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Andrew Reid

Panasonic GH5 - all is revealed!

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16 hours ago, Andy Zou said:

So, what was the consensus here re: GH5S?  Worth it over the GH5?

Owned Gh4 since launch, the focus button at this point has had all its ink rubbed off, and the micro-HDMI port has taken a few tugs... but it's still going strong!

I could probably get rid of it for ~4-500, used GH5 on ebay is around 1100.  GH5S are 1700ish.

Often record Prores to external PIX-E5.  Mostly do web content, but wondering if jumping up to EVA1 or that bracket is worthwhile as well...

+1 for what @thebrothersthre3 said.

Think of them as different types of cameras.  That's why they sold them as part of the same range, the GH5s didn't replace the GH5.

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On 5/1/2019 at 8:54 AM, Video Hummus said:

I find this is more true with video than still photography. They are viewed differently. In a lot of cases the motion can help mask the noise problem to a point. With photos I find I’m generally looking around the photo for a longer period and will notice those noise details.

Totally agree. I think the single biggest feature Panasonic could add to the next GH camera is some sort of built in variable ND, electronic, or otherwise in a mirrorless ILC form factor.

If they can manage that and improve on the perceived weakness of poor ISO performance and low megapixels they will have a popular camera I think. I think most people that love and use the GH5 would logically upgrade to it since it solves some very common pain points. Please Panasonic, don’t be over zealous in protecting your cinema cameras. People buy those for different reasons.

I think this is what it comes down to for the GH6 - Panasonic has to continue to offer first-evers (or best evers) in the GH-series for them to continue to do so well in an increasingly full-frame world. GH5 did it with 4K 60fps, 4K 10-bit internal, and the best IBIS in the game (by far).

Now, more than 2 years later, some have caught up and the GH5 low light ability is starting to show its age. Internal NDs and low light ability are the two biggest for me.

Basically, just stabilize the GH5s sensor, throw in internal NDs, and try to get the megapixel count up to 24-26. Full V-Log would also be huge. Some f0.95 or more F1.2 primes to go with the 10-25mm f1.7 coming out would also be great.  

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12 hours ago, thebrothersthre3 said:

That said the GH5 captures more detail with its 6k sensor

So the downsampling on the GH5 from that sensor must be pretty alright then?

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7 hours ago, Andy Zou said:

So the downsampling on the GH5 from that sensor must be pretty alright then?

It is.  The 6K mode is technically 5K but it's really nice..  it's 4:3 so you can re-frame in post, it's h265 200Mbit which is equivalent to about 400Mbps h264 in terms of IQ and the 200Mbps doesn't require the super-expensive UHSII SD cards so it's cheaper, it has less/no sharpening added and looks really nice IMHO.

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17 minutes ago, kye said:

It is.  The 6K mode is technically 5K but it's really nice..  it's 4:3 so you can re-frame in post, it's h265 200Mbit which is equivalent to about 400Mbps h264 in terms of IQ and the 200Mbps doesn't require the super-expensive UHSII SD cards so it's cheaper, it has less/no sharpening added and looks really nice IMHO.

AND...

You can choose HLG.

Mine is always "stuck" in this mode.

Getting ready for my niece's chorus at the church tomorrow night...

 

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27 minutes ago, buggz said:

AND...

You can choose HLG.

Mine is always "stuck" in this mode.

Getting ready for my niece's chorus at the church tomorrow night...

Yes, HLG.  Too many advantages to remember all in one go!

Mine is also stuck in this mode.  C1 and C2 are both these settings except different pre-set focal lengths 😎😎😎

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On 5/6/2019 at 7:56 PM, kye said:

Yes, HLG.  Too many advantages to remember all in one go!

Mine is also stuck in this mode.  C1 and C2 are both these settings except different pre-set focal lengths 😎😎😎

This is better than using V-Log-L?

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11 hours ago, Andy Zou said:

This is better than using V-Log-L?

HLG has smoother tonal transitions. Some claim it has more dynamic range as well. 

From what I've seen its a bit harder to grade than Vlog. However you can always use a transform LUT like the Leeming Lut One. 

Its definitely a good option if you'd rather not pay for Vlog.

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I’m pretty sure Panasonic engineers have said HLG squeezes out a half stop more of dynamic range over V-LogL. I know HLG is not made to be a log capture profile but with something like the leeming lut that does a transform to Rec.709 you can have a solid base to work with and get some pretty impressive results out of HLG.

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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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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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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.

 

 

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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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