GH4 Panasonic GH5 coming in 2017

clifford maxwell said:
I can't recall if it was this thread or somewhere else, but someone reported that Ex.Tele Conversion works with 4K recording now, which by sampling a 1:1 central portion of the sensor adds a further 1.4x crop. So that PL100-400 would become 140-560mm.
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Yes, it's buried in the complete specs. So in 4K UHD mode, my 12-35/2.8 which occasionally comes up a bit short in the various performances I shoot, with a "flick of the Bic" will transform into a 17-50/2.8. Of interest particularly to nature shooters, in 4K Photo mode for captured frames, the factor is 1.5X in 3:2, and 1.6X in 4:3.
 
flinty said:
is it correct there is no crop in 4K video mode on the GH5,so my 100-400mm would only have a 400mm reach on the camera.
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A lot of different answers so forgetting speed booster and ETC its still unclear what the GH5 would record in 4K mode in 35mm terms with my 100-400mm lens.
 
flinty said:
A lot of different answers so forgetting speed booster and ETC its still unclear what the GH5 would record in 4K mode in 35mm terms with my 100-400mm lens.
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"No Crop" 4K only means no crop in relation to m43. The GH4 and all m43 have a 2x crop. The GH4 cropped EVEN MORE in 4k, about 2.3x. So GH5 "No Crop" 4K just means it doesnt crop in EVEN further on the m43 sensor, which is a 2x crop sensor.

4k on GH5 will now be the same as 1080p on GH5/GH4.

Which means a 100-400 focal length on FF will be a 200-800 on the GH5, in either 1080 or 4K, because of the 2x crop native to m43. If you want that reduced in any mode you will need a speedbooster, which the XL speedbooster could reduce that by up to .64x.

You'll never get less than 2x crop on M43, thats the nature of the sensor. Previously we got MORE than 2x crop in 4K, because previously the GH4 sensor only read a central portion of the m43 sensor when shooting 4K. This was a major gripe with many users, which is why the advertising for GH5 states that this is no longer an issue.

This is still an m43 sensor.
 
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filmguy123 said:
"No Crop" 4K only means no crop in relation to m43. The GH4 and all m43 have a 2x crop. The GH4 cropped EVEN MORE in 4k, about 2.3x. So GH5 "No Crop" 4K just means it doesnt crop in EVEN further on the m43 sensor, which is a 2x crop sensor.

4k on GH5 will now be the same as 1080p on GH5/GH4.

Which means a 100-400 focal length on FF will be a 200-800 on the GH5, in either 1080 or 4K, because of the 2x crop native to m43. If you want that reduced in any mode you will need a speedbooster, which the XL speedbooster could reduce that by up to .64x.

You'll never get less than 2x crop on M43, thats the nature of the sensor. Previously we got MORE than 2x crop in 4K, because previously the GH4 sensor only read a central portion of the m43 sensor when shooting 4K. This was a major gripe with many users, which is why the advertising for GH5 states that this is no longer an issue.

This is still an m43 sensor.
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Thanks for clarifying that for me.
 
I'm having a hard time understanding what exactly the HDR mode does on the GH5. Is it supposed to expand the dynamic range at capture for greater flexibility in post ( ala V-log, Cinelike-D) or is it just another baked in profile that is suited for HDR tv's straight out of camera? Or is it somewhere between? To me if it really expanded the DR, Panasonic would be pushing that feature much more aggressively.
 
MurtlandPhoto said:
I'm having a hard time understanding what exactly the HDR mode does on the GH5.
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I had hoped that it was another profile to capture more DR, but it appears that it is a profile for HDR TV sets, so you are able to see much of the DR of a LOG profile without having to de-LOG your footage. It is supposed to still look good on non-HDR TV sets but the profile is designed specifically for HDR TV sets. ( not sure if it's specific to Panasonic HDR TV sets ) The video from the Australian Panasonic rep ( about 20 min long ) covers this new profile coming with the Summer firmware update.
 
This form of HDR is supposed to be an industry standard so any camera using it can be viewed on a special HDR display and show off the extra range.

While designed to fit around a specific standard I see no reason why it couldn't be adapted wit ha lut to use as a poor mans alternative to v-log if one only cares about the extra boost in dynamic range vs manually grading a traditional log clip or using a library of lots and grades designed to work with v-log. Paul Leeming already announced somewhere on here that he will explore creating a lut for the hybrid HDR gamma mode and I look forward to seeing what it can do. Beyond that it isn't designed to use as a normal log clip and I would only use it if you happen to have a HDR display to take advantage of that type of footage. At least until people like Paul design some solutions to work with it.
 
Gotcha. It seems like an exciting prospect regardless. I have found a use for basically every single feature in my GH4 for the past {nearly} 3 years. I imagine I'll be able to do the same with the GH5. I'm looking forward to seeing what everyone else does with it as well!
 
Jim Simon said:
You mean ruin what should have been a great 3D experience by making it look like a 1960's BBC production of Dr. Who?

Oh, Yeah.
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I actually thought the 48fps made the 3D look better. Like a 60's production of Dr. Who, yes, but the 3D was cleaner and artifact free. I only really prefer 3D for CGI Animated films. Live action 3D always is compromised in some way, off color, low brightness, and in 24p, with distracting motion artifacts and ghosting.
 
Andrew Stone said:
Be interested in hearing from GH4 owners if they feel heat will be an issue with some of the 4K modes on the GH5.
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Not an issue and never will be. All the way back to the GH1 heat was not an issue with m43 cameras. This is exactly why m43 exists. You can't have your cake and eat it too. m43 makes a lot of this image processing possible and is what made the move to 4k a realistic possibility for Panasonic all the way down to their cheap $500 DSLR cameras. This is also why I don't want to see Panasonic use a larger sensor. Not yet at least. You just don't mess with a good thing and hands down Panasonic makes the most reliable and stable HD and 4k cameras on the market. That does come at a sacrifice of course in terms of low light and dynamic range but to me those are two areas we can come up with work arounds.
 
Never any heat issues with mine and I have never heard any complaints from anyone else. It seems Panasonic engineers know how to deal with heat. I would expect the GH5 to be the same.
 
Only issue I have EVER had with a ton of hours on my GH4 was shooting 72fps to a memory card for over 5 minutes and it froze hard. It's a great memory card, but I think it was a memory card problem and not the camera.
 
One of my biggest hopes/fears/requests for the GH5 is the codec options - and I am not sure how to get the message to Panasonic or if it would matter.

400mbps All-I is great, but I would prefer an option for 400mbps IPB. Not just because it could potentially net better results, but also because it would open the door for 4K 60p in VFR mode.
 
Especially with the 16 programmable physical buttons, and four programmable screen buttons, I look at the GH5 as the marriage of an all in one ENG camera and a cinema camera. It is the meeting point of both extremes. Not as perfect at ENG or cinema but able to do both.

Most of us do not work exclusively in ENG or cinema. People who work in ENG or cinema buy much more expensive cameras designed for one specialized task. However, I work in the space between these extremes, and versatility is critical. A compromise camera that works anywhere is what I need.

I wish I had a job in ENG or cinema, but then this camera would not work. However, for the 95% of us who live somewhere between these extremes this camera is better than more expensive cameras designed for a narrower range of tasks.

I dream of reviewers and community members who would look at equipment through these eyes. Can I pick up a camera and do the job with minimal effort? Is the result good enough, not necessarily perfect but good enough to make everyone happy? Can I deliver that result with minimal effort so that my films are affordable? That is what I want in a camera.
 
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its true philip. I worked with VaricamLT as a one man band for a couple of days. I make better films with more usable gear, because I need far less time (read: client budget) and get exhausted for less quickly, and have a lot more practical flexibility. The image is better on the Varicam; my stories and shots are better when keeping fast, light, versatile.
 
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