A brief look at a production model of the GH5:

GH5 demo reel filmed in Yokohama

It looks like the 100-400mm Leica is going to be a killer combo with the GH5 for 800mm eqiv handheld use !

@joe1946 can't wait to test that combo ;-)

https://www.focus-numerique.com/news/panasonic-lumix-gh5-premieres-images-en-pleine-neige-19685.html

@hanriverprod It's just the old shutter angle (shutter speed) issue combined with it being a relatively fast hand held pan. Nothing to worry about.

@caveport Adobe Camera RAW, but it does not matter, I get the same exposure differences using LR or RAWTherapee.

@caveport @hanriverprod i could not use that shot either. Can you get a proper Pan with Image stabilizer? could you please post a sample? Thanks a lot

@cas1 In the beginning I thought that to but the exposure differences are close to a stop and that's a huge difference. Samples from Imaging Resource or other review sites do not show such exposure differences between the cameras. I will do a test of my own between the two cameras after I receive the GH5 but something is fishy about Dpreview tests.

Even the very affordable FZ80 has it now. It's unusual to see 4K video in cameras less than $500, and we're curious what sort of challenges are associated with including 4K video and 4K Photo in such low-cost cameras? How have you managed to do it, but nobody else really has yet at that price point? Could it be that the processor that you developed for higher-end, you have manufactured long enough so the cost has come down?

Yeah, so not so hard for you. But it's surprised me a little bit, too, because Sony has also had a lot of experience in camcorders, but you have had much more 4K across your product line sooner than they did.

They literally lick their anus here. NX500 had been for quite a time cheaper than $500, and you really can't compare it to FZ80 crappy shit.

Specially for Image-Resource guys. Previously Panasonic LSI had been almost instantly shared among compacts, ultrazooms and mirrorless. Today it is not progress, but regress, where Panasonic is literally bleeding by not have enough scale. And GH5 price is indication of it.

For [typical] customers, V-Log L [is] too difficult, actually. V-Log L [is especially intended] for cinema people, [as] they like a very flat tone curve. For normal people and broadcasters, I think this function is not so interesting, and if we put V-log into [the cameras] without any charge, in that case it's a little bit difficult to explain how to use [it].

I also love how capitalists explain such things. Always good chance to laugh.

And also already we have 10-bit 4:2:2 [capture], two bits more dynamic range actually. And this means for even normal customers who want to get more dynamic range, they can use 10-bit.

"two bits more of dynamic range" mathematically means that dynamic range in 10bits is 4 times higher :-) . Actually whole phrase makes no sense, as you can push same sensor dynamic range even in 256bits.

While it makes not much sense how they say it, 2bits would be equal to two stops in linear light, you can't really tell for log without keeping the curve in mind. As VLOG L cuts off the upper part of the curve (which is available in the Varicam) it's harder to tell what they mean with that. But from the start, I think they don't mean anything and let the wrong person talk here :)