitely something to reach for when I want more aggressive stabilisation, and of course, a static shot :)

I just setup HLG, but unfortunately it's not available in 4K60 or 180fps modes...  what would you suggest for filming slow-motion shots?  Cineline-D seemed to be the previous favourite?  I'm ok in Resolve to match shots ok, but getting it closer to HLG would be nicer :)

I think I like the GHa conversion more for the highlight softening than I do for the colour, and the colour is pretty darn nice.  I was contemplating a new thread about how much of 'colour science' is hue and how much is luminance, but that's another topic.

I have so much to learn and so much reading to do.  With the XC10 there was basically no-one talking about it and no support whatsoever, and now for the GH5 it will be a matter of sifting through the content to get the good bits because there's so much of it around!  Of course, better to have too much advice than too little, and I ingest information pretty easily, so it's definitely the problem I'd rather have.

I have done some tests with the 14mm 2.5 and all I can say is I can't wait until my other lenses arrive!  Neither the f2.5 or the MF ring of this lens are really floating my boat, but the IQ looks lovely, and I don't even have a 400Mbit capable memory card yet, so I've only played with 150Mbit files.

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Kye, I'm afraid I have not too usable advice about VFR modes - so far I'm not using slow motion for my needs, except very rarely 60p, and that just because of better stabilization or exposure controlling usage - saying that, as far as I know you can use HLG mod in 60p... But I'm sure Jon Pais have all answers.

As I already mentioned, I tend to treat any camera as much as possible as base cinema type with as low as possible bothering with settings - even thinking about AF buttons looks too complicated to me (besides being uninspiring)... Just set ISO and WB, HLG without bothering with lowering sharpening and NR and other settings, as often as possible just 24p, always MF lenses, etc. - sparing all precious time/concentration for evaluating composition of image. And enjoying/trying to master manual focusing precision... that's I'm always shooting with Atomos recorders and why level of smoothness and extremely precise linear focusing respond are, for me, the most important feature searched in lenses.

What I missed from BM cameras is corrective advantage of raw files. 10bit image of GH5 offer indeed great and enough flexibility in post, however you have to think about close-to-proper WB... but I tend not to think about anything, just about picture in front of me.

In GH5 you are safe up to iso 1600 although in dark conditions there are always some grains above iso 400 but it is very fine and often even desirable. BTW after all talks and personal testing, for me that's where finished GH5s difference - in GH5s you are safe up to iso 3200... of course, I'm talking about aesthetically and professionally most demanding shooting scenarios. Some kind of NR can spread range in one stop above respectively... Internal GH5s NR becomes too aggressive above iso 3200 and image, especially with humans, looks too cheap and plastic.

Color science... GHa is a little marvel of devotion and knowledge. Combine it with Resolve's precise grading instruments and you can mimic quality of look of any high end cinema camera for exporting in HD resolution. That's one of the wonderful example when progress in technical side of simulation capability (anatomy of color, digital achievements in providing its impressions) and person's know-how, beat market position. Yes, today you can shoot totally competitive movie with GH5, as also with Fuji XX or Sony A7iii or Canon-Mercer etc..

If you are UK located, I've found that Ex-Pro newer type of battery (those with bigger capacity) are perfect for replacing original one, as also for Sony battery for Atomos recorders...

(And in UK you can buy new GH5s for about 1850-1900e at the moment, GH5 for 1380, order Pocket 4K for 1350e...)

EDIT: As idea, if you already didn't find it - you can map all important settings just in joystick's positions! I don't know if it is possible with other cameras, but that's  so great for lazy persons like me...

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I will definitely use HLG for 4K25 10-bit.  Slow-motion modes are the question - HLG is only available externally for 60p or 180p but I don't use an external recorder so I must use an alternate picture profile.  @jonpais what PP would you recommend for 60/180p internal recording?  It seems like Cinelike-D was the favourite profile before HLG was released?

I think we have similar shooting styles @anonim - I want to configure the camera at home and then when I go out shooting I also want to be "sparing all precious time/concentration for evaluating composition of image" as you say :)

I am really looking forward to 10-bit images.  I found that 8-bit C-Log on my XC10 was normally fine, even to adjust WB and exposure in post, and I don't have as demanding shooting scenarios as you so I can be happy with more ISO noise and colour shifts, but extra bit depth certainly won't hurt :)

Also, how much difference is there between the 400Mbit and 150Mbit modes for 4K25 10-bit?

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9 minutes ago, kye said:

I will definitely use HLG for 4K25 10-bit.  Slow-motion modes are the question - HLG is only available externally for 60p or 180p but I don't use an external recorder so I must use an alternate picture profile.  @jonpais what PP would you recommend for 60/180p internal recording?  It seems like Cinelike-D was the favourite profile before HLG was released?

I've never shot 60p, so sorry.

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1 hour ago, kye said:

what PP would you recommend for 60/180p internal recording?  It seems like Cinelike-D was the favourite profile before HLG was released?

Also, how much difference is there between the 400Mbit and 150Mbit modes for 4K25 10-bit?

If you plan to buy GHa lut, there is conversion from CIneD to VLG and further easy workflow, so it seems logical to use CineD?... especially regarding correcting algorithm that @Sage makes in it to nicely tame greenish color shifting that polutes GH5 skintones image OOC.

For normal usage (without extensive motion demands or maybe greenscreening) I'd say there's no noticeable difference between 400 and 150 mbit modes. But 10bit is so convenient in disposal as still (strangely) unbeaten advantage of GH5, that I'd say it is the must to use it whenever is possible... Simply, avoiding of any banding/posterization in any non-extreme grading changes is fantastic - and such safeness doesn't exist in 8bit mode, even if final result may often look similar.

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4 hours ago, anonim said:

If you plan to buy GHa lut, there is conversion from CIneD to VLG and further easy workflow, so it seems logical to use CineD?... especially regarding correcting algorithm that @Sage makes in it to nicely tame greenish color shifting that polutes GH5 skintones image OOC.

For normal usage (without extensive motion demands or maybe greenscreening) I'd say there's no noticeable difference between 400 and 150 mbit modes. But 10bit is so convenient in disposal as still (strangely) unbeaten advantage of GH5, that I'd say it is the must to use it whenever is possible... Simply, avoiding of any banding/posterization in any non-extreme grading changes is fantastic - and such safeness doesn't exist in 8bit mode, even if final result may often look similar.

Thanks for this. As a newbie GH5 user, I'm learning a lot about Vlog / HLG / 10bit from this thread :). Anyone can point me to a good tutorial about shooting with the GH5 or should I just research on YT along the way and keep using it? Would be great if there's a video with workflow from shooting with 10bit HLG to grading on Resolve or Premiere :)

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1 hour ago, TurboRat said:

Anyone can point me to a good tutorial about shooting with the GH5 or should I just research on YT along the way and keep using it? Would be great if there's a video with workflow from shooting with 10bit HLG to grading on Resolve or Premiere :)

I think that there's not at all anything special in general about shooting with GH5, distinctive from any other hybrid camera... For specific settings in detail you may ask or search...

The same about shooting with 10bit HLG profile, once after you "normalize" footage to rec709 space. In Resolve it is possible weather using Driftwood's free "tecnical" luts while keeping common value "Davinci YRGB" in path Project settings=Color Management=Color space&Transform=Color science, or change that value to ""Davinc YRGB Color Managed' following with "Rec 2020 HLG" (somebody use 2100HLG) as Input and Timeline Color space, and Rec.709 HLG as Output Color Space in corresponding fields... Further you make grade changes as to your choice.

Or you could use some of the paid Luts... it seems that most appreciated are GHa by @Sage or those by Paul Leeming (One).

So, just to wish for you old good... happy shooting.

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1 hour ago, anonim said:

I think that there's not at all anything special in general about shooting with GH5, distinctive from any other hybrid camera... For specific settings in detail you may ask or search...

The same about shooting with 10bit HLG profile, once after you "normalize" footage to rec709 space. In Resolve it is possible weather using Driftwood's free "tecnical" luts while keeping common value "Davinci YRGB" in path Project settings=Color Management=Color space&Transform=Color science, or change that value to ""Davinc YRGB Color Managed' following with "Rec 2020 HLG" (somebody use 2100HLG) as Input and Timeline Color space, and Rec.709 HLG as Output Color Space in corresponding fields... Further you make grade changes as to your choice.

Or you could use some of the paid Luts... it seems that most appreciated are GHa by @Sage or those by Paul Leeming (One).

So, just to wish for you old good... happy shooting.

What do you think about this HDR workflow? https://www.mysterybox.us/blog/2018/1/8/panasonic-gh5s-hdr10

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Does anyone have any advice about using Focus Peaking on the GH5 with vintage lenses?

If I set it to Low then it isn't accurate enough, and if I set it to High then I think the lens is too soft for it to think anything is in focus, so it's not much help.

Any other focus assists I can use in-camera?  I know this is something that a good external display would help with, but it would make my setup too big so I'm stuck with the in-camera features.

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4 hours ago, jonpais said:

Monochrome Live View perhaps?

That helps a little, but I think it's the Peaking algorithm itself.

For instance, if I set the Peaking to High and put two objects the same distance from the lens, one with higher contrast edges and one without, and focus on them, I get the contrasty object with focus highlights and the softer one without.  If I was just trying to focus on the softer object without anything else nearby then the peaking wouldn't be any help.

If I set it to Low, then the peaking shows edges on the softer object, but unfortunately it will also show peaking on high contrast objects that aren't in focus as well, in the background perhaps.  Yesterday I went out and shot some test clips with my 14mm F2.5 and the peaking showed that the trees were in focus as well as the background but the footage shows the trees as being quite blurry and the background nicely in focus.

I suspect that it simply highlights if there is a difference between two pixels above a certain threshold, which will be true if a contrasty object is in focus, true if a very contrasty object is out of focus but has a blur that goes from light to dark, and isn't true if you have a soft object in focus (like skin).  Hmm...  I need faster lenses so the focal plane is shallower and therefore it's more obvious!

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46 minutes ago, kye said:

That helps a little, but I think it's the Peaking algorithm itself.

I discussed this at length about this a few months ago, and came to the same conclusion. Because even with my [insert brand here] ?, which has a lower resolution screen, peaking is easier for me to see. 

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Another question.

I just got my 256Gb Sandisk Extreme Pro UHS-I card and the GH5 stops recording in the 400Mbit mode saying the card can't keep up.  I tested the card in my computer and it gets a continuous 80+MB/s write speed with 5Gb files in the BM Speed Test program, so it should work fine in the camera (400Mbps is only ~50MB/s write, not even close to the 80MB/s it tests at).

I've read a bunch of websites and done some testing there's no indication it's a fake.

Anyone else had card speed issues?

 

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14 minutes ago, jonpais said:

Is the card v60? I read somewhere that if the card doesn’t have a v30, v60 or v90 rating, it can’t guarantee sustained read and write speeds. I could be mistaken though.

Edit: just looked it up. v30.

Yeah, it's the V30 one, with the 95MB/s speed.  

I just finished copying 190Gb of images onto it and then looked at a bunch of images to compare the card copy to the HDD and they all check out.  I'm satisfied it's not a fake.

I'm going into town today so will call past the camera place I bought it from and see if they have another high-speed card to try out.  Unfortunately that's the only fast card I have so I can't narrow down if it's the camera or that card, although the computer says it tests fine so that points to the camera.

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1 hour ago, kye said:

Another question.

I just got my 256Gb Sandisk Extreme Pro UHS-I card and the GH5 stops recording in the 400Mbit mode saying the card can't keep up.  I tested the card in my computer and it gets a continuous 80+MB/s write speed with 5Gb files in the BM Speed Test program, so it should work fine in the camera (400Mbps is only ~50MB/s write, not even close to the 80MB/s it tests at).

I've read a bunch of websites and done some testing there's no indication it's a fake.

Anyone else had card speed issues?

 

Had lots of write speed errors with Sandisk Extreme cards that I used. Went with Freetail Evoke and Prograde instead and never had that kind of problems.

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