Sony: IMX294CJK Diagonal 21.63 mm (Type 4/3) Approx. 10.71M-Effective Pixel Color CMOS Image Sensor

https://www.sony-semicon.co.jp/products_en/new_pro/may_2017/imx294cjk_e.html

“Sony Semiconductor Solutions Corporation has commercialized the “IMX294CJK” Type 4/3 back-illuminated CMOS image sensor with approximately 10.71M-effective pixels for the expanding security camera market.

The “IMX294CJK” is the first in-house image sensor for security cameras to adopt the Type 4/3 format, and realizes output of the number of pixels needed for 4K at 120 frame/s (in ADC 10-bit output mode). In addition, use of a large-size pixel achieves SNR1s of 0.14 lx*1, and use of a Quad Bayer pixel structure (see Figure 1) realizes an HDR (High Dynamic Range) function with no time difference, enabling video imaging with a wide dynamic range….”

sony_starvis_IMX294CJK_multiaspect_ratios_sensor_01_1024px_60pc
Is Sony’s IMX294CJK “Diagonal 21.63 mm (Type 4/3) Approx. 10.71M-Effective Pixel Color CMOS Image Sensor” the sensor used in the Panasonic Lumix DC-GH5S and Blackmagic Design Blackmagic Pocket Cinema Camera 4K? Image from Panasonic UK and Ireland product page for Panasonic Lumix DC-GH5S.

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8Sinn to the Rescue: Panasonic Lumix GH5 and GH5S Camera Cage Updated with Wrist Strap Eyelets, Remote Cable Access

I have been preparing for a possible article on the very first feature film to be shot on with the Panasonic Lumix DC-GH5S video camera and have been researching some of the other gear the director used such as an 8Sinn  camera cage, handle, rod and Metabones support. 

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8Sinn GH5/GH5S cage version 2 with Scorpio top handle and new provision for mounting wrist strap and remote cable
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The first version of Polish accessories maker 8Sinn’s cage for the GH5/GH5S did not include two eyelets for wrist straps nor provision for attaching a remote release cable to the cage-clad camera’s remote port.

Until Panasonic officially announced the GH5, I was unaware of 8Sinn, a Polish camera accessories maker, and from what I saw of their products at their website, I was impressed.

I have yet to see or try any 8Sinn accessories in real life, though, so anything I write about their products is tempered with that fact.

The first version of the 8Sinn GH5 camera cage looked intriguing with apparently high quality design and manufacturing, but the reason I did not follow up on that initial impression was it lacked provision for easily attaching camera straps and the Panasonic DMW-RSL1 remote release.

Camera cages fall into either of two camps, body-hugging wrap-around ribbons or squarer protective enclosures with makers of the latter type including Seercam and makers of the former type including 8Sinn, MovCam, SmallRig and a host of other companies around the world.

The prime virtue of body-hugging wrap-around ribbon cage designs is that they allow the cage to be attached 24/7, for use when shooting stills or video, when handheld or tripod-mounted, triggered via shutter release button or remote remote cable.

The ability to attach camera straps helps ensure better grip and security against dropping, and so I always attach two or three Peak Design camera straps to every camera I own or borrow.

Peak Design Clutch and Cuff, and Panasonic DMW-RSL1 Remote Shutter Release

Those three Peak Design camera straps are Clutch, Cuff and Slide Lite, with Clutch and Cuff permanently attached to every camera whether caged or not, and with two Slide Lite straps in reserve when I am covering events in the time-honoured two-camera, two-lenses documentary photographer manner.

I keep two Peak Design Anchor Links attached to each camera’s camera left strap attachment eyelet for when I need to attach a Slide Lite, and have slightly different Anchor Link attachment arrangements depending on the cameras’ and cages’ specific designs.

None of the Motion9, Seercam or SmallRig cages I have currently are equipped with strap eyelets so I sometimes must resort to attaching Anchor Links via the now discontinued and rather oversized predecessor to the slimmer, neater Peak Design Anchor Mount.

8Sinn cage for GH5 and GH5S, version 2, with wrist strap eyelets and remote cable access

The 8Sinn cage for GH5 and GH5S, version 2, with built-in eyelets and CNCed indent for remote release cable access is an elegant solution for attaching Peak Design Clutch and Cuff, and the Panasonic DMW-RSL1 Remote Shutter Release as well as third-party alternatives.

8Sinn cage for GH5 and GH5S, version 2, complete kit

Whether assembled into a complete cage-based rig for GH5 or GH5S, audio adapter and Metabones-adapted non-native lens, or something much smaller, version 2 of 8Sinn’s GH5/GH5S camera cage is an intriguing choice given it has now solved the two problems found in version 1 and I hope to see and try it out for myself sometime soon.

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Image Credit

Header image concept and quick hack by Carmel D. Morris.

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Panasonic Lumix DC-GH5 with Panasonic DMW-BGGH5 Battery Grip, a necessity for photography or moviemaking with the GH5 and GH5S, though most cages are unfortunately not designed to accommodate it.

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Three Blind Men and An Elephant Productions: MONGO Panasonic G9 AF + GH5 Hack Review

“It’s taken me so long to figure out what I’m actually seeing in Panasonic G9’s autofocus performance that now we have to address YodaYeo’s GH5 hack as well. Which I do. And a WHOLE lot more. I’m exhausted….”

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Fuji Rumors: Fujifilm X-H1: Full English Press Release and More Images with MK Lenses

https://www.fujirumors.com/fujifilm-x-h1-full-english-press-release-images-mk-lenses/

“In case you missed it, I have google translated to English the entire press release leaked in German as well as manually translated the full specs sheet (see below). You can also download the specs sheet in English here at my dropbox….”

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Fujifilm X-H1 with battery grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom, image released by Nokishita and republished at Fuji Rumors.

Commentary

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Fujifilm X-H1 with Fujinon MK 18-55mm T2.9 X-Mount Cinema Zoom

Fuji Rumors has outdone itself on the Fujifilm X-H1 with heavily detailed specifications lists, press releases, images and size comparisons between the X-H1 and other hybrid stills/video cameras whether mirrorless or DSLR, in advance of Fujifilm’s official X-H1 product announcement on February 15.

That announcement will no doubt also include the X-Mount versions of Fujifilm’s MK Series 18-55mm T2.9 and 50-135mm T2.9 cinema zoom lenses, previously released in E-Mount versions for Sony cinema and Sony Alpha hybrid cameras in the α7 and α9 series.

I will be publishing official product photographs, specifications, and links to articles and videos by moviemakers and photographers who have been working with pre-production versions of the Fujifilm X-H1 and X-Mount versions of the Fujinon MK Series zoom lenses after Fujifilm’s announcement on the 15th and no doubt that article will be a lengthy one.

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Samsung NX1 with Samsung Premium S 50-150mm f/2.8 ED OIS zoom lens, still the benchmark for up-to-date Super 35mm hybrid video cameras, though it missed out on a fully-articulated monitor and 10-bit 4:2:2.

With the leaks by DigiCame-Info, Fuji Rumors and Nokishita, there has been much discussion and speculation at online moviemaking fora, much of it comparing the X-H1’s video specifications to Panasonic’s Lumix DC-GH5 and DC-GH5S Super 16/Micro Four Thirds cameras, and Samsung’s discontinued but still revolutionary Super 35/APS-C NX1.

All three cameras raised the bar for mirrorless video very high indeed.

This is the set of video-centric features I have been hoping to see appear in the X-H1:

  • 4K UHD and 4K DCI 200 Mbit
  • 4K 60p
  • 5-axis in-body image stabilization (IBIS) that works in conjunction with optical image stabilization (OIS)
  • 10-bit 4:2:2
  • Battery grip with full controls for vertical/portrait orientation
  • Decent battery sizes
  • Decent body grip
  • Decent set of of well-spaced colour-matched native X-Mount prime and zoom lenses with manual clutch focus or at least linear focus-by-wire
  • Dual memory card slots
  • Exposure zebras with ability to set percentages/IRE levels
  • External recording via HDMI 2.0+
  • Full 10-bit internal F-Log
  • Fully-articulated monitor
  • Fully-customizable picture profiles
  • In-body audio-monitoring aka headphone port
  • Unlimited recording duration
  • Viable eye and face autofocus
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Is this the camera that inspired Fujifilm’s X-H1 designers? The Contax N1 autofocus analog SLR, last in a long line of Kyocera-made Contax cameras licensing the Contax brand from Zeiss, released in 2000. Kyocera also made Yashica brand cameras.

How many of these boxes, as it were, will the DSLR-style Fujifilm X-H1 tick and how much will any non-inclusion of essential features mitigate against the X-H1 in being a viable, up-to-date video camera for the sorts of productions that warrant Super 35 image quality?

Or, will that good old Australian saying, “close enough is good enough”, be applicable enough in the case of the Fujifilm X-H1?

Links

DPReview: Panasonic Lumix DC-GH5S Review

https://www.dpreview.com/reviews/panasonic-lumix-dc-gh5s-review

“… The GH5S produces the best quality video of any camera we’ve ever tested, with its high bitrate, high bit-depth footage proving impressively flexible. The a7S II can outperform it in low light if you can tolerate the shallower depth-of-field that comes with it, but beyond those specific circumstances, the GH5S would probably be our choice. The fact it works just like a GH5 and fits perfectly into the accessory and support ecosystem that’s grown up around it means the GH5S is an easy camera to just start shooting with…..”

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Panasonic Lumix DC-GH5S with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric zoom

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Leeming LUT One for Panasonic Cameras to get Version 503 before Mid-Year with Even Better Colour and Tone than Ever – UPDATE

Paul Leeming of Leeming LUT One and Visceral Psyche Films is like a dog with a bone that he just will not let go insofar as improving and updating Leeming LUT One, “the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”

Paul Leeming of Leeming LUT One and Visceral Psyche Films in V-Log L footage made with Panasonic Lumix GH5 then processed with Leeming LUT One for Panasonic cameras, version 503 beta.

Mr Leeming has just shared an early version 503 beta for Panasonic V-Log L with me and, after applying it to some V-Log L footage of my own, it is clear that he has worked out how obtain even better, even more realistic colour and tonal rendering than before.

The more accurate and true-to-life the starting point obtained by applying Leeming LUT One before adding creative aka looks LUTs and other colour grading controls in your non-linear editing suite or colour grading software of choice, the richer and more satisfying the final result.

While this first version 503 beta is only for Panasonic V-Log L footage, Leeming LUT One version 503 for Panasonic cameras will be released for Cinelike D, HLG and V-Log L.

If version 503 has you as excited as I am, please do not put off purchasing it until later this year as version 502 is already streets ahead of any other camera LUT that I have tried out so far and purchasers of 502 now will receive 503 when it is finalized.

Leeming LUT One for Panasonic V-Log L 503 beta, footage by Paul Leeming

Leeming LUT One for Panasonic V-Log L 502 compared to 503 beta

Leeming LUT One for Panasonic V-Log L version 502
Leeming LUT One for Panasonic V-Log L version 503 beta
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2

Leeming LUT One 503 beta as a base for creative LUTs

Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Fuji 64D
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Fuji Reala 500D
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Kodak 5245

Sneak Peek, Leeming LUT One 601 for Panasonic, Cinelike D

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Leeming LUT One 601 for Panasonic Cinelike D, from 8-bit 4:2:0 4K UHD video shot on Lumix GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 lens, LUT plus other minimal grading applied.

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Image Credit

Header image concept and hack by Carmel D. Morris.

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News Shooter: Sky News Washington cameraman Duncan Sharp on shooting with the GH5

http://www.newsshooter.com/2018/01/26/sky-news-washington-cameraman-duncan-sharp-shooting-gh5/

“Sky News Washington cameraman Duncan Sharp has been shooting one-hour documentaries and “Special Reports” almost entirely on the Panasonic GH5….

… Duncan’s body of work is certainly impressive and it just shows you what is capable with a small, compact camera kit. As I always say, it’s not about the kit, it’s how you use it. In the hands of a highly skilled operator such as Duncan, the GH5 can be used to great effect.”

 

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Panasonic DC-GH5 with Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4.0 Aspheric zoom lens

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Lumix G Experience: Using the 20x magnification focus-assist feature in the GH5s

https://www.lumixgexperience.panasonic.co.uk/learn/expert-advice/using-the-20x-magnification-focus-assist-feature-in-the-gh5s/

“One of the new features introduced in the Lumix GH5s that I’m really enjoying is the 20x magnification assistant for manual focusing. In all other Lumix bodies we get a maximum magnification of 6x, which is often good enough, but when using manual focus lenses wide open it’s great to be able to check a little closer to make sure the focus is falling on the eyes, for example, rather than the ears….”

panasonic_lumix_gh5s_square_09_1024px_60%
Panasonic Lumix DC-GH5S

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Lumix G Experience: The Videographer’s View – Jim Marks on the GH5s

https://www.lumixgexperience.panasonic.co.uk/learn/expert-advice/the-videographers-view-jim-marks-on-the-gh5s/#.WmdYLqhl9jE

“‘The Lumix GH5s is a very complete little package’, says professional film maker Jim Marks, who has been trying out a pre-production body before the official launch. ‘It’s ability to work in low light makes my life very much easier and means I can spend more time thinking about composition and story-telling rather than worrying what the camera is up to. The dual native ISO allows me to film almost anywhere and to work in very low light conditions without the penalty of excessive noise.’…”

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Panasonic Lumix DC-GH5S with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Power OIS zoom lens.

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Movcam cage for Panasonic Lumix DC-GH5 and GH5S

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  • Movcam Cage Kit for Panasonic GH5B&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
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