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Andrew Reid

Panasonic GH5 - all is revealed!

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How is the ghosting in Like709? This could be a great alternative to V-Log at high ISO. See page 175 of the manual to dial down the contrast of this profile using the knee settings.

I still can't believe that people aren't all over this profile. If I had my GH5 I'd be balls deep in the menu, massaging Like709's beautiful knee.

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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
1 minute ago, hyalinejim said:

How is the ghosting in Like709?

I will give it a try shortly. I am just a bit pissed because V-Log L is a paid license. And I need V-Log or something like it for what I do (I shoot HDR videos exclusively).

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24 minutes ago, hyalinejim said:

 If I had my GH5 I'd be balls deep in the menu, massaging Like709's beautiful knee.

Maybe I spoke too soon. Paul Leeming finds no difference in DR between CineD and Like709:

Quote

OK, so I've done a test of Cine-D, Like709 with knee adjusted to give maximum dynamic range, and V-Log. All done ETTR to normalise the highlights and let the shadows fall where they may. Thanks for the tip Mike :)

Dynamic range results, best to worst:

1. V-Log by about two stops.
2. Cine-D (just a bit better than Like709, but not by much)
3. Like709

Basically, with the knee control set to Point: 80 and Slope: 99 (showed maximal gains), it looks very similar in curve to Cine-D, only with a touch less dynamic range in the shadows. I mean, a really little bit of difference. I even wonder if Cine-D is just Like709 with those knee settings built in, but it seems a touch more refined. The whole Cine-D curve is slightly lifted compared to Like709, which is where I think the slight gain is coming from. I think in the real world you won't see much difference between the two when set up for maximum dynamic range.

V-Log is really in another class though, showing more highlight retention and even cleaner shadows!!

Based on the above, I will stick with Cine-D as the linear profile going forward.

https://www.facebook.com/groups/pansonicgh5/permalink/1688892324743802/?comment_id=1689255548040813&notif_t=group_comment_follow&notif_id=1490971906901837

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1 hour ago, zmarty said:

I will give it a try shortly. I am just a bit pissed because V-Log L is a paid license. And I need V-Log or something like it for what I do (I shoot HDR videos exclusively).

If it's a shared issue I wonder if they can fix via firmware. It would suck if it was hardware. Does anybody know about this? I guess it needs to be found out if others are affected.

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8 hours ago, zmarty said:

I can do even better than that, I will post test videos:

Natural: http://files.hdrcolorgrading.com/2017-04-GH5-Tests/natural.MP4

V-Log: http://files.hdrcolorgrading.com/2017-04-GH5-Tests/vlog.MP4

These are UHD 60fps, straight from the camera and untouched. The videos were taken seconds from one another. The only difference between them is the picture profile.

The natural profile has issues as well, but the V-Log problems are quite severe. I hope it's something really simple that I am missing.

I don't know the value of the ISO, I will try more detailed experiments tomorrow.

Yeah not good. I thought the Natural looked pretty good, but v-log, ehh, not so good.

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1 hour ago, hyalinejim said:

The key is that with the 709 profile you have to adjust the knee in order to get the extended dynamic range.

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36 minutes ago, Philip Lipetz said:

The key is that with the 709 profile you have to adjust the knee in order to get the extended dynamic range.

From the quote

Quote

OK, so I've done a test of Cine-D, Like709 with knee adjusted to give maximum dynamic range, and V-Log.

 

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14 hours ago, Hanriverprod said:

Some off the cuff comparisons between um4.6 and gh5.

Would like to see skin off different types of interior lights, wide and cu, and also mixed lights.

Interesting, GH5 seems to have a similar magenta tint that I see in GH4 stuff often. 

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it is quite awesome, that the losless tele converter now also works in 4K (in contrast to the GX80, sadly), so that users get a 1.4x crop which is nearly the same as having two focal lengths with just one lens. This together with the Summilux 12 as praised by @jonpais would make it quite awesome... Must resist.

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Hello,
I would need you help:

I tried today to get the ext. Telephoto to work in photo and video mode. Page 53 of the handbook. I followed all the steps and have assigned the function button to zoom, but whatever I do, it stays greyed out. 
I have no problem activating it in photo and video mode on the GH4 but the GH5 seems to need other settings. 

Can anybody help?

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32 minutes ago, jase said:

it is quite awesome, that the losless tele converter now also works in 4K (in contrast to the GX80, sadly), so that users get a 1.4x crop which is nearly the same as having two focal lengths with just one lens. This together with the Summilux 12 as praised by @jonpais would make it quite awesome... Must resist.

Convince Panasonic to make it variable like Sony does, that way you get a whole range of focal lengths with the one lens or use a fast prime as a zoom (12 1.4  zoom lens anyone?).     Wonder if they could do that via firmware?

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Technically it's not like like having 2 or 3 lenses. The characteristics of a 12mm zoomed 2x (in camera) is going to look different than using an actual 24mm. You'll get the same FOV but it's going to look different. Think about the scene in Jaws where they do a dolly out - zoom in. That would look entirely different if you were dollying out while digitally scaling the image.

 

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12 minutes ago, AaronChicago said:

Technically it's not like like having 2 or 3 lenses. The characteristics of a 12mm zoomed 2x (in camera) is going to look different than using an actual 24mm. You'll get the same FOV but it's going to look different. Think about the scene is Jaws where they do a dolly out - zoom in. That would look entirely different if you were dollying out while digitally scaling the image.

 

I have used the Sony variable zoom in my A7s with a few different lenses (including a 24mm 1.4 FD as well as an 85 1.2) for stills and video and in better hands than mine it can be very useful in video I think.      It also allows you to use smaller sensor lenses without vignetting sometimes with just a little zoom (1.1x or 1.3x might be enough).     That is more useful to me with a FF camera and APSC lenses but I think it would also be nice with some smaller than M4/3 lenses.    Of course with the A7s I also have an APSC mode and it works great with that too for even more range.

In video, it might be useful for example with macro distance subjects or to "zoom in" on a person or animal (or zombie's) eye or zoom out for a scene or zooming in/out with a product shot.

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1 hour ago, jase said:

it is quite awesome, that the losless tele converter now also works in 4K (in contrast to the GX80, sadly), so that users get a 1.4x crop which is nearly the same as having two focal lengths with just one lens. This together with the Summilux 12 as praised by @jonpais would make it quite awesome... Must resist.

Saw your film on Peru!!...beautiful!...I would say must not resist!:glasses::glasses:

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