Panasonic GH5S – First hands on review


So the new Panasonic GH5S is here… but is it the low light king?

We’ve been using the new Panasonic GH5S for over a month. Take a look at our honest and revealing review where we put the camera through its paces.

Big question is… will Steve and Paul’s old GH5 cameras be on ebay soon?


DC-GH5S Motion Picture Specifications

Image Sensor Size: 17.3 x 13.0 mm (in 4:3 aspect ratio)
Image Sensor type: Live MOS Sensor
Color filter: Primary color filter
Colour Space: sRGB, AdobeRGB
System frequency: 59.94Hz, 50.00Hz, 24.00Hz
Total pixels: 11.93 Megapixels
Camera effective pixels: 10.28 Megapixels
Recording file format: MOV, MP4, AVCHD
Recording System: 17Mbps (LongGOP) to 400Mbps (4:2:2 10-bit ALL-Intra)
Aspect ratio: 4:3, 3:2, 16:9, 1:1
File size (Pixels): [C4K] 4096×2160, [4K] 3840×2160, [Full HD] 1920×1080
Anamorphic 4K mode (4:3): 3328×2496
Dual Native ISO: [Normal] 400, 2500 [V-LogL] 800, 5000 [HLG] 800, 5000
ISO sensitivity: 80, 100, 160, 200, 400, 800, 1600, 3200, 6400, 12800, 25600, 51200, 102400, 204800 (Changeable to 1/3 EV step)
Variable Frame Rate: 2, 12, 21, 23, 25, 27, 30, 37, 50, 62, 75, 87, 100, 112, 125, 137, 150, 175, 200, 225, 240 fps
Focus Type: Contrast AF system
Focus Mode: AFS (Single), AFF (Flexible), AFC (Continuous), MF
AF Mode: Face/Eye Detection, Tracking, 225-Area, Custom Multi, 1-Area, Pinpoint
Time code: Rec Run/Free Run selectable

Zhiyun Crane 2 Gimbal Review


Unboxing, full review and useful hints and tips for using the new Zhiyun Crane 2 gimbal stabiliser. Steve joins Paul for an extrashot trip around the Winchester Christmas Market… (it was pretty but quite dark!)

Purchased for £729 inc VAT from here:…

Payload Capacity: 7 lb (3.2 kg)
Battery Runtime: Up to 18 hours
Battery Capacity: 6000 mph

UPDATED – EVA1 1st Looks (now with footage)


extrashot takes a look at the new Panasonic EVA1 – Will this be Steve’s new favourite?

All EVA1 footage shot in 4K with what we thought was close to a Cine’D’ look.

Following our earlier EVA1 video (where we weren’t allowed to show you the footage) We’ve now heard that it’s okay to release… so here is the original edit with all the shots we’ve been itching to show you !!! While we think these pictures are very impressive (and considerably more informative than our captions) we do hope to get our hands on the latest release firmware soon. If we can… what would you like us to test?

Specs from Panasonic:

The AU-EVA1 contains a 5.7K Super 35mm-sized (5720×3016, approx. 17.25 million pixels) sensor. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down sampled to 4K, UHD, 2K, and even 720p.

Dual Native ISO of 800 & 2500
The EVA1 includes dual native ISO like the VariCam 35, VariCam LT and VariCam Pure. Utilising a process that allows the sensor to be read in a fundamentally different way, dual native ISO extracts more information from the sensor without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity, while maintaining the same dynamic range and V-LOG curve without any electronic gain.

V-Log / V-Gamut
The EVA1 contains V-Log/V-Gamut capture to deliver broad colours with a capability of creating 14 stops of dynamic range. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a colour space even larger than film gamut and BT-2020 gamut. The EVA1 will also import the celebrated color science of the VariCam line.

High Frame Rate Recording 4K 60 fps/2K 240 fps
Users can choose between MOV wrapped codecs up to 10-bit 422 even in 4K, as well as AVCHD. Capturing internally in 4K, UHD, 2K, Full HD and HD, the EVA1 offers up to 59.94fps/50fps for 4K/UHD, up to 120fps/100fps for 2K/Full HD (without cropping), or 240fps/200fps (4/3”cropped area) for high-speed capturing.

Cinematic Run & Gun
Weighing only 1.2Kg (body-only) with a compact form factor (17cm x  13.5cm x 13.3cm) and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and can also be mounted on a drone, gimbal rig, or jib arm for complex yet smooth camera moves. The adjustable handgrip offers several controls, including menu, REC start/stop, iris and two user defined buttons. The LCD monitor features a touch-panel function and allows flexible mounting.

Low-Cost Media / SD Card Recording
EVA1 records to two SD card slots, with the option to capture footage with Relay Rec (continuous record) or Simul Rec (simultaneous dual record). There’s also one shot record, which enables single frame video for stop motion capture.

EF-Mount Lenses
The camera utilizes a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers.

E.I.S. & Integrated ND Filters
Electronic Image Stabilisation (EIS) is employed to compensate for camera shake and blurring, which will help smooth out handheld or shoulder-mount shots on documentary or run-and-gun projects. Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut filter to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared.

Professional Features
As a professional video production tool, the EVA1 offers dual balanced XLR audio inputs with Dolby Audio™ * encoding. 4K-capable video outputs in both HDMI and SDI. where each can be adjusted separately, allowing HD to be fed to a viewfinder or other third party monitor while 4K is sent to an outboard recorder or monitor. Timecode In/Out is also supported on the EVA1 unlike some other cameras in its class. With the addition of the AJ-WM50 WiFi adapter, all EVA1 menu functions can be controlled remotely on IOS or Android using the dedicated app.

URSA Mini Pro Review


At long last, we get to take a proper look at the Blackmagic URSA Mini Pro camera.  With a 4.6K sensor giving 15 stops of dynamic range and built in RAW recording, could this be our new favourite?

Kino Flo Diva LED vs Lishuai 1380ASLV


Reassuringly expensive or great value? We compare the Kino Flo Diva LED with the Lishuai 1380ASLV just to see how much you need to spend to get quality soft LED light.

Hands On with the ATEM Television Studio HD


Steve and Paul check out the new ATEM Television Studio from BlackMagic Design.

Panasonic AG-DVX200


Agreeing to use a new Camera – Part 1 of Ged’s new blog…

Recently I agreed to film a one hour documentary for BBC ALBA, the Gaelic language channel in Scotland, on the topic of patronymics. In the Highlands and Islands of Scotland, the heart of Scottish Gaeldom, many people share the same name due to the tradition of naming after family members such as fathers, grandfathers, grandmothers and mothers. For example, on the Isle of Lewis where I live in the Outer Hebrides, there are a huge number of people with the surname Macleod with a lot of Donald’s, Calum’s, Alastair’s…the list goes on. It’s all rooted historically in the Scottish Clans. To avoid confusion many end up having a nickname, making it a lot easier to identify individuals. Even my own background, which is not Scottish, follows this naming pattern. I was born in Manchester to Irish parents and given the name Gerard. My father was named Andrew but known as Gerard because his father was also Andrew, get the idea? It was to help distinguish them in their daily life. In fact my grandfather and father were both called Andrew Gerard and I was called Gerard Andrew so my full patronymic is Gerard Andrew Andrew Gerard Andrew Gerard. You can probably see why the use of nicknames in Celtic cultures makes life a lot easier. So this was the background to the documentary, how peoples nicknames came about. It turned out some were logical explanations and others had no rhyme or reason.

We decide on an informal shooting style as there were going to be a lot of casual conversations rather than formal interviews. I’m still recuperating from open heart surgery I had in early 2016 and have done quite a few jobs since returning to work last September on the Sony F800 camera. Though my health and stamina are much improved I found I was beginning to dislike the F800 and not enjoying working with it. It just seemed bulky, heavy and used a lot of power plus I’m not getting any younger. As is fast becoming the norm these days, the budget was tight for the documentary but of course one still needs to earn a living as a cameraman so something had to give.

Some of the planned conversations were likely to be very open ended and as we definitely wanted a loose casual feel with natural conversational flow on screen there was going to be a lot of hand held camerawork on this job. I had considered using the FS7. However, knowing also the budget was tight and if I’m honest, I have a bottom line fee without kit I won’t compromise on, I ended up agreeing to use a supplied camera. I was actually very interested in trying out this camera anyway and knew how much income I would get for the job so I wasn’t unhappy with the scenario.

The camera I ended up working with was a Panasonic DVX200. After a lot of discussion it was agreed we would shoot in 4K (well UHD really) for an HD edit. This would theoretically help with edits on the conversations as the shot could be reframed to make the dialogue cuts visually smoother. Another advantage was the camera was very light with small but powerful batteries. On board recording at 4K resolution (UHD) was nearly six hours, far more than I would ever need in a day’s filming.

The DVX200 is perceived as a GH4 in a video camera body but has the restriction of a fixed lens. I felt the ergonomics would be more beneficial when doing a lot of ‘on the hoof’ filming and the audio handling would definitely be a lot better than a GH4. I was very much looking forward to using the DVX200 after years of using full size broadcast cameras and as I recalled my first 3-tube Betacam camcorder back in 1988 I found myself marvelling at how technology had moved on and what was now available for around £3000 UK Pounds.

So there I was on sub-zero January morning well before dawn loaded up with all of this brand new shiny compact 4K kit in the car. As director Liz MacBain and myself drove onto the Stornoway to Ullapool ferry heading for the Scottish mainland for our first few days filming in Sutherland, everything felt good, what could possibly go wrong…

to be continued….

Ged Yeates, Isle of Lewis, Scotland


Canon EOS C700


Have Canon finally brought out Steve’s dream camera?

The ergonomics look right… the specs look right… so when Proactive said they’d lend us their new one to try out, we jumped at the chance.

The success of this camera seems dependent on who it’s aimed at. Is it competition for the RED’s and Alexa’s in the cinema world or will freelancers looking to trade up be tempted?

We take our first look…

Gymbal Shootout


Steve bought himself a new present… the Zhiyun Smooth-C gymbal.

How does it compare to the DJI Osmo? We try to find out.

“Gentlemen, draw your weapons.”


Zoom F4 location mixer and recorder


Quick unboxing from Paul and first thoughts on the Zoom F4 Location Recorder / Mixer. Is it a flawed beauty?