GH4 Panasonic GH5 coming in 2017

philiplipetz said:
I have often wondered how much of the Alexa (or RED) "cinema look" is due to the obviously superior sensor or, ignoring lighting, the wonderfully expensive lenses commonly used in top end rigs. One advantage of the GH5 is that it lets you put money into lenses that are better long term investments. Time and time again I see "inferior" cameras delivering superior results when used with superior lenses.
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Other than dynamic range, I'd say more than anything it's the way the Alexa handles color. This article explains what ARRI is doing differently-- http://www.dvinfo.net/article/production/camgear/what-alexa-and-watercolors-have-in-common.html/
 
I knew those guys from c5d were full of it. Sure 10bit 4.2.2 at 150mbps will have some artifacts, but it's plain that when the pipeline is setup correctly much more of the image can be dredged up than 8bit. Even if it's just the ability to fight banding, it's another great tool to have in the bag when needed.

I think my preorder should be shipping soon. Ok, maybe not, but I'm pretty excited for the bits and pieces I'll be able to use over my GH4 :)

Cheers for the link Uwe !!!
Pete
 
philiplipetz said:
I have often wondered how much of the Alexa (or RED) "cinema look" is due to the obviously superior sensor or, ignoring lighting, the wonderfully expensive lenses commonly used in top end rigs. One advantage of the GH5 is that it lets you put money into lenses that are better long term investments. Time and time again I see "inferior" cameras delivering superior results when used with superior lenses.
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Oh yeah?! And which lenses that would be?!

EF mount or F/G mount? of course APC-S format preferably...
Maybe Zeiss/Leica in PL?

I mean, we know that metabones-like adapter is - A MUST!
Because we also know that Sigma/Tokina/Rokinon in either mounth are probably the safest and the most sound investment when in comes to buying optics for panasonic/olympus cameras...I mean, anything is better then native m43 lenses...


Well what does that tells us about the system itself that their corp PR mashinery is trying to convince us its made in order to fullfill consumers need for smaller-lighter-cheaper-more versatile-simplier gear then of their competitors?!

"Buy our camera so that you can be forced to buy everything else from other companies in order to pull off the maximum that our producs offer!"

What a phylosophy :(

I have to admitt, I though that sony alpha/e mount masterminds were rare stupidos to be find in Universe, but I am even more scared now when its evident that they have a true competitors!
 
Maest said:
I mean, anything is better then native m43 lenses...
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Not exactly sure I understand where you are coming from ???

Yes, Full Frame lenses can be adapted to work with almost any camera, and if you work with multiple formats that might be a key feature when you buy lenses.

I use eight Nikon AI-S lenses with my GH4 camera because they are softer and lower contrast than any of the Micro 4/3 lenses I've used. But they are also pretty useless when it comes to shooting wide-angle with my GH4, so I have no choice but to use a Micro 4/3 lens if I need a 12mm f/1.4 lens that is sharp wide open.

Being sharp at full aperture is something that many of the better Micro 4/3 lenses feature, and something that is hard to find when shooting with Full Frame lenses. Many of the FF telephoto lenses can do this, but few of the FF "normal" or wide-angle lenses perform well at maximum aperture. ( the Sigma ART lenses and the Zeiss OTUS lenses are exceptions )

I also use the Panasonic 12-35mm f/2.8 zoom quite a bit because of the convenience of it's focal length range. It's a very sharp lens that performs well at f/2.8. It doesn't have the visual aesthetic of my Nikon lenses, but I know how to make this lens work.

At some point I will buy the Olympus 7-14mm f/2.8 zoom for it's ultra-wide focal length range, as there's not much competition when you need to shoot at these focal lengths.
 
Greg_E said:
I see they also have E mount now, not sure when that happened.
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...When NAB 2017 comes along I'm very curious to see if Veydra has resurrected their anamorphic lenses for the GH5. They started and then stopped developing these for the GH4, which I think was because they found out that the GH5 would use a different sized sensor.
 
Batutta said:
Other than dynamic range, I'd say more than anything it's the way the Alexa handles color. This article explains what ARRI is doing differently-- http://www.dvinfo.net/article/production/camgear/what-alexa-and-watercolors-have-in-common.html/
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Alexa also has a lot of processing power to deliver the result - a de facto film emulation in resolution, the dynamic range and the color representation - they wanted. What is interesting is that how close the current generation of the consumer grade models comes to the original 2011 Alexa. Much of the technological advancements in the video field has been due to the smartphone market, which share similar concerns over heat accumulation/dissipation, signal processing, etc.

And, of course, most Alexa footage has been expertly color graded. On specs, BMD Ursa can comes close to Alexa but, reflective of the relative prices of these two cameras, the competence and the budgets of people in post often fail to deliver anywhere near the Alexa image quality.
 
DLD said:
On specs, BMD Ursa can comes close to Alexa but, reflective of the relative prices of these two cameras, the competence and the budgets of people in post often fail to deliver anywhere near the Alexa image quality.
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I think that Alexa's unique dual gain sensor feature that is effectively creating a 16-bit HDR image by combining two 14-bit images is a key component to the Alexa image quality. Is any other camera able to do this from a single exposure ?

Alexa : The Science Behind the Sensor
 
There's nothing wrong with native M43 lenses. Voigtlander makes awesome native M43 lenses. So does Leica.

Only talking about quality of glass and optics and that is irrespective of the lens mount option. Panasonic & Olympus make great lenses too but many of their lenses prioritize sharpness over things that some high end glass manufacturers have traditionally priortized, or use process that imbue a certain aesthetic character too. These also tend to be more expensive lenses (zeiss, leica, voigtlander, etc.)
 
inefab said:
Optics have sort of self-DR ... their capacity to treat both highlight and shadows in the same focal plane ( and keep enough details (( contrasts or micro contrasts)) in both areas )
quite a well known effect named : flare factor...
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Sort of. Not trying to be pedantic here, but it is a little confusing/dangerous to conflate perceived contrast with absolute dynamic range. If this was true, we could all just through low-con filters on our cameras an eek out extra DR.
 
TheDingo said:
I think that Alexa's unique dual gain sensor feature that is effectively creating a 16-bit HDR image by combining two 14-bit images is a key component to the Alexa image quality. Is any other camera able to do this from a single exposure ?

Alexa : The Science Behind the Sensor
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IMO, once you get into lossless Raw, there's not that much difference between 14-bit and 16-bit. And, at that high end pro level, where Alexa rules, there's rotorscoping for every inch of the screen space.

Besides, outside of feature films, most productions shoot ProRes anyway since any high end camera specs far exceed the available playback quality for the vast percentage of consumers (the ultra-high end home theater with 4K laser projectors comes close but it currently runs in tens, if not hundreds, of thousands)
 
TheDingo said:
I think that Alexa's unique dual gain sensor feature that is effectively creating a 16-bit HDR image by combining two 14-bit images is a key component to the Alexa image quality. Is any other camera able to do this from a single exposure ?

Alexa : The Science Behind the Sensor
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Actually Red's Epic onwards have had HDRx which takes two RAW images at different exposures at the same time and lets you combine them in post for up to 6 stops more DR.

Cheers,

Paul :)
 
jjneff said:
The auto focus on that channel of the a6500 vs the GH5 is telling. The a6500 blows it away!
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That video didn't even offer the same kind of test between the cameras so you can't tell at all. If you want the a6500 be my guest. Enjoy Sony's patented overheating, the worst rolling shutter in the industry, crappy battery life, less features, and a mini HMDI jack. YIPPIE.
 
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Yes, the GH5 autofocus does not look very usable... But the preset focus-points look absolutely great.

i.e. where you set specific focus-points and then use the touch screen to trigger where you want the camera to focus
 
I find it amusing that people want a camera that focuses for them, enables them to work without adding lights, to shoot without camera support, give them enough image latitude to cover them for screwing up the exposure, and the resolution of an Alexa for around $2k. If you can't focus, light or expose, what do you have to offer as a filmmaker? That is like saying you're a chef, but you serve TV dinners. lol
 
There's almost always a good creative way a feature, even an automatic feature, can be used.

For example, this week I needed to do a very long, slow dolly on a fixed subject. If I could have trusted my GH4 to lock onto the subject's face, I could have devoted more of my effort into the move itself, rather than having to simultaneously pull focus. And the value of in-camera stabilization is so obvious it almost doesn't even need explaining.

Manual controls are desirable for the ability to exercise discrete creative control, not to fetishize a masochistic need for tasks to be harder than they need to be. If a camera can take-over a technical concern and free me to concentrate more on the big picture, and do so without removing the option of manual control, then I'm all for it.
 
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