GH4 GH5 at CES 2017 to be shown at 10am January 4th !

TheDingo said:
If you open the link on YouTube you can then select 4K 60p as the playback format. ( meaning it was uploaded to YouTube as a 4K 60p video )
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Perhaps I need a pro version of YouTube, because when I open the video on YouTube on my 5k iMac, the maximum resolution available is 1080p/60. And "stats for nerds" also only shows 1920x1080@60.

Perhaps someone could post a link with the higher resolution.
 
stoneinapond said:
Perhaps I need a pro version of YouTube, because when I open the video on YouTube on my 5k iMac, the maximum resolution available is 1080p/60. And "stats for nerds" also only shows 1920x1080@60.

Perhaps someone could post a link with the higher resolution.
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It depends on the browser you are using. All the browsers on my PC show 2160P60 as a choice. I am viewing at 1440p60 as I do not have a 4K monitor.
 
DLD said:
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I can confirm the 2160p60 option appears for me.

Plenty of Youtube comments are asking if it was shot on GH5 but so far Hammond hasn't responded, even though he has responded to other comments.

Footage looks good to me. He says the lenses were two 42.5mm f1.2 for the close ups and one 12mm f1.4 for the wide. So did Panasonic really give him 3 pre-production GH5s just for this podcast teaser?
 
Benjobe said:
So did Panasonic really give him 3 pre-production GH5s just for this podcast teaser?
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Given the secrecy surrounding the release (and I witnessed it first hand) I'd say it was doubtful that Panasonic sanctioned a release of footage so close to the official announcement. And since the gentlemen is supposedly a Panasonic ambassador, I doubt he would break embargo. The clip does hint at something being shown at CES, and my feeling is that could be the new footage.

Just my thoughts.
 
Also, in the comments, he says that he used the Natural picture profile. If he were shooting a secret teaser for the GH5 then one would hope that he would shoot V-log in 10-bit mode to demonstrate the superiority of the GH5 over the GH4.

I will say that the color, sharpness, and shallow DOF of those 42.5mm Lumix lenses looks fabulous. The footage is almost too detailed for close ups. I would have put on some diffusion, either the real-on-the-lens type or the fake-NLE-filter type.
 
Benjobe said:
Also, in the comments, he says that he used the Natural picture profile. If he were shooting a secret teaser for the GH5 then one would hope that he would shoot V-log in 10-bit mode to demonstrate the superiority of the GH5 over the GH4.

I will say that the color, sharpness, and shallow DOF of those 42.5mm Lumix lenses looks fabulous. The footage is almost too detailed for close ups. I would have put on some diffusion, either the real-on-the-lens type or the fake-NLE-filter type.
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Some people happen to really like the Natural profile, especially if they don't want to have to deal with log. Log isn't for everybody and sine this is a podcast I would assume they didn't want to mess around with the grading and just have a really nice out of the box look to what they shot. Makes perfect sense to me.
 
Thomas Smet said:
Some people happen to really like the Natural profile, especially if they don't want to have to deal with log. Log isn't for everybody and sine this is a podcast I would assume they didn't want to mess around with the grading and just have a really nice out of the box look to what they shot. Makes perfect sense to me.
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Oh yes I agree. I use the Natural profile a lot precisely because of those reasons you pointed out.

My point was directed more towards the debate over whether this podcast was shot with pre-production models of the GH5, in which case I would hope that the filmmakers would exploit some of the new features of the camera, namely the 10-bit internal recording coupled with V-log (because the biggest complaint IMO against V-log from GH4 is that it's 8-bit).

Also, this podcast was so short and such a simple 3-camera set up that using V-log wouldn't be terribly difficult IMO. Just throw a LUT on the footage, sync, and cut.

PS: it doesn't look like they did much color correcting anyways. Skin tones look splotchy IMO.
 
The GH5 only shoots 4K 10-bit 4:2:2 at 24/30 fps, so if they shot at 60 fps it was 8-bit 4:2:0. ( which kind of makes sense, as they might get in deep doo-doo if they show GH5 4K 10-bit 4:2:2 before Panasonic says it's ok to let that cat out of the bag )
 
Is the 4k 60P cropped?

Is the 6k actually 5.2k?

Is the 400Mbs codec all-i?

Does it have selectable crops for 4k or even smart sensor zooming?

Does it show exposure info in video?
 
Hey Joe, that's the old Photokina press release. I noticed that they've taken it down from the Panasonic website, probably in preparation to update the GH5 page for tomorrow.
 
Yeah, I did the screenshot from back then. Here is some more rumors :
31939758372_6d07b6fe13_b.jpg

B&H has the new V90 SDXC cards for 4K. 8K etc .
Product Highlights

128GB Storage Capacity
UHS-II / V90 / U3 / Class 10
Max. Read Speed: 280 MB/s
Max. Write Speed: 250 MB/s
Min. Write Speed: 90 MB/s
Records 4K/8K/3D/HDR/360° Video
Water / Shock / X-ray Proof
Built-In Write Protect Switch
RAW Burst & High Frame Rate Ready
Record & Store Multiple Files
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https://www.bhphotovideo.com/c/prod...es_ddsduhs2128g_128gb_cinema_uhs_ii_sdxc.html
 
Features that put Olympus on notice
Panasonic's latest flagship shows that they're looking to close the feature gap between their cameras and Olympus. Both Micro Four Thirds platform mates have usually staked out their own territory, Olympus with stills on lock and Panasonic grabbing way better video. With the GH5, Panasonic's taken a critical page from Olympus's playbook, including in-body image stabilization that works on 5 axes to smooth out video and stills.
On paper, the GH5 is down by around 1.5 stops compared to Olympus's Sync IS with 6.5 stops of protection, but it's up in the air as to whether or not that's gonna make a difference in the real world. But, given the choice between IBIS and relying just on OIS in Panasonic's lenses, I'd definitely prefer what Panasonic's implemented in the GH5.
Inside the camera's new stabilization system is a new sensor that'll give the Olympus OM-D E-M1 Mark II a run for its money in most areas. Clocking in at 20 megapixels, this Lumix's sensor also goes without an AA filter for maximum sharpness. Where the 20 MP units in the competing Oly and Panasonic flagships differ is when it comes to on-sensor PDAF. Panasonic seems more than happy with its software-based AF technologies like DFD, and so the sensor in the GH5 doesn't have any on-sensor phase detection points. We'll have to see how that impacts AF tracking performance, but until we get our hands on a final copy of the GH5 we won't know for certain.



Superhero video powers: in-camera Cinema 4K/60P...and 4:2:2 10-bit for 4K/30!
If the GH4 wowed in 2014 with its promise of usable MP4 4K/30p footage at 4:2:0 8-bit in-camera, then the GH5 ups the ante in the way you'd expect. GH5 is able to capture what the GH4 could only manage with an external recorder like an Atomos: 4:2:2 10-bit 4K at 10 bits in-camera to an SD card. Simple. Of course, that's all fine but how about 4K/60p? In-camera, but with a penalty of only 4:2:0 8-bit quality.
Now, not all the GH5's touted video shooting resolutions are going to be available right off the bat. For instance the spec sheet we've seen from Panasonic shows they have two big firmware updates in the works for the GH5: one for the second half of 2017 and an earlier update in April. If you wanted to shoot 1080/60p at 200Mbps with 4:2:2 10-bit and All-I, you're going to have to wait. That said, the ability to capture high bit rate video, even 4K/30p at up to 400Mbps All-I, is nothing short of astounding. Variable frame rate options go all the way to 180 fps in some FHD resolutions.
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http://webcache.googleusercontent.c.../panasonic-lumix-gh5-first-impressions-review
 
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