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Lumix GH5 Downloadable Footage


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After Effects CC 2016 so far has been the best approach for me.  Grade and export to DNxHR 10 bit or ProRes for edit.

31 minutes ago, markr041 said:

Can we please have some clarification about these files? I was under the impression that these downloadable files were straight from the GH5. But the inability to play or edit three of them (24p, 30p) in almost any player/editor (or the need to re-wrap) suggests that they are not straight from camera. More than one person has reported this, and we are not beginners at video. Can't work with them in Resolve, really? Some info please?

It's a pre production camera, there could be conflicting issues in metadata tags or any other number of strange issues that are normally worked out behind the scenes before a camera launches.  It's nothing new, just need to try and get your NLE/grading software of choice to do the update now. 

AE CC 2016 worked for me and it's what I use anyways.  Graded there for DNxHR 10bit files that Premiere chopped through.

Files are straight from cam.

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26 minutes ago, mercer said:

@Zak Forsman how do you find the files compare to the BMMCC or BMPCC proresHQ?

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips yesterday and today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

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7 minutes ago, Neumann Films said:

After Effects CC 2016 so far has been the best approach for me.  Grade and export to DNxHR 10 bit or ProRes for edit.

It's a pre production camera, there could be conflicting issues in metadata tags or any other number of strange issues that are normally worked out behind the scenes before a camera launches.  It's nothing new, just need to try and get your NLE/grading software of choice to do the update now. 

AE CC 2016 worked for me and it's what I use anyways.  Graded there for DNxHR 10bit files that Premiere chopped through.

Files are straight from cam.

Thanks. We and they certainly have enough lead time!

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10 minutes ago, Zak Forsman said:

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

Gotta take lenses into account.  I personally didn't HATE the Lumix lenses but would never actually use them day to day.  I want a little more funk/character in my lenses.

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2 minutes ago, Neumann Films said:

Gotta take lenses into account.  I personally didn't HATE the Lumix lenses but would never actually use them day to day.  I want a little more funk/character in my lenses.

Yeah, you're 100% right. I think we sometimes forget to take into account just how much our lens choices affect the perception of how any given sensor performs. I'm not completely writing off the GH5. I'll definitely revisit my consideration when the Anamorphic firmware updates are realized later this year.

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2 minutes ago, Zak Forsman said:

Yeah, you're 100% right. I think we sometimes forget to take into account just how much our lens choices affect the perception of how any given sensor performs. I'm not completely writing off the GH5. I'll definitely revisit my consideration when the Anamorphic firmware updates are realized later this year.

We currently have a 1.33x Anamorphot on a vintage Nikkor Ai-s and it's looking much less clinical.

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42 minutes ago, Zak Forsman said:

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips yesterday and today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

This is precisely the answer I was looking for last night, which asked if, based solely on the preproduction work we've seen so far, and disregarding the wealth of enhancements, would forum members upgrade to the GH5. My own answer would be that I will be getting the GH5, not for any improvement in image quality, but simply for things like the improved EVF and touch screen. 

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I tried a bunch of the IWLBTAP ones and ended up thinking that the Panasonic VLog to Rec709 LUT looks the best.

Having said that, I'll be getting Neumann's next version of VLOG LUTs when available.

11 minutes ago, jonpais said:

This is precisely the answer I was looking for last night, which asked if, based solely on the preproduction work we've seen so far, and disregarding the wealth of enhancements, would forum members upgrade to the GH5. My own answer would be that I will be getting the GH5, not for any improvement in image quality, but simply for things like the improved EVF and touch screen. 

I bought all the GH series cameras and I found them the easiest to use with their articulating screens, menu systems and custom controls.  

I missed that about them when I went to the BMPCC (horrible controls), Sony A7s (bad color), A6300 (bad color and overheating) and Samsung NX1 (no articulating screen and no support but otherwise excellent).  

Now that the GH5 has all that plus IBIS, 4K/60 and 10bit, I'm already in line with a pre-order.

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22 minutes ago, SuperSet said:

I tried a bunch of the IWLBTAP ones and ended up thinking that the Panasonic VLog to Rec709 LUT looks the best.

Having said that, I'll be getting Neumann's next version of VLOG LUTs when available.

I bought all the GH series cameras and I found them the easiest to use with their articulating screens, menu systems and custom controls.  

I missed that about them when I went to the BMPCC (horrible controls), Sony A7s (bad color), A6300 (bad color and overheating) and Samsung NX1 (no articulating screen and no support but otherwise excellent).  

Now that the GH5 has all that plus IBIS, 4K/60 and 10bit, I'm already in line with a pre-order.

I will say again, at the risk of repeating myself a million times: I have also owned five Panasonic cameras; they are supremely video-centric, and even the lowly G7 is capable of being used in productions: Panasonic could have released these upgrades incrementally over a period of years; that they packed so much into a camera at this price point is nothing short of miraculous: but codecs and bits aside, the color science of the GH5 is still unmistakably Panasonic. And since I can still dream, my ideal camera would be a GH5 with something like the X Trans sensor.

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1 hour ago, Zak Forsman said:

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

Didn't know you had the 2.5K BMCC? I have the GX85 and the IBIS is pretty astounding... so it combined with the 10 bit 1080p is the most appealing to me. But the GH5 won't be in my price range for a year or two... so a BMPCC will have to do... I am not upset in the least btw.

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