News Shooter: Why using recommended recording media is important

http://www.newsshooter.com/2017/10/10/why-using-recommended-recording-media-is-important/

“Why should you use manufacturer-recommended recording media? Well to put it bluntly, because it has been thoroughly tested by the manufacturer whose device it’s to be used in.

I always scratch my head and wonder why so many people choose to use the cheapest recording media they can find. At the end of the day the media you use has all your hard work on it. It really is a ‘false economy’ to spend $10k on a camera and then use a cheap, non-recommended media card, all for the sake of saving yourself a few dollars up-front….”

Advice on SDXC Cards from Paul Leeming

Pro tip with all new cards – set your camera to the hardest possible compression (All-I in this case) at the maximum framerate it supports (30p 10bit 4K) and record until you fill the card (film movement too so the camera has to work harder). Repeat for each new card. Any cards that fail the test don’t get used in a production situation.

If you don’t do this and end up having your failure on set in front of clients, there’s no one to blame but the guy in the mirror.

On a more technical level, do a low level format in your computer as exFAT with 128K or 256K block size before you first put it into your camera. Then allow the camera to do a quick format, which preserves the block size and gives the system a more stable throughput.

Links

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H
  • Panasonic DMW-XLR1 XLR Microphone AdapterB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

The Panasonic Lumix GH5 & Some Notes Before Upgrade to GH5 Firmware Version 2.0 – UPDATED

I was lucky enough to try out the Panasonic Lumix DC-GH5 recently and quickly came to the conclusion that it really is the top-quality Super 16/Micro Four Thirds documentary video and stills photography camera that I have been hoping for.

Looks like a previous reviewer forgot to re-attach the GH5’s rubber eyepiece.

As reported in a previous article, the GH5 loaner at right arrived in a stripped down state, minus its rubber eyepiece, HDMI port protector and the lens hood for the provided Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric kit zoom lens, so there were some minor challenges.

Sadly, the loan period expired before Panasonic released its feature-packed firmware version 2.0 so I have yet to experience all that the GH5 can do now, firsthand, so no HLG HDR or ALL-Intra for me for the time being.

Top of the wishlist

The GH5 and associated accessories have been living at the top of my video camera hardware wishlist for some time, but purchasing must be put off until our self-financing effort via land subdivision and sale is finally finished sometime early next year, after getting through the multiple gauntlets of high-priced consultants, three levels of bureaucracy, recalcitrant tradesmen and the inevitable cost overruns tying up all our savings until completion.

Seercam’s Cube GH5 cage with Classic Handle Plus and Extension Kit is terrific for bigger rigs on or off tripod or stripped down to cage alone for smaller and more mobile assignments. Seercam is currently working on a battery pack, seen at right behind and below the microphone. As a fan of Panasonic’s battery packs, I look forward to Seercam’s coming cage-savvy battery solution.

When I do get my own GH5, one thing is certain – I will be adding a battery grip and XLR adapter and I am hoping that Olympus will have released its M.Zuiko Pro 17mm ultra-fast prime lens by then along with the 42mm and perhaps a 12mm or 14mm focal length.

Although I do love my Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens for stills and video, I always feel safer supplementing it with a fast prime to account for available darkness situations and find a moderate wide-angle more versatile than a so-called normal focal length of 25mm in Micro Four Thirds.

I am hoping Olympus’ excellent pro-quality M.Zuiko Pro lens range will achieve a full complement of well-spaced fast primes and zooms by early to mid-2018.

Although I own and use several non-M.Zuiko Pro Olympus and Panasonic lenses and find their lack of manual clutch focus annoying, their focus-by-wire challenging but workable enough via back focus button, I am far more comfortable with lenses I can manually focus fast with repeatable and predictable results.

Stills made with the GH5

The Panasonic Lumix GH5 is a fine stills camera made more so with the absence of an anti-aliasing filter to combat moiré.

I am adding photographs here as I reprocess them in the latest versions of some raw processors and image editors.

Most have been done in DxO Optics Pro Elite as that is the very first raw processor I ever used and remains my reference for all camera types other than Fujifilm.

DxO products are built on a codebase that supports only Bayer sensors, not non-Bayer sensors such as Fujifilm’s X-Trans.

Video still frames shot with V-Log L, processed with Leeming LUT One for V-Log L 501 rc2

Leeming LUT One is being updated to version 501 to get even better results from GH5 V-Log L footage at the moment and will be released soon along with LUTs for Cinelike D and HLG HDR.

In the meantime, here is a gallery of GH5 V-Log L video still frames minimally graded with Leeming LUT One version 501 RC 2 with the occasional addition of a second LUT from Paul Leeming’s free Leeming LUT Quickies 1 version2 set.

I found that the combination of V-Log L plus Leeming LUT One with the GH5’s in-body stabilization is a powerful one, granting me the confidence in knowing I am able to shoot almost anything anywhere.

As a result using the GH5 was, quite simply, fun.

Of course neither IBIS nor V-Log are the answers to every shooting situation and there are times when I will want to carry a monopod, a tripod or one of the new generation of gimbals like the Zhiyun Crane 2.

Video still frames shot on GX8 with Cinelike D, processed with Leeming LUT One for Cinelike D 501 rc2

I was so taken with the GH5’s V-Log capability that I quite forgot to shoot enough Cinelike D footage, but here is some footage from my GX8 by way of comparison.

According to professional documentary cinematographers like Rick Young of Movie Machine, the GX8’s sensor is not dissimilar to the one in the GH5 and produces similar results to the point where they use both cameras on the same projects.

I don’t think I am going to have any problems editing footage from the GH5 and GX8 together in the same project when using the appropriate Leeming LUT One for each.

GH5 first impressions

Straight out of the box and in its shopworn state, as it were, the GH5 impressed me with a solidity and ease of handling well beyond that of the GH4 and even the GX8.

The GH5 packs so much more processing power in than its GH4 predecessor and GX8 sibling, and that extra hardware has to go somewhere so a slightly bigger and heavier body it is.

The GH5’s hardware ergonomics has advanced beyond that of the GH4 and Panasonic has done so with great balance and a solid feel in the hand.

Some reviewers have complained about its size and weight but, as always, I prefer small cameras to be a little weightier for better balance and achieve that by adding battery grips, cages and other accessories as appropriate.

Naked or mounted in Seercam’s excellent Cube GH5 cage with Classic Handle and Extension Kit, the GH5 felt just right and neither too heavy nor too light.

Other users may differ but I prefer a little extra weight due to permanent injuries received on the job some years ago as it helps with my own sense of balance and ability to move.

There were, as always, annoyances with the GH5 but they were minor and have now been accounted for in Panasonic’s GH5 version 2.0 firmware release.

Foremost was the positioning of the Display button in precisely the worst location possible, with one solution being adding a Sugru collar around it and the other, courtesy of firmware version 2.0, switching the button off via a menu item.

The other annoyances were so minor that they have escaped me now, sorry.

With the GH5’s stablemates

Panasonic Lumix GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro and Røde VideoMic Pro+ attached via no-brand 3.5mm-to-2.5mm adapter that I have since replaced with a Beachtek SC25 coiled adapter cable.

While the GH4 and GX8 retain their places in my heart for advancing the small camera moviemaking promise that Canon’s EOS 5D Mark II waggled so prominently about, the GH5 gives me the best of those two Lumix stablemates along with other fine qualities from more recent Panasonic releases, the G7 and the GX80/85.

I have not had the pleasure of trying either of those two latter cameras, but there are clear similarities between the GX8’s sensor and the GH5’s, something I deduced when applying Leeming LUT One for the GH5 to footage from the GX8.

The GH5 and its siblings show that the self-funded independent moviemaking road ahead belongs to mirrorless hybrid cameras, with an array of professional-quality features DSLR-users can only dream of and that may never come to DSLRs of either traditional major brand.

Pro-quality video features

Foremost of these features is the GH5’s ability to shoot 4K UHD and 4K DCI video in 10-bit 4:2:2 with the V-Log L flat logarithmic photo style, the closest thing to raw that can be achieved in a non-raw video camera.

The first thing I did when the GH5 review loaner arrived was to install indie documentary moviemaker Griffin Hammond’s GH5 camera settings file, but after comparing his Natural-based custom photo style with others offered by the GH5, it was clear that V-Log L was what I really wanted.

I had passed on V-Log L for the GH4 after downloading and trial-grading 8-bit 4:2:0 log footage that early purchasers were sharing.

Macro colour blocking and other strange behaviours indicated Panasonic was reaching too far with too little colour depth and that 10-bit 4:2:2 was the way to go.

Then there was the unfortunate still-current issue of the way in which Panasonic sells the V-Log L licence.

Sending a slip of paper in a cardboard box packed with synthetic filler around the planet so one can complete the transaction online before throwing box, filler and little bit of paper away – sheesh.

Sorry but time to wake up and smell the coffee of global environmental responsibility, Panasonic.

Getting the best out of non-log footage prior to the GH5

Paul Leeming’s GH5 rig in 8Sinn cage and Scorpio handle, rod riser, Shoot35 follow focus, and Manfrotto Xume magnetic filter attachment system on vintage Zeiss Contax prime lens.

Instead of Natural or any other Rec. 709 photo style, I chose a Leeming-customized Cinelike D photo style for my GH4 and GX8, and have been happy with the results even though they both only shoot in 8-bit 4:2:0.

Then and now, 4K 8-bit 4:2:0 flat footage shot at 400 ISO satisfies a fair percentage of my short movie shooting needs.

Paul Leeming’s Leeming LUT One for the GH4 brought the best tone and colour rendering I had achieved in small camera video by combining Mr Leeming’s custom Cinelike D settings with his Leeming LUT One for the GH4 applied to my footage in Final Cut Pro X, Blackmagic DaVinci Resolve or, even, Adobe Photoshop’s Motion workspace for short video projects.

Paul Leeming testing Panasonic Lumix GX8, Blackmagic Pocket Cinema Camera, Samsung NX1 and Digital Bolex D16 cameras for versions of Leeming LUT One for each.

I have achieved good results on the GX8 with the GH4 and now more recently using the GH5 version of his Cinelike D LUT to the point where I am happily combining Cinelike D and V-Log L footage from all three cameras into the same movie project.

Mr Leeming tells me he will be updating some of his LUTs after having completed work on several feature film projects to approach the results he has obtained with the V-Log L photo style version of his LUT for the GH5.

Work is in progress right now on that and he will be releasing recommended camera settings for all Panasonic cameras along with two Leeming LUT One versions that will work for all off them, for Cinelike D and V-Log L.

Versatility and 15 photo styles options

I set the GH5 loaner up with Mr Leeming’s Cinelike D and V-Log L photo style customizations, but shot most of my video on V-Log L and have been very happy with the results and the one to two stops extra dynamic range that it bestows.

The GH5’s 10-bit 4:2:2 V-Log L and ISO range from a base of 400 up to 1600 or 3200 depending on how prepared one is to apply de-noising in post-production gives me the confidence to take on pretty much any subject or common lighting situation.

Panasonic has gone to town with photo styles on the GH5.

As well as four custom settings slots, eleven readymade customizable styles are available when shooting video and one has a choice of nine when shooting stills.

The Panasonic Lumix GH5’s 15 Photo Styles:

  • Standard
  • Vivid
  • Natural
  • Monochrome
  • L.Monochrome
  • Scenery
  • Portrait
  • Custom1
  • Custom2
  • Custom3
  • Custom4
  • Cinelike D
  • Cinelike V
  • Like709 – video-only
  • V-Log L – video-only

The new ability to shoot JPEGs in Cinelike D or Cinelike V is an interesting one. I bought my GX8 as a backup video camera as well as production stills camera, and the addition of both customizable options to the GH5’s stills photo styles list improves its usefulness as a production stills camera, alongside of its 6K and 4K Photo capabilities.

Shoot Cinelike D or Cinelike V JPEG stills for fast, easy integration into the video edit without raw processing or painstaking colour matching.

If the video has been shot in Cinelike D customized for Leeming LUT One, create a matching customized Cinelike D for your JPEGs, hand them over to the production company then archive your raw files for post-processing later.

For years I relied on two Leica M4-P rangefinder cameras and a set of Summicron lenses for documentary, magazine and newspaper photography assignments and personal projects, along with cameras in other formats.

Movie production stills photographers traditionally rely on DSLRs encased in blimps, an unwieldy and costly solution to the need for shooting silently when the cinema cameras are running.

However, the production stills photographers of my early acquaintance carried Leica M rangefinder cameras that they used in between takes, not while movie film was rolling.

Although I did not enter my colleagues’ esteemed ranks working on feature films, I took on the occasional small production stills assignment and relied on my Leicas, 120-format rangefinder cameras and 4”x5” sheet film cameras, all mirrorless and close to silent when shooting.

Now, I might choose from an array of mirrorless cameras each with the native ability to shoot silently via their electronic shutter options with my current personal preference being rangefinder and rangefinder-style cameras in Micro Four Thirds and APS-C sensor sizes.

Sensors, sizes and camera shapes

In the long lead up to the arrival of the GH5, some documentary moviemakers of my acquaintance added a GX8 to their tool kit and raved about how good its video is and speculated that the GH5’s sensor may have similar qualities.

Their guesses were close to the mark especially in both cameras’ megapixel ratings. 20MP has become the new mirrorless base standard, and picky clients have even fewer reasons to demand their photographers shoot only with so-called “full format” or “full frame” cameras.

Until I invest in a second Fujifilm X-Pro2 rangefinder camera or more likely the coming OVF-less X-E3 for second-camera duties on documentary stills projects, I carry my 20MP GX8 alongside my 24MP X-Pro2.

Despite its lack of an OVF, the GX8 handles in a similar way to the rangefinder camera especially in allowing me to shoot with both eyes wide open and brain displaying wider and narrower images side-by-side.

Better yet, the GX8’s unique tilting EVF allows me to shoot as if using a waist-level viewfinder camera like the sadly discontinued Rolleiflex Twin Lens Reflex cameras.

Full articulation and HDR bracketing

The GH5 and other DSLR-style cameras do not, or at least they do so with some difficulty.

I was not a dedicated SLR photographer during the analog era, preferring rangefinders and the sheet film cameras with which I learned photography in art school.

However, I find that DSLR-style cameras like the GH5 and GH4 are my best option for two forms of photography for which I once relied on sheet film and roll film technical cameras – architecture and product photography.

The key feature tipping me over into relying on both cameras for both types of subject of matter is their fully articulated monitor.

The one or two-way tilting monitors on Sony’s and Fujifilm’s cameras do not come close in utility value. If a monitor is to move at all, please, give me full and not partial articulation.

I often shoot HDR architectural exteriors in our famous Australian laser beam sunlight that makes squinting into an EVF a challenge.

A fully articulated monitor can be tilted and swung away from the camera body and shaded or shielded with a hood.

It allows me to hold the camera high or low without the old news photographer’s Hail Mary guess at what the camera is actually seeing.

Product photography in my cramped little kitchen-cum-studio is next to impossible without a fully articulated monitor allowing me to set up and make a shot while standing off at left or right of the camera and Panasonic has my eternal gratitude for this.

Much of my product photography is shot in HDR these days, a habit I took up when I discovered my GH4 allows up to 7 bracketed exposures.

I stayed away from High Dynamic Range photography for years when HDR appeared to be all about hyper-surrealism and the extreme exaggeration of colour and tones.

All that changed with Macphun’s Aurora HDR 2017 and now Aurora HDR 2018 used in combination with Macphun’s Luminar raw processor-cum-image editor, allowing me to produce architectural and product shots that look and feel more realistic than single-shot photography permits.

Recently I have found myself shooting 5 to 7 brackets at 2/3 to 1 stop apart, combining them in Aurora then exporting them to Luminar for export to JPEG after the most minimal of tweaks.

On lenses and the Leica kit lens

GH5 with Panasonic Leica 12-60mm f/2.8-4.0 kit zoom in its Seercam Cube GH5 cage with Røde VideoMic Pro and Peak Design Clutch and Cuff camera straps, making for a versatile, protective handheld rig. Breakthrough Photography ND filter attached via Breakthrough Photography brass step-up ring.

The loaner GH5 came with the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens, one of two kit zoom options with the other being the Panasonic Lumix G X Vario 12-35mm f/.8 II Aspheric Power OIS zoom lens.

The Leica zoom lens’ optical qualities are a pleasant reminder of my beloved Leica M-System prime lenses and its 12mm to 60mm is a more versatile improvement on its Lumix sister’s shorter 12mm to 35mm focal range.

The rationale for kit zooms is that they should provide enough focal lengths to cover most stills or video situations that one might encounter.

The Leica zoom is a promising solution for photography given the GH5’s ability to leverage the lens’ Optical Image Stabilization with the camera’s In-Body Image Stabilization via its Dual IS capability.

Its low effective maximum aperture of f/4.0 at the long end is more of a problem for documentary video where shooting in unpredictable lighting is common despite the increasing availability of small, portable LED lights.

While carrying the GH5 plus Leica zoom throughout the day within a range of lighting conditions, I often found myself yearning for a faster maximum aperture or a longer maximum focal length as well as a more usable manual focussing system than focus-by-wire.

I would love to see Panasonic’s optical engineers take a leaf out of the Olympus lens design book.

The manual clutch focus feature in Olympus’ ever-growing M.Zuiko Pro prime and zoom lens range tipped the balance for me in buying two Olympus zoom lenses and I have more on my wishlist.

Ditto the Olympus M.Zuiko Pro f/2.8 zoom lens maximum aperture and f/1.2 prime lens maximum aperture.

Many times even f/2.8 can be a stop or two too little and having one or two f/1.2 prime lenses in one’s video camera kit proves to be a wise investment.

If f/2.8 or f/1.2 and upper ISOs of 1600 or 3200 are not enough then time to consider carrying a Rotolight Neo 1 or Neo 2 to supplement that available darkness with some beautiful available light.

Enough for now?

I had intended this article to be much more in-depth when commencing writing, but being at the end of the review loaner queue tends to steal one’s thunder after so many brand ambassadors and early adopters have already published such excellent videos and articles.

What, I often wonder, would I have to add that is new and interesting to an already mature conversation?

I have removed the video still frames and photographs used to illustrate the first version of this article as software and LUT makers have now added or improved GH5 support to their products or that support will be be coming real soon now.

Links

Image Credits

Header image concept and hack by Carmel D. Morris. Product shots made as single shots or HDR brackets on Panasonic Lumix GX8 or GH4 with Lumix G 25mm f/1.7 Aspheric lens then processed with Macphun Aurora HDR 2018.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor and accessoriesB&H
  • Beachtek SC25 3.5mm to 2.5mm Stereo Output CableB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-XLR1 XLR Microphone AdapterB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H
  • Seercam GH5 CageB&H
  • Seercam Cage for GH5 with Classic HandleB&H
  • Seercam Extension Kit for CUBE GH5 CageB&H
  • Seercam GH5 CAGE w/HANDLE PLUS & ROD RISERB&H
  • Seercam GH5 CAGE w/HANDLE PLUS/ROD RISER/EXTENB&H

Nick Driftwood: 8K Lumix GH5 Hi Rez Anamorphic – Hybrid Log Gamma – All Intra HLG Pro Rez to HEVC using Handbrake

“Music by Nick Driftwood. This is a 10-bit 420 encode using Handbrake HEVC x265. Now you can use Handbrake to encode your HLG Rec2020 / videos. This is an extreme example at hi rez anamorphic but basically the settings for handbrake h265 HEVC encodes are the same. Use the CRF constant Rate Factor to slide/change quality (lower is better quality but longer encodes).

Use chrome or other compatible browser to view upto 8K (Anamorphic x2 desqueeze to 9 884 pixels x 3 744 pixels in great quality INTRA).

Download special commit of Handbrake or info to build your own from here: https://goo.gl/AzFyLt

The critical thing to remember is to insert the text ‘transfer=arib-std-b67’ into the Additional Options box.”

Links

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H
  • Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor and accessoriesB&H
  • SLR Magic 35mm, 50mm, 70mm 2x Anamorphot-CINE Lenses (MFT Mount), sold individuallyB&H
  • SLR Magic 2x Anamorphot-CINE Lens Set with 35, 50, 70mm Lenses (MFT Mount)B&H
  • SLR Magic 25mm T0.95 HyperPrime Cine III Lens and Anamorphot-40 1.33x Anamorphic Adapter Kit (MFT)B&H
  • SLR Magic Anamorphot-40 1.33x Anamorphic Adapter (Compact) – B&H
  • SLR Magic Anamorphot 133X – 40 With Built-In RangefinderB&H
  • SLR Magic Anamorphot-50 1.33x Anamorphic AdapterB&H
  • SLR Magic 25mm T0.95 HyperPrime Cine III Lens (MFT Mount)B&H
  • SLR Magic Cine 35mm T0.95 Mark II Lens with MFT Mount – B&H
  • SLR Magic Cine 35mm T1.4 Mark II Lens with Micro Four Thirds Mount – B&H
  • SLR Magic HyperPrime 50mm T0.95 Lens with MFT Mount – B&H

4/3 Rumors: Panasonic officially released the GH5 firmware update!

http://www.43rumors.com/panasonic-officially-released-gh5-firmware-update/

“The Big GH5 firmware is now available for download at av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index.html.

And the good news is that there is also a firmware update for the GH4, 30mm and 42,5mm lenses…”

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

EditReady Updated to Version 2.1 to Encode Panasonic Lumix GH5’s H.265 HEVC and All-I 400Mbps Video on macOS 10.13 High Sierra

divergent media, maker of a range of professional macOS video production software products, has released version 2.1 of its video transcoding essential EditReady to support High Sierra, the latest version of macOS, and HEVC H.265, the new standard for video compression supported by the Panasonic Lumix GH5 Super 16 M43 camera in its 6K Photo feature and by the incredible but sadly now discontinued Samsung NX1 and NX500 Super 35 cameras. 

H.265 HEVC was introduced into affordable media production via Samsung’s NX1 DSLR-style and NX500 rangefinder-style cameras when few computers and computer applications supported the codec but H.265’s advantages became immediately apparent and it was clear that HEVC was the way forward.

At the time, EditReady was one of the few professional video production applications to support H.265 transcoding so I immediately bought a licence and have used it ever since.

Samsung’s brilliantly innovative NX1 Super 35 APS-C hybrid camera ushered in the future of mirrorless moviemaking then Samsung suddenly killed off its camera division. The NX1 introduced HEVC H.265 along with an excellent interface and one of the best-designed, best-manufactured cameras ever. Rotten marketing and low to no availability of the camera, battery grip and lenses anywhere in the world probably doomed it and its rangefinder-style companion the NX500. I went looking for this set-up in order to buy one but Samsung staffers in every Samsung boutique did not even know the NX1 or NX500 existed.

Both cameras’ video functionality and support for H.265 HEVC are lessons to which Fujifilm needs to pay close attention when developing its cameras’ video support.

The pointless killing off of Samsung’s innovative camera division left a gaping hole in current Super 35 APS-C camera offerings that Fujifilm just might, if it wishes, fill with the X-T2S or more likely the X-T3, given the abandonment of its “Ultimate $5,000+ APS-C X-Trans X-series camera” project.

Another lesson Fujifilm needs to learn quick smart is that fast and accurate ETTR video and stills exposure demands exposure zebras, an essential feature that Fujifilm bizarrely still does not see fit to add to its cameras’ firmware. Histograms are handy and so are scopes but they are not the be-all and end-all of rapid exposure setting. Zebras are.

The EditReady 2.1 announcement:

Today we’re pleased to announce the release of EditReady 2.1. The release coincides with Apple’s release of macOS 10.13 High Sierra. When run on 10.13 High Sierra, EditReady 2.1 adds support for encode of HEVC (H.265) videos. On systems that support it, HEVC is even hardware accelerated, making it significantly faster.

EditReady 2.1 is a free update for 2.0 customers. It can be downloaded here, or via in app auto update.

The full change list for 2.1:

  • adds HEVC output format in mov (10.13 only)
  • adds hardware accelerated HEVC encode and decode (10.13 only)
  • fixes random crash when adding clips
  • fixes silent audio when mixing down w/ strip silent tracks enabled
  • makes missing codec errors cleaner
  • preview and thumbnails respect pixel aspect ratio
  • adds support for gh5 400mbit mode

Links

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

Panasonic Lumix GH5 – Specifications and Availability of Panasonic’s Huge Version 2.0 Firmware Update – Big List of Links

Panasonic has announced that its version 2.0 firmware update for the Panasonic Lumix DC-GH5 camera will be released late September and the  list of specifications is massive. Panasonic clearly has been listening to its users and has delivered far more than any of us could have anticipated in this update. 

Rather than reiterate the content of Panasonic’s press release, I am listing here all the best articles, videos and other information that I have found so far.

What’s New

Here is a summary of version 2.0’s highlights, courtesy of Jacob James and 4/3 Rumors.

  • Crop Marks for 1:1, 16:9, 2.35:1 and 2.39:1
  • DISP button lock
  • 6K/4K 4:3 Anamorphic
  • Anamorphic Desqueeze
  • Anamorphic I.S for 1.3/2x
  • 400mbps All-I 4K/UHD and 200mbps All-I FHD
  • 72mbps LongGOP 10bit 4:2:0 HEVC
  • HLG HDR + HLG View Assist
  • HLG in 50/60p 10bit 4:2:2 over HDMI
  • Improved AF
  • Bluetooth Remote through app
  • LUMIX Tether software for photo + video
  • IBIS Lock mode for video

Links

Articles

Firmware

V90 and Similar SDXC Cards

Videos

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Camera, Kits, Battery Grip, V-Log L and Recorders

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H
  • Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor and accessoriesB&H

SDXC V90 cards

  • Angelbird 64GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Angelbird 128GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Panasonic 128GB UHS-II V90 SDXC Memory CardB&H

L-Plates

  • Really Right Stuff L-Plate Set for Panasonic Lumix DC-GH5 Camera Body  – B&H

Camera Cages

  • Movcam Cage for Panasonic GH5B&H
  • Movcam Cage Kit for Panasonic GH5B&H
  • Seercam GH5 CageB&H
  • Seercam Cage for GH5 with Classic HandleB&H
  • Seercam Extension Kit for CUBE GH5 CageB&H