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Andrew Reid

Panasonic GH5 - all is revealed!

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Don't know if this has already been posted or not, but V-Log L for the GH5 is already up for pre-order. Better get yours in now; remember the last time, they were on backorder. Backorder - for a slip of paper with a number on it! :):) 

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16 hours ago, Arikhan said:


@jonpais

Motion cadence: That's probably one of the reasons, your Pana shots look so "filmic" - there is not much motion in your examples and that's why we (the audience) percieve the footage as filmic...it could be the feeling of a great motion cadence in these "chilled" shots...They look somehow like "slow motion"...

Somewhat off-topic. I grew up with film, shot in Super 8 since I was 8, a pun I was aware of at my birthday, life-determing, my Rosebud. I shot 16mm B&W and developed the footage myself. I was a projectionist for many years, it's like my pulse is tuned to 24p ... - but I never understood what is meant by motion cadence (not a language issue, in german it's Kadenz). But I see that there is something special about jonpais' shots. I think you partly nailed it down by "chilled" and "slow motion".

16 hours ago, Arikhan said:

@Axel
Another reason could be the asiatic skin tones matching much more better the Pana colour science than shots with "pale europeans"....

;-)))

Or that asians generally radiate more patience than Europeans or Americans. And that jonpais reacted to that in his static tripod shots. He observes patiently.

16 hours ago, Arikhan said:

I forgot something very important he adviced me too..."When filming motion, try to move!" he told me (moving the camera). If the subject walks away from the camera, try to move in same direction or change the bearing and move towards the subject. This would affect considerably the motion cadence feeling of the audience in lack of a "epic cinema camera" with a "native motion cadence feeling".

 Too cryptic. I quote my favorite director, who put it more simply: If I know WHAT I'm shooting, I know HOW to shoot it. jonpais portraits people, they are his subject. If I shoot action, the natural impulse is to follow it, "track" it.

15 hours ago, jonpais said:

I should add that the reason I never used the Sigma 50mm f/1.4 is that no matter what I tried, I couldn't hold it steady with the GH4. Now that I've got the G85, it's ready for prime time. :) 

On-topic again: what is all this stuff about in-camera-stabilization, Dual-IS and so forth? Yes, I understand that with the FoV of a 50mm on MFT it's more difficult to shoot handheld. But then, these techniques didn't exist before and people managed to hold their cameras steadily nonetheless. It's a matter of an ergonomic rig and training. No?

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6 minutes ago, Axel said:

On-topic again: what is all this stuff about in-camera-stabilization, Dual-IS and so forth? Yes, I understand that with the FoV of a 50mm on MFT it's more difficult to shoot handheld. But then, these techniques didn't exist before and people managed to hold their cameras steadily nonetheless. It's a matter of an ergonomic rig and training. No?

It's a problem that only came up when cameras got smaller and lighter.

They don't have a lot of inertia anymore and thus require an active effort to be keps steady,

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7 minutes ago, marcuswolschon said:

It's a problem that only came up when cameras got smaller and lighter.

They don't have a lot of inertia anymore and thus require an active effort to be keps steady,

Okay. So if I'd use a passive adapter or a not-stabilzed lens or both, this 5-axis-stabilizer won't work?

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3 hours ago, Axel said:

Okay. So if I'd use a passive adapter or a not-stabilzed lens or both, this 5-axis-stabilizer won't work?

The G85 will work with non-stabilized lenses as well as with Metabones plus lens. I'm not familiar with passive adapters. Stabilization works fine with my Nokton 17.5mm f/0.95 and the Sigma 50mm f/1.4. Before buying the G85, I tried using a shoulder mount with the Sigma, but my results were too shaky, and I had all but given up on ever using it again, save on a tripod. IBIS is simply incredible. And as far as I can tell, it matters not whether you have Dual IS or just IBIS. I went ahead and shot a food vendor with the G85 this morning, with both the Leica Nocticron and the Sigma Art 50mm f/1.4. Apologies for the colors: the two lenses both have great color, but I still don't know how to color correct, and I didn't want to spend the next three days trying to match the shots. 

Music by Eric Matyas

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@jonpais

Again beautiful shots with balanced colors and without exagerated shallow DOF (obsessive "bokehritis" of many representants of the current filmmaker generation), though you are using fast lenses. Very natural...I've read on your website, that you worked for livetime in imaging production and processing after bachelor and master...Your experience and professional education becomes evident in your shots...Refreshingly well composed people and face studies out of the cam of an unagitated, modest person consistently working on his skills...We all could and should work on our technical and filmic skills, but pure taste and "feeling" is something not everyone has...
To be honest, I am stoked and never thought before there could be images out of a M4/3 camera arousing my interest. Thank you!

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22 minutes ago, Arikhan said:

@jonpais

Again beautiful shots with balanced colors and without exagerated shallow DOF (obsessive "bokehritis" of many representants of the current filmmaker generation), though you are using fast lenses. Very natural...I've read on your website, that you worked for livetime in imaging production and processing after bachelor and master...Your experience and professional education becomes evident in your shots...Refreshingly well composed people and face studies out of the cam of an unagitated, modest person consistently working on his skills...We all could and should work on our technical and filmic skills, but pure taste and "feeling" is something not everyone has...
To be honest, I am stoked and never thought before there could be images out of a M4/3 camera arousing my interest. Thank you!

Thanks so much, Arikhan, but I feel a bit like Chance in 'Being There': I really know very little about filmmaking. I'm hoping to take some classes soon so I can learn about scriptwriting, editing, lighting and directing.

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Thanks gain. To be honest, I couldn't tell which one was better. As for slight differences in colors I know I will have the same problem with normal adapter and speedbooster, even if I use the same lens. Perhaps I will buy one of those color charts. With this, I could batch-match all shots with ease as well in FCP X (with CFP) as in Resolve.

I really can't believe you when you say you can't color correct. Compared to grading, CC is science, and simple, no rocket science. Use the scopes, you don't have to trust your eyes. If you tell me what software you use, I can perhaps link to good tutorials.

Was this a simple adapter, not speedboosted?

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1 minute ago, Axel said:

Thanks gain. To be honest, I couldn't tell which one was better. As for slight differences in colors I know I will have the same problem with normal adapter and speedbooster, even if I use the same lens. Perhaps I will buy one of those color charts. With this, I could batch-match all shots with ease as well in FCP X (with CFP) as in Resolve.

I really can't believe you when you say you can't color correct. Compared to grading, CC is science, and simple, no rocket science. Use the scopes, you don't have to trust your eyes. If you tell me what software you use, I can perhaps link to good tutorials.

Was this a simple adapter, not speedboosted?

This was the Metabones Speed Booster XL for Canon. I left early this morning to go out shooting; had my obligatory two cups of coffee; and while I was at the coffee shop, I realized that with the Speed Booster, the camera was flashing a big red 'no stabilization'. I had to go back home and download the update, and all was good. I was thinking of getting the X-Rite Color Checker, but it's going to cost me almost $150.00 USD in Vietnam, so I have to dwell on it a bit.

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2 minutes ago, jonpais said:

This was the Metabones Speed Booster XL for Canon. I left early this morning to go out shooting; had my obligatory two cups of coffee; and while I was at the coffee shop, I realized that with the Speed Booster, the camera was flashing a big red 'no stabilization'. I had to go back home and download the update, and all was good.

Hm, the Nikon version is dumb, wonder whether this would work with the GH5 then. Or should I buy EF-lenses? Without manual focus ring?

5 minutes ago, jonpais said:

I was thinking of getting the X-Rite Color Checker, but it's going to cost me almost $150.00 USD in Vietnam, so I have to dwell on it a bit.

A makeshift manual solution was to record the same, er, colored chart with both lenses and then match one visually to the better looking one. You could save this correction for future use as a base (just off-the-cuff, don't know if this works). I would have bought such a chart long ago, I just know I'm too lazy to carry it around and place it everywhere as soon as the light changes.

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1 minute ago, Axel said:

Hm, the Nikon version is dumb, wonder whether this would work with the GH5 then. Or should I buy EF-lenses? Without manual focus ring?

A makeshift manual solution was to record the same, er, colored chart with both lenses and then match one visually to the better looking one. You could save this correction for future use as a base (just off-the-cuff, don't know if this works). I would have bought such a chart long ago, I just know I'm too lazy to carry it around and place it everywhere as soon as the light changes.

I guess Brian Caldwell would be the one to ask, or maybe one of our readers has the answer. I'm half-expecting to have to buy another adapter when the GH5 is released anyhow. I tried using 'match' in the modify tab in FCP, but I didn't like the results - the one shot I tried turned yellow or something. I lug around a 3.5Kg tripod with me practically every day, so maybe a color chart wouldn't be so bad. :) 

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7 minutes ago, jonpais said:

 I tried using 'match' in the modify tab in FCP, but I didn't like the results - the one shot I tried turned yellow or something.

Yep, match doesn't match. Would be too easy. 

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On January 12, 2017 at 6:49 AM, jonpais said:

Yes, I've seen it, and it's given me a whole lot of heartache. Not the comparison itself, which is enlightening, but with a couple of forum members who seemed to be using the test to show what a horrible camera the G85 is. At least, that's how I felt at the time. The takeaway for me is that Tom Antos feels that all the cameras tested can be used successfully by serious filmmakers. I shied away from CineLike D in the past because when the GH4 was released, Dave Dugdale made a video (to the best of my recollection) that showed that it produced an orange cast, so I stuck with Natural because that was what people like Denver Riddle of Color Grading Central recommended for use with their LUTs. Now Dan Watson over at LearningCameras.com is encouraging me to try CineLike again, saying that perhaps it doesn't have the orange cast of the GH4. One advantage of CineLike with the GH4 is that it doesn't necessarily require an external recorder to get good results (to the best of my understanding, 8-bit produced some splotchiness with V-Log). Actually, some of the best colors I've seen yet from the GH4 were with V-Log, for example, one of the camera reviews over at TCSTV was shot in V-Log, and I thought it was one of the best-looking episodes they'd ever done. Anyhow, now that I'm trying to get an image that requires little knowledge of all the intricacies of color grading, going back to a flat profile would mean opening Pandora's box again (not sure if that's the right analogy). But I think I did promise to test it out, so...

@jonpais...I would highly recommend that you take a look at the Leeming LUT for cine D...he also includes a settings manual as well as a careful exposure instruction and a VlogL lut for an external recorder..the LUT is just designed to get you to a gradable place but I find its all I ever use...and then grade from there

 

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On 1/12/2017 at 8:37 AM, Axel said:

Thanks again. Then I won't buy the 30mm, because gimbal bumble is the only time to switch to AF for me. I already know. I will (again) make the camera "ENG-style":

> put a big soft eyepiece on the excellent EVF, like I did with my GH2 (Zacuto replacement part, € 16):

Zacuto-Muschel-1.JPG

> instead of a rig-diculous rig, I'll buy a grip like this:

Proaim-Grip.jpg

> I'll re-buy only one lens for the start: the Sigma 18-35 f1.8 for Nikon G. For Nikon, because then I get a MB speedboosted manual aperture ring, which I find more intuitive. And I am used to the direction of the focus ring.

> I'll buy two adapters: Novoflex MFT<Nikon. This makes the Sigma a 36-70 @f1.8 (FF equivalent). Then a Metabones speedbooster (don't know which one works yet, don't know how much stops it will boost), with, say, crop-reducing by 0,7 I would have the Sigma be ~ 25-50mm and faster than f1.4.

> for a small AF lens, I am not sure. They all seem to shout 'sterile video'! Might then be the cheap and very light 14mm pancake, or should I really spend $1500 for Leica Summi-something?

 

 

On 1/12/2017 at 10:18 AM, jonpais said:

I hear you about MFT lenses screaming 'sterile video', but I've seen some nice stuff with them, even the f/2.8 lenses, so it's probably more about lighting and stuff than the lenses themselves. I think the Leica Nocticron is worth every penny, but I did get a hefty discount, or I would never have considered buying one.

 

would love to know where to source a grip such as this

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10 hours ago, jonpais said:
1 hour ago, Tim Fraser said:

would love to know where to source a grip such as this

You mean this?

https://www.proaim.com/proaim-camera-hand-grip-with-wrist-strap.html

But I saw the same thing from various manufacturers. 

1 hour ago, Tim Fraser said:

 

would love to know where to source a grip such as this

https://www.proaim.com/proaim-camera-hand-grip-with-wrist-strap.html

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Hi all, a quick question about region locking on Panasonic cameras...

In B&H website, both NTSC and PAL framerates are listed for GH4 and GH5 but if I recall correctly, GH4 is region locked and is not switchable, right?

for other newer models, the actual model numbers are different.

So do you guys think that GH5 will be the same as GH4? and is there a code serial or model number that clearly distinguish the two regions? I mean the region is probably mentioned on the box, but is there a way to know which region a camera is from the name/code/serial that websites list?

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1 hour ago, sina_html said:

Hi all, a quick question about region locking on Panasonic cameras...

In B&H website, both NTSC and PAL framerates are listed for GH4 and GH5 but if I recall correctly, GH4 is region locked and is not switchable, right?

for other newer models, the actual model numbers are different.

So do you guys think that GH5 will be the same as GH4? and is there a code serial or model number that clearly distinguish the two regions? I mean the region is probably mentioned on the box, but is there a way to know which region a camera is from the name/code/serial that websites list?

I got my GH4 from amazon.co.uk and it can switch without problems I don't think that pana will block this in GH5.

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