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Panasonic GH5 - all is revealed!


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Well sad to say video bits is the new MP race. Not that many people are savoy on Video Speak. But it is now, it is in the forefront on all the web with the GH5 ads. Canon has stayed with 8 bit even on the newer C100 series cameras also. So I see your point, but there has been a lot of bad press on slog 3 falling apart on the A7s because it is Only 8bit.

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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 minutes ago, Dimitris Stasinos said:

No one asked for it before gh5's announcement.

Oh plenty did ;) 

3 minutes ago, Dimitris Stasinos said:

As Axel said XAVC codec is badass and the only reason for a prosumer camera to have 10 bit codec is to have room in post for correcting color issues. 

Well, they should at least add 10bit output for those who need it, cause slog2/3 with 8bits/channel sucks. 

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5 minutes ago, Dimitris Stasinos said:

XAVC codec ...You can easily correct the "zombie" effect on the skin tones that a7 series give in post, but good luck with orange flat skin tones of a g7 ( this is exactly where a 10 bit codec shines).

You know the truism it's not the camera. I add another: it's not the codec. The colors of my old 7D were gorgeous, and they could be color corrected (in the happy days when I just color corrected and not dabbled at grading) without falling apart with a very primitive H.264 codec.

And you are right, it's easy to make the Sony colors look acceptable. It's impossible (in 8-bit) to make them really good. Will GH5's 10-bit allow this? I hope so. What I suspect is that they can be corrected to look as acceptable as A7x. Unfortunately the 10-bit footage available so far doesn't focus on skintones.

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@Axel and @jonpais

We were talking yesterday about AF on Pana devices...I had some months ago the dvx200 (GH4 sensor size, cropped 4/3 sensor) in my hands and have talked yesterday to someone using the new Pana HC-X1 (the same sensor and image processing like UX90 and UX180 - all these cameras are 1") for some weeks now. There is something I'm wondering about:

Tapping focus on DVX200, Pana HC-X1, etc. leads to perfect focus transition without any hunting or wobble - same focusing accuracy like on current Sony devices. Trying to do this on current consumer devices (eg GX85, G85, etc.) ends in some cases in focus hunting. I believe, Panasonic could do a better AF on consumer cameras, if they would want to...But apparently they want to offer exact focusing via AF only on their more expensive camcorders...

Take a look at this short demonstration, it corresponds exactly to my experience...

Honny soit qui mal y pense... ;-)

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6 minutes ago, Don Kotlos said:

Oh plenty did ;) 

Well, they should at least add 10bit output for those who need it, cause slog2/3 with 8bits/channel sucks. 

Of course and I am sure they will do this. i consider Sony slog2/3 as "Extreme". Sony has an exaggerated perception of what "flat" means. Slog3 is inarguably an overkill and I don't know if even 10bits are enough. What other companies call flat, Sony calls it standard. It took me over a month to built a "Canon like" ,or "Non zombie" profile on my FS700 and this with extreme settings...Of course 8 bit is not enough for this. I am only playing with cine gammas and have found the sweet spot between DR and codec efficiency.

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21 minutes ago, Dimitris Stasinos said:

How many of the Pana fanboys out there have actually tried to work on a 10bit file really?

BMPCC, BMPC and UM4,6k ProRes in log. Apply the official rec_709 LUT, some minor adjustments (CC, not grading) - e voilá! : really, really great skintones, many nuances. This isn't raw, it's ProRes (pre-production footage):

Is it the codec? I don't think so. It's the color science of the camera. I dare say with the 400mbps Intra update the codec will be on par with ProRes. Did you know? ProRes422 is 400mbps @ 2160 25p - and it's a less efficient codec!

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18 minutes ago, Axel said:

BMPCC, BMPC and UM4,6k ProRes in log. Apply the official rec_709 LUT, some minor adjustments (CC, not grading) - e voilá! : really, really great skintones, many nuances. This isn't raw, it's ProRes (pre-production footage):

Is it the codec? I don't think so. It's the color science of the camera. I dare say with the 400mbps Intra update the codec will be on par with ProRes. Did you know? ProRes422 is 400mbps @ 2160 25p - and it's a less efficient codec!

I am a big fan of BM's image. Indeed, nice colors & DR on that video. I hope we can get something close to this in camera through h264 one day... Will gh5 be that tool after Summer's firmware updates? I wish....400 Mbps h264 is indeed a killer spec.

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28 minutes ago, Axel said:

BMPCC, BMPC and UM4,6k ProRes in log. Apply the official rec_709 LUT, some minor adjustments (CC, not grading) - e voilá! : really, really great skintones, many nuances. This isn't raw, it's ProRes (pre-production footage):

Is it the codec? I don't think so. It's the color science of the camera. I dare say with the 400mbps Intra update the codec will be on par with ProRes. Did you know? ProRes422 is 400mbps @ 2160 25p - and it's a less efficient codec!

This image does not pop at all. I'm thinking it's not the camera, but lighting. It just seems kind of flat. 

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48 minutes ago, Dimitris Stasinos said:

I am a big fan of BM's image. 

Me too. You know what? If the GH5 had these colors and DR, I was willing to pay those ~ 7000-8000 € (an Ursa Mini with shoulder mount, battery, EVF and cards). I don't like the Ursa Mini for it's size and weight, price is secondary here. Since I've sold everything related to MFT long ago, the GH5 would cost me over 4000 € anyway ...

48 minutes ago, Dimitris Stasinos said:

I hope we can get something close to this in camera through h264 one day... 

The right profile, the right settings, a color chart, some post. Then close enough, I'm sure! Can't turn 12 stops into 15 stops of course. You'd have to use some old tricks, bounce the shadows or ND the windows, whatever.

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1 hour ago, Arikhan said:

@Axel and @jonpais

We were talking yesterday about AF on Pana devices...I had some months ago the dvx200 (GH4 sensor size, cropped 4/3 sensor) in my hands and have talked yesterday to someone using the new Pana HC-X1 (the same sensor and image processing like UX90 and UX180 - all these cameras are 1") for some weeks now. There is something I'm wondering about:

Tapping focus on DVX200, Pana HC-X1, etc. leads to perfect focus transition without any hunting or wobble - same focusing accuracy like on current Sony devices. Trying to do this on current consumer devices (eg GX85, G85, etc.) ends in some cases in focus hunting. I believe, Panasonic could do a better AF on consumer cameras, if they would want to...But apparently they want to offer exact focusing via AF only on their more expensive camcorders...

Take a look at this short demonstration, it corresponds exactly to my experience...

Honny soit qui mal y pense... ;-)

 

Well, that's basically the advantage of the lens and focusing system on traditional video cams.

Possibly the only reason, as well as good IS, that lots of us still use them in the field.

No finicky DSLR or mirrorless AF systems to worry about :]

 

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4 minutes ago, Arikhan said:

@Eduardo Portas

Is there a technical explanation therefore? Are the fixed lenses on classical cameras/camcorder better "adjusted" for the camera AF system than any "loose lenses" for interchangeble lens cameras (aka DSLR), or is this because of economical consideration of Pana trying to protect their "professional camcorder" product line?

Yes. I believe it's the combination of a par focal lens and a dedicated zooming mechanism.

Panny has some PZ lenses that you can mount of their mirrorless cameras for a similar effect.

I'm sure other forum members can give us a better reason, though.

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1 minute ago, Kisaha said:

Whoever believes that a camera that shoots in high iso saves them a proper lighting setup and/or a crew, haven't really understand what is going on.

Photography, is "writing of light", not the lack of it.

There are many situations and many types of productions that don't have the luxury or (more importantly) time to use lights.  Documentary, live events, weddings, news, etc etc.

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3 minutes ago, Kisaha said:

Whoever believes that a camera that shoots in high iso saves them a proper lighting setup and/or a crew, haven't really understand what is going on.

Photography, is "writing of light", not the lack of it.

I think people are prone to think like that initially, but realize the error of their ways.

That said, provided ratios are maintained, high iso does at least let you use less powerful lights, which can be handy at times. 

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I am no DP, and every time I am working with a proper one I am just stunned; what they can do with a couple of Dedos is just remarkable.

These days I am working with a 56 years old DP with a C100markII, the most we went today was 2000ISO for just one shot, even though we had 5 hours inside wine cellars and the such. All the rest was base ISO (850). In most of the shots I would have used at least 1-3 stops higher ISO, and the result would have been worst.

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Excuse me band, excuse me pub, excuse me patrons but would you mind if I used video lights throughout your song?

From time to time someone does bring in a video camera/camcorder with light and it is REALLY annoying (just like using flash every shot).

Some venues have great stage lighting too and that is what I would prefer.        My ISOs can range from something like ISO 400 to 80,000 with variable stage lighting so it isn't just high ISO.

Living in Paradise

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