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IS IT WORTH IT? GH5s - No Stabilization

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@lutfu

for your ISO values, just open/import the file in the free PHOTOfun software that comes with the cam. There's useful info available if you just right-click on the thumbnail, including ISO, shutter, aperture etc.

 

Matt

Edited by matdiver1234
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Thank you very much Matdiver 1234...I will try that..

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At 2:07

 

About 90ft, cloudy day, no more than ISO400, around F5 with my LX100 (it's similar to GH4). This show there is a need of low noise performance for UW.

 

Everyone should know the limitation of their gear and push that limit and know what they want/need. So with GH5s, it may help with the situation in my case? May be. But without the IBIS, when you deal with cloudy day, deep, and strong current, would one choose Gh5 or GH5s? It all come down to how comfortable you feel about fixing, either fix the noise with NeatVideo, or fix the shakiness with After Effect Warpstabilizer.

 

KC - I assume this was ambient and you didn't use lights due to the distance. I used to shoot a D100 with Sea & Sea housing many years ago and moved to Gopro, but thinking of changing to something better. We are headed to Socorro in June :)

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Ok - another question that may be stupid.....I dont see any mention of the Canon 5d Mkiv being good for video. Why?? (Large file sizes?)

 

Backscatter touts it as one of the best cameras for UW.

 

I shoot a 5d mkiii professionally for real estate and it is getting high shutter count and probably getting tired in next year or two..was thinking of 5dmkiv or 5ds and the next work camera, but if I can kill two birds with one stone might consider upgrading earlier.

Edited by Kristoph2008

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Kristoph,

 

Yes I shoot ambient light in Socorro with Magic Filter. I know it's deep so I need to use custom white balance method to bring out the blue color. Unfortunately the visibility got bad half way into the trip so the white balance was challenging. At 3:30 into the video, you see some light on the Manta, it's a Keldan light from the boat's videographer, he swam around and shine his light everywhere and piss many people off, so watch out for people who abuse high power video light. Since I shoot ambient light, it's hard to swim on top of the Manta to capture the top side view of the manta because everything will be very dark. So it's a tricky experience for me.

 

As for your question of Canon 5DM4, I know 2 very skill videographers who are highly disappointed with it and decided to move to the 1DX M2 since the price is still manageable for them. Besides the file size, the big drawback of the 5DM4 is its crop factor, it's so bad that you can't really shoot good Wide Angle with it. I'm not sure if they corrected the crop factor through firmware update. Also, the 1DX M2 can shoot 4K 60 fps, so it's a highly desire feature with many professional videographers.

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".... he swam around and shine his light everywhere and piss many people off, so watch out for people who abuse high power video light. "

Yeah, I know what you mean. Would have been even worse, i.e. more pink/red if he was closer.

I have very mixed feelings about these high power lights. I'm very impressed by the tech and the relatively small size, but generally I don't feel that comfortable shining really bright lights on turtles and our fishy friends! All down to personal preference I guess, but I wonder if it could influence fish behaviour in the long-term, maybe even push them to find somewhere less "disruptive"?

 

As regards noise, in my experience MWB can have as much of an impact as ISO. It seems like what's going on when you get a good MWB at 20m, say, and all the reds and yellows look nice, if you then point the cam at something out in the blue the "red boost" translates as noise. The few times it occurred I corrected it very easily with NeatVideo and reducing the red in Vegas curves, but the point is that at the same ISO there was no visible noise for the colourful reef shot.

 

Matt

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how do i add a picture from my computer. I got a quote on the GH5 the other day and it is pricey was not expecting that hahaha.

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Coming back to the GH5S discussion, have you looked at the Eric Nasso review at newsshooter : http://www.newsshooter.com/2018/02/22/panasonic-gh5s-good-bad-clean/

 

The GH5S colors looks really good.

 

I'm very much tempted to get this cam.

 

Taking his head shot into FCPX, the differences are very slight and I've got the GH5 shot to match the GH5s. So for a multi shoot, mixing them together looks really simple.

 

Still impressed with the colors of both! :)

Edited by thetrickster
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Kristoph,

 

Yes I shoot ambient light in Socorro with Magic Filter. I know it's deep so I need to use custom white balance method to bring out the blue color. Unfortunately the visibility got bad half way into the trip so the white balance was challenging. At 3:30 into the video, you see some light on the Manta, it's a Keldan light from the boat's videographer, he swam around and shine his light everywhere and piss many people off, so watch out for people who abuse high power video light. Since I shoot ambient light, it's hard to swim on top of the Manta to capture the top side view of the manta because everything will be very dark. So it's a tricky experience for me.

 

As for your question of Canon 5DM4, I know 2 very skill videographers who are highly disappointed with it and decided to move to the 1DX M2 since the price is still manageable for them. Besides the file size, the big drawback of the 5DM4 is its crop factor, it's so bad that you can't really shoot good Wide Angle with it. I'm not sure if they corrected the crop factor through firmware update. Also, the 1DX M2 can shoot 4K 60 fps, so it's a highly desire feature with many professional videographers.

 

The crop factor on the 5D4 might actually be an advantage for underwater work, assuming you can use third party APSC lenses. Generally, for underwater work you want as great a depth of fields as you can get, so smaller sensors are actually a good thing. One of the reasons I think m4/3 is great for underwater video.

 

Touching a bit on high powered video lights -- I've yet to see a single example of what I'd consider rich underwater colors that relies solely on ambient light, below 10 meters. You can't really beat physics unfortunately.. Red light don't penetrate very deep in the water column, and no amount of custom white balancing or red filters is going to bring them back if they're just not there.

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GH5S...

https://www.youtube.com/watch?v=dLe6IveUI0c&feature=youtu.be

 

Pana 8mm, Natural profile, Manual WB, ISO 3200, 4k 30p 4-2-2 All intra

 

Not my video.

 

Loved the colour rendition

 

Colours - are lovely... would be interesting to see how much he had to push that in post. But some lovely deep blues.

 

Alas we are spoiled with smooth video these days, with some stabilisation, that would removed probably all the micro jitters and made it even more spectacular.

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Colours - are lovely... would be interesting to see how much he had to push that in post. But some lovely deep blues.

 

Alas we are spoiled with smooth video these days, with some stabilisation, that would removed probably all the micro jitters and made it even more spectacular.

I 've seen and shoot more jittering video than this with stabilized cameras :lol2:

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I love the colors too. Also did not find it jittering.

 

There are some very good cameras and lenses available those days, Not sure what more we could ask.

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GH5, CWB with ambient light at 10m, no red filter, standard picture profile, 4k60fps in 8-bit 4:2:0 at 150mbs.

 

Before/after simple color correction in FCPX (WB->warmer/+magenta; crushed shadows)

 

post-42872-0-50261400-1520590202_thumb.jpg

post-42872-0-16872000-1520590248_thumb.jpg

 

 

For the record, I tried shooting same scene at 4k24fps in 10-bit 4:2:2 400mbs with v-log and was much less pleased with the results after applying the official lut and trying to color correct the scene. I think you give up too much color information when shooting in v-log.

 

post-42872-0-73745300-1520590080_thumb.jpg

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GH5, CWB with ambient light at 10m, no red filter, standard picture profile, 4k60fps in 8-bit 4:2:0 at 150mbs.

 

Before/after simple color correction in FCPX (WB->warmer/+magenta; crushed shadows)

 

attachicon.gifDay 3 - Boo & Fiabacet 3.jpg

attachicon.gifDay 3 - Boo & Fiabacet 2.jpg

 

 

For the record, I tried shooting same scene at 4k24fps in 10-bit 4:2:2 400mbs with v-log and was much less pleased with the results after applying the official lut and trying to color correct the scene. I think you give up too much color information when shooting in v-log.

 

attachicon.gifDay 3 - Boo & Fiabacet 5.jpg

Lovely colors. That's actually the conclusion I've come to as well after seeing lots of v log footage. Works well for macro but for wide angle shots I totally agree with you about losing too much information.

 

Skickat från min VTR-L29 via Tapatalk

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For the record, I tried shooting same scene at 4k24fps in 10-bit 4:2:2 400mbs with v-log and was much less pleased with the results after applying the official lut and trying to color correct the scene. I think you give up too much color information when shooting in v-log.

 

attachicon.gifDay 3 - Boo & Fiabacet 5.jpg

Have you made adjustments others than applying the LUT? Because with V-Log you still need add some saturation and contrast at minimum.

 

 

Sent from my iPhone using Tapatalk

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post-42872-0-49514300-1520593139_thumb.jpg post-42872-0-30486400-1520593173_thumb.jpg post-42872-0-29752700-1520593234_thumb.jpg

 

 

Yes. There's quite a bit of extra contrast added. Adding additional saturation after the LUT only produces less natural-looking colors. My point isn't that the color-corrected result from v-log looks terrible -- it just doesn't look as good (and certainly not any better) than the color corrected result from shooting in the standard picture profile in 8bit.

 

Basically, when you choose to shoot a desaturated image initially, what you're doing by compressing the saturation range (as all log formats do) is throwing away the subtle differences between shades of color. Adding saturation back in post doesn't bring back those subtle differences -- they're gone forever. Shooting in 10 bit does alleviate this to some extent, but at the end of the day, you're not gaining anything. Probably better to just shoot in 10-bit using the standard picture profile.

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OK thanks for the feedback.

Yeah, probably for underwater footage as we are looking for natural look rather than cinematic look, a non-log picture profile seems right.

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GH5, CWB with ambient light at 10m, no red filter, standard picture profile, 4k60fps in 8-bit 4:2:0 at 150mbs.

 

Before/after simple color correction in FCPX (WB->warmer/+magenta; crushed shadows)

 

attachicon.gifDay 3 - Boo & Fiabacet 3.jpg

attachicon.gifDay 3 - Boo & Fiabacet 2.jpg

 

 

For the record, I tried shooting same scene at 4k24fps in 10-bit 4:2:2 400mbs with v-log and was much less pleased with the results after applying the official lut and trying to color correct the scene. I think you give up too much color information when shooting in v-log.

 

attachicon.gifDay 3 - Boo & Fiabacet 5.jpg

 

 

 

I just watched your "What Lies Beneath" that was amazing!! Liked, subbed and shared! Would love to meet you one day and get some tips. Looks like you're a fellow Cunuk as well!

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Does the 5s fit/work properly in the NA-GH5 housing?

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Does the 5s fit/work properly in the NA-GH5 housing?

Yes

 

 

Skickat från min VTR-L29 via Tapatalk

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Thanks Mike. I'm mostly based in Indonesia these days :)

Did you switch from the Sony to the Gh5?

 

Sent from my SM-G955W using Tapatalk

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