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Panasonic GH5 - all is revealed!


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You can also use HLG without a LUT, which I do.

As I have never use Vlog, I can't say how hard or easier it is to grade, etc.

Though, I have no problems using it Resolve.

Captured from another forum:

"Yes, HLG is available with 6K anamorphic mode.
In another note, besides Paul's excellent HLG LUT, you can also use HLG natively with Resolve 14 for Rec 709 delivery:
- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space
In this way I am getting quite similar results - I haven't compared color accuracy, etc, but in general both look georgeous.
Paul's LUT has the advantage that it can be used when the project is not color managed in this way, so you can mix and match footage"

 

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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

Posted Images

27 minutes ago, buggz said:

You can also use HLG without a LUT, which I do.

As I have never use Vlog, I can't say how hard or easier it is to grade, etc.

Though, I have no problems using it Resolve.

Captured from another forum:

"Yes, HLG is available with 6K anamorphic mode.
In another note, besides Paul's excellent HLG LUT, you can also use HLG natively with Resolve 14 for Rec 709 delivery:
- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space
In this way I am getting quite similar results - I haven't compared color accuracy, etc, but in general both look georgeous.
Paul's LUT has the advantage that it can be used when the project is not color managed in this way, so you can mix and match footage"

 

You can also use the Colour Space Transform OFX (CST) plugin to access the Resolve colour management profiles listed above, but on a clip-by-clip basis like the LUT.  However, the CST doesn't clip the levels like the LUT does, so it's a more flexible option.  

I use the CST plugin exclusively because it offers the best of both worlds.

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18 hours ago, buggz said:

You can also use HLG without a LUT, which I do.

As I have never use Vlog, I can't say how hard or easier it is to grade, etc.

Though, I have no problems using it Resolve.

Captured from another forum:

"Yes, HLG is available with 6K anamorphic mode.
In another note, besides Paul's excellent HLG LUT, you can also use HLG natively with Resolve 14 for Rec 709 delivery:
- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space
In this way I am getting quite similar results - I haven't compared color accuracy, etc, but in general both look georgeous.
Paul's LUT has the advantage that it can be used when the project is not color managed in this way, so you can mix and match footage"

 

This is nice to know. I’ve been using resolve more and more. I prefer this over the transform LUT.

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7 hours ago, Video Hummus said:

This is nice to know. I’ve been using resolve more and more. I prefer this over the transform LUT.

If you properly expose and all your clips are from the same camera then setting RCM in the project settings is the easiest option for sure :) 

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3 hours ago, dbp said:

First live event today. Some interviews and then some B-roll during a graduation ceremony.  The IBIS is really a game changer, more than maybe any other feature/camera support system I've ever used. The IS-Lock is incredibly handy.

 

 

The IS lock feature is amazing and can replace a tripod for a lot of situations.

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4 hours ago, dbp said:

First live event today. Some interviews and then some B-roll during a graduation ceremony.  The IBIS is really a game changer, more than maybe any other feature/camera support system I've ever used. The IS-Lock is incredibly handy.

This is why I disagree when people try to compare the GH5 to the P4K - they are different types of cameras.  Funnily enough, the GH5 is a video camera, and the P4K is just what the name says - a cinema camera :)

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1 hour ago, kye said:

This is why I disagree when people try to compare the GH5 to the P4K - they are different types of cameras.  Funnily enough, the GH5 is a video camera, and the P4K is just what the name says - a cinema camera :)

That's why the P4k can't replace my GH5 - but maybe a future GH6 will replace the P4k......

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59 minutes ago, Shirozina said:

That's why the P4k can't replace my GH5 - but maybe a future GH6 will replace the P4k......

I agree that the P4K can't replace my GH5.  I doubt the GH6 will replace the P4K for everyone, maybe some people will, but one of the big appeals of the P4K is RAW and there's a big difference between 400Mbps 10-bit All-I h264 or 200Mbps 6K h265 mode and the higher bit-depth crazy bitrates of RAW or edit-friendly Prores files.  The GH6 may well be a beast, but I doubt it'll have full RAW in-camera.

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34 minutes ago, kye said:

I agree that the P4K can't replace my GH5.  I doubt the GH6 will replace the P4K for everyone, maybe some people will, but one of the big appeals of the P4K is RAW and there's a big difference between 400Mbps 10-bit All-I h264 or 200Mbps 6K h265 mode and the higher bit-depth crazy bitrates of RAW or edit-friendly Prores files.  The GH6 may well be a beast, but I doubt it'll have full RAW in-camera.

There's not such a big difference between the  400Mbps GH5 codec and the P4k RAW - depends how much you want to bend it in post or how much you need to recover mistakes in capture. Yes the RAW is better in a lot of respects but the 400mbps is also very good

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  • 2 weeks later...

I know this is more of a, we like GH5 video, which is good, and you may not like his presentation, I do, but it is an excellent breakdown of the strengths and weakness of all the manufacturers out there that interest us for video, and photo. It is long as hell, but well worth the view when you have the time to see all of it..

 

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15 minutes ago, webrunner5 said:

I know this is more of a, we like GH5 video, which is good, and you may not like his presentation, I do, but it is an excellent breakdown of the strengths and weakness of all the manufacturers out there that interest us for video, and photo. It is long as hell, but well worth the view when you have the time to see all of it..

 

it is too long and difficult to undesrtand for me

Does it say anything about xt3 vs gh5?

thanks

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1 hour ago, stefanocps said:

it is too long and difficult to undesrtand for me

Does it say anything about xt3 vs gh5?

thanks

Skip more toward the last 1/3 of the video for most of the comparisons. He just mostly states the advantages and weakness of all the cameras. But that is to me a good thing. He is not doing a I got 6 cameras and this is the result thing. It is all verbal. So it might not be too ideal for you.

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Had another gig where it saved the day. Fast paced interviews in a cafe, followed by B-roll in a kitchen. Tight, cramped, not much time to shoot. They only wanted 1080p, so I could easily bounce between a few primes with regular and ETC mode, all 10bit V-log. Steady handheld even with a 60mm sigma in ETC. 

 

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15 hours ago, mercer said:

I tend to shoot chronologically and “edit” in camera, so can you set up a custom setting where you have “C2” set for 60p on the 2nd card slot while you have 24p set to “C1” on the 1st card slot?

Unfortunately, it appears not.  I just changed it from 1->2 to 2->1 and saved it to C2, turned camera off then on again, and now C1, C2, and C3 are set to 2->1.  I did the opposite and they all changed back to 1->2, so it looks like that setting is global, not part of the custom profiles.

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