GH5 doesn't do 4K/60p 4:2:2 10-bit onto the memory card. It outputs that over HDMI but does up to 30p 10bit 4:2:2 10bit to the cards. 10bit 60p can be had at 1080p.
Hmmm....David...Who's the snowflake here? The guy with enough foresight to think about how his and others' actions/words might affect his fellow man or the dude too insecure to even give it a thought. There may be a reason you "keep bumping into [them] on set"! Maybe it's not "them" but YOU.....
Huh? Joshua, are you responding to me? How am I shitting on this tool? I'm just explaining it has nothing to do with wide angle distortion and cannot be reproduced (exactly) in post digitally because you lose some of the frame.
None of you guys seem to understand how tilt shift lenses are used or what they're used for. This has nothing to do with wide angle distortion and I'm not sure why the poster says as such. This has to do with being able to point a lens up while keeping the focal plane(sensor) level.
Take another look at the example image. The only way to fix the first image without a tilt shift would be to raise the camera several hundred feet in the air and move back a hundred yards or so to keep the camera level and still keep everything in the frame(Should be pretty self-explanatory why this might not be feasible). The second option to get rid of the distortion is to point the camera level in its current position(which would end up chopping off the tops of the buildings).
This and tilt shift lenses allow one to keep the entire building in the frame without pointing the camera up which would result in converging lines no matter what focal length you use.
I'm REALLY late to the party but I'm confused as to why you would want to prores or DNxHR proxies or in camera recording vs redcode. Aren't the redcode files at 4:1 compression still smaller than 4:4:4 DnxHR 4K files and much more flexible in post?
Yes Yes Yes! Here's to hoping we get a Ronin M 2 that will essentially fill that role. The Ronin-M is already better than the OG in some aspects.