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  1. 25 likes
    So as I've hinted more than a few times in the other thread, the discovery of the Cinelike D and other bits and pieces for the GX80 etc was actually a bit of a happy accident while I was trying to do understand the Panasonic wifi stuff for something else. And here is that something else. Well at least a prototype of it but it is fully functioning and will just be finessed a bit more. Basically, its a wireless hardware remote for the G series cameras that operates over wifi and can currently control record start/stop, shutter speed as well as aperture and focus if you're using a native lens, including a single shot AF switch. For the non-Cinelike D cameras that can now be hacked to have Cinelike D there is also a dedicated button to toggle it on and off so you don't need to mess about with browsers and computers or smartphones anymore. Focus and aperture control are done on a joystick and everything else is switches. I'll be putting a layer switch on so that it can be toggled back and forth to a different control mode for ISO, WB and other stuff. As this is the prototype it is nowhere near the finished piece and it will be reduced in form factor to just be about the size of the control board. Power is by any USB source so there are billions of options. There is a lot more finessing and feature enhancement to go on with regard to the focus control (and yes, I know exactly what you'll all want it to do !) but the hard part is done now. It does support the display of the values on a screen and I'll be sorting some options out for that. The purpose of this gadget is primarily for use with a gimbal but it can also be really useful on a tripod bar for anyone shooting live event stuff. For cameras with inbuilt lenses I'm going to add a zoom mode on the joystick. A very quick very rough demo so you can see it in action. Any lag you might see between me operating the controller and the camera video is just a sync issue between me throwing the two recordings on very quickly
  2. 17 likes
    Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film. I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good. Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).
  3. 16 likes
    Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds. For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness. Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look. I zoomed in digitally mostly around 20% - and it still was too sharp of an image. Why not shoot it anamorphic instead? Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. Let me know what you guys think of this.
  4. 16 likes
    Man, I suffer in silence when I read some stuff here (I guess I'm masochist to keep reading it). But this one is too much for me... On what ground do you think it should cost 2,500$ ? Please tell me. Do you know a video camera costing that price and doing this ? And don't tell me blackmagic please (fan of the brand, but their cameras aren't in the same price range and they are way less reliable and easy to use, and no autofocus, no support) Do you know a pro 1/3 sensor camcorder costs more than 2500$ (Sony, Canon) ?. It might not be the camera for you, that I totally understand but with all due respect, I think your comment is from a spoiled naive non pro shooter who doesn't know the requirements of pro work and on being on the field with reliable equipment. People always complain, at some point it's just ridiculous. They want new technology right away, but when Sony releases a new camera too soon, they think theirs just became obsolete and hate Sony for it. In the mean time they blame Canon for holding off. And now they unleash something very unexpected from them, still complaints. Same goes for bitrates. Canon files take too much space, now they want that kind of bitrates in their gh5, and they're suddenly ok with the file size. And all that to end up posting videos on Youtube (which is not a bad thing but just all those concerns are irrelevant for that type of delivery). Anyway, this camera seems to be freaking great. Canon used to deliver not on specs but on the field and with the image quality/mojo. Now this one also has the specs ! Granted an intermediate codec is more than necessary for a camera at this price point, but it will come down the line anyway. Pffiou, sorry I had to get it out of my chest Now I can burn in hell !
  5. 15 likes
    full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy. the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.
  6. 13 likes
    Link: https://www.reddit.com/r/videography/comments/6j535x/i_made_a_dank_meme original source: https://tapas.io/episode/277406
  7. 11 likes
    Boy do people like to complain. A camera is announced two days ago with a feature and you expect every other camera to have it? We're also talking different recording media than the C200 and Blackmagic. Different ecosystems can support different things. It seems like they're trying to push as much into this ecosystem as possible, while keeping the "real" costs of a full kit as manageable as possible. And everyone's losing it over the internal raw of C200, yet the reality is that 98% of the time that raw is used will be in a controlled environment where external monitors are the norm and an external recorder isn't a big deal. And if you start factoring in the difference in SSD costs vs cfast... well, cost-wise the playing field starts to even. The weirder thing would be building a small camera that's perfect for doc and indy uses, shoving raw internal into it, an old ass 8 bit codec, and nothing in between... and no way to get non-raw 10bit... even from the output...
  8. 10 likes
    I have upgraded your forum profile to a Super Member so you can edit your original post and generally have mod-like access to the forum. Thanks for all your efforts so far on the project.
  9. 10 likes
    This camera is better in almost every way than the A7R II and A7S II. Lenses... I'll get onto those in a minute but A mount is nothing to be afraid of. Will be selling a lot of Canon glass after this and will end up actually saving money at the same time as increasing quality and decreasing weight. The AF is definitely better than the A7R II and kicks the A7S II into the dust. At F3.5 it tracks like a hawk. I can now see why Sony did this because at F1.4 on a softer lens it doesn't work nearly as well as Dual Pixel AF on the 1D X Mark II. But to have this bonus feature on the 24-70mm F2.8, losing just half a stop, but gaining amazing run & gun AF for video. The 1080/24p and 1080/120p are the SAME QUALITY. This makes the 1080/120p the best on the full frame camera market. The nicest ever. There's no crop, it's full frame. A7R II was 720p only and A7S II was a big 2x crop! What's more it is not just an S&Q mode but a fully continuous normal video mode with 5 axis IBIS and AF tracking, at 100Mbit. The S&Q mode is only 16Mbit. The 4K full frame quality is also very good but Super 35 does still have advantage in low light and to eliminate moire. Nice to have a top LCD for shooting info. A7 series lacks this of course. Buttons are better arranged than A7R II and A7S II. It is not laid out like a RX10 III. It is its own beast in terms of ergonomics. You can now assign Super 35mm mode to a button, which you can't on the mirrorless cams. The new menus are in there and do group stuff together better but they're not a big enough overhaul to make me really appreciate them. I try to go into the menus as little as possible. Unfortunately you can't assign 4K/1080p to a func. button or the func. menu, you have to dig into the menus when switching between 4K 24p and 1080/120fps. You can assign video recording to the exp. comp button next to shutter release, really handy. Default video button is better placed than A7 series but on the rear not the top. Exposure compensation can be assigned instead to rear or front dial when in A-priority mode, then it automatically reverts to shutter speed / aperture control in manual mode.... again super handy. The LCD can face forward for VLOGs and stuff, cannot do that with the A7 series or A9. It can also sit on top of the hotshoe almost (reminds me of Sony R1), or flips away to the base. More articulation options than the A7S II. AF for photos.... hmmm lovely. Super quick and reliable. The A lenses...TOP stuff. Particularly Zeiss 135mm F1.8, 50mm F1.4 and 24mm F2.0. The 85mm F1.4 is a bit noisy and slow for AF but great in MF. Super optically. The Zeiss 24-70mm F2.8 is like the G-Master lens, and just as big unfortunately. I prefer wherever possible the SSM lenses (24,50,24-70 but not 135 and 85) if using AF for video - much quieter internal focussing. I love the green indicator boxes in manual focus mode for video. Way less intrusive than peaking. It stops you from diving into the punch-in zoom mode or racking the focus ring back and forth a little bit to be sure. As soon as you get that green dot you can just stop and relax knowing that area is in focus. LOVE IT Have dialed EOSHD Pro Color into PP1. Looks WAY better than the default. Not tried S-LOG 3 to see if the banding is improved since A7S II yet. S-LOG 2 and S.Gamut Cine 3 with view assist all present like A7S II and an improvement over A7R II. 42MP stills and 18MP Super 35 mode. This for photography is significantly more in resolutions terms than the 1D X Mark II and allows you to effectively get two high quality prime lens focal lengths in one. The camera is more responsive than A7R II / A7S II. Starting / stopping video has zero lag. Start-up time very good. Writing the 42MP RAW+JPEG files - MUCH smoother. Max write speed is 60MB/s to UHS 1 cards. Dual card slots. Not Compact Flash speeds (80MB/s plus) on the card controller but much better than A7R II 30-40MB/s. This isn't a DSLR. EVF quality is very good, translucent mirror doesn't flip. It's instant-on like mirrorless camera. Body size and weight is similar to the GH5. So far far less than 1D X Mark II. Has a DC-IN port, but doesn't seem to take charge from USB. Battery is probably too big for 5v 2-amp charging. There's a very smooth and nice front dial near the lens release which is assignable to things like ISO... It can be clickless or clicking. Now the bad stuff... The LCD dims in movie mode when you're shooting 4K or 120fps 1080p. It's either a power management thing or a heat thing. Makes exposure look totally different and 2 stops darker than same settings in stills mode. Very silly Sony!!! It seems all unnecessary on this camera because of the bigger battery than A7 series. Although the screen does get very slightly warm at full brightness outdoors, to think this would contribute to overheating problems is unlikely and it can be flipped completely away from the back of the camera where the hot main board and chipsets back directly onto the rear casing with no proper heat sink (I've seen the tear-down photos). Sadly my camera came with a small faulty part... a sticky joystick in the 'right' direction. Apparently it 'wears-in' over time but I don't think mine is proper...why would it only need wearing-in to click right responsively and not also up/down/left? We'll see if my next unit does the same weirdness. On this point, I think Sony still have work to do to convince us they can make buttons. Can you imagine this on a pro body like a Canon 1D X Mark II? Journalists would be rabid, foaming at the mouth. That's it for now, can't actually use it much more as it has to go back to DigitalRev but plan to do the review soon. I think this is a real rival to the GH5... No 10bit but you gain full frame, better slow-mo, 42MP stills and maintain pretty much all the other features. That's it with the Zeiss 50mm F1.4 The Sony 35mm F1.4 G is also a nice one... forgot to mention that. It's much smaller and lighter than the Sigma ART 35mm. Size comparison with the GH5 Although lens mount makes the A99 II look much larger, the tops of the bodies are practically level (look at hot shoe and mode dials) The grip is a bit deeper on the A99 II and card door a lot wider... dual card slots on both.
  10. 9 likes
    How do you define creativity though? Yes, if you film street photography style footage, a GH5 will offer more creative freedom than a fully rigged Arri. If you are filming from a camera mount on a snowboard, then the GoPro will offer more creative freedom than a GH5 If you are filming fast moving skaters, then a DJI Osmo will offer more creative freedom than a GoPro If you are filming the aurora, then a Sony a7s ii will offer more creative freedom than an DJI Osmo If you are filming music video, a C200 will offer more creative freedom than an A7s ii and on and on..... There is no one camera that offers more creativity for every type of filming.
  11. 9 likes
  12. 9 likes
    Great work @BTM_Pix On the GH5, maybe we could unlock that 400Mbit 4K mode ahead of time CineLikeD on the GX80 is a great start.
  13. 9 likes
    The DSLR filmmaker community is funny. It's like "Gimme 8bit proxy, 10bit, RAW, Canon colour science, Log, 4K, IBIS, DPAF and HFR in one package, in A7S form factor, max 2500 bux. I need a silver bullet that covers all cinematography and videography scenarios but make it cheap because I'm not a pro and want to shoot flowers/cat in my garden with it. Also has to shoot on SD cards because Cfast is too expensive". There's no silver bullet for everything in cinematography. Every camera body and ecosystem has its compromises. You can hold out for the perfect dreamworld unicorn camera, or you can pick up one that fits your shooting style and then actually shoot something. Also, the C200 looks awesome and exciting - and daaaymn, official 4K RAW on an affordable Canon frame, without the unreliability of hacking stuff. Had I not sprung for an UM4,6K recently I'd be throwing my money at the Canon.
  14. 8 likes
    People can't be creative while they're working? Or efficient when they're not? Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities. There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to. I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too. The lack of IBIS in pro bodies is also definitely adding to the blur.
  15. 8 likes
    So...... A bit of an update I've spent the past few days redoing this from the ground up and there's been what you might call 'a bit' of progress. The camera functions are now controlled by a gamepad, which gives a bit more scope in terms of buttons etc. By separating out the part that does the actual talking to the camera, this means that that can be smaller for mounting and the choice of the input device is now far more flexible as it can support pretty much any USB device that can be attached to it. In this version, the gamepad itself is wireless too so not only is it a lot neater but it can also be used to extend the overall distance of wireless control (its range to the control box is added to the range from the control box to the camera). I can also make it support multiple devices so you could have something smaller just to do basic control (or a USB numeric keypad would be quite good for that actually) and then use a more elaborate one when needed. Or do both simultaneously if you want control of exposure and someone else to do focus etc. Speaking of focus, this is now controlled by an analog stick so has a bit more feel to it (ignore the transitions in the video, the debug mode makes the control much coarser) with a press in the centre of the stick activating a one shot AF. If your camera has a powered zoom lens (hello LX100 etc) then this is controlled from the same stick by pushing forward and back. I believe that this will also work with those MFT lenses that support power zoom but I don't have one so I can't confirm that. I've made a drivable AF joystick point mode which you activate by pressing in on the right hand analog stick and then using the D Pad to drive the focus point around the screen and then pressing in the stick again to action it. There will be more focus enhancements coming......... The shutter speed and aperture are now controlled by the shoulder buttons on the gamepad and the ISO is now also directly switchable on two buttons. I've got a few more enhancements coming over the next few days as well so I'll keep you informed. In the meantime, here is a video of it controlling a GX80
  16. 7 likes
    Work tools are boring. I've always found mirrorless cameras way more fun to actually shoot with. In his day job John Brawley has an Alexa. Why on earth would he shoot 'for fun' creatively, with an Olympus E-M1 II? But he does. There are a lot of talented DPs who shoot with DSLRs and mirrorless cameras once they down their RED and Arri cameras at the end of the day. Yet I find in the mid-range market for video pros (wedding videographers for example) there's an aspirational value attached to the higher-end pro cameras, that is stupid and pointless. Aspirations should be creative. Owning a Sony FS5 or Canon C500 doesn't make you more creative, it makes you more efficient at work by a slight bit, and you appear more professional because of the big nobs and bells & whistles. Sadly, it doesn't necessarily make for "better" work because I have yet to see a clear distinction between work shot on mirrorless cameras and on stuff like the C300. In fact often the small camera stuff looks better and more inspired. The legendary Anthony Dod Mantle is known for his rough and ready work with digital, but when he went Canon C-series on Oliver Stone's recent series of Putin interviews, the look they achieved was slap dash and lazy to my eye... Could have been so much better. He used DSLRs as well on this shoot (between 2015-2017) and those shots actually came out more interesting! Too many pro videographers seem to dream of cameras like an Alexa and RED, why shows to me how important the professional label and look is to people, but creatively, they are no better and actually worse than the small cameras. I hated shooting with my Sony FS5. A fiddly pain in the ass, for my music video work in Berlin, it needed an OIS lens and rig for handheld - limiting the choice of looks from the lens. With a GH5 you can put any lens on there and it is instantly stable for handheld work, with a tiny form factor that gets out of the way. The FS5's image was worse than an A7S II but double the price. Aside from high frame rates it didn't offer anything creatively over a DSLR or mirrorless camera and now I have 120fps full frame on two of my small cameras along with 240fps 1080p on the pocket RX100 IV - So why bother getting a more expensive camera if it doesn't power you along creatively as much as the cheaper stuff!? These pro cameras aren't cheap... Sometimes I got lucky and I bought a Canon C500 for a very good price used, but do you know how many times I have felt compelled to take it out and use it for artistic work? Zero times. Kendy Ty is another example of a pro who downs his workhorse RED and shoots with a DSLR... The camera gets out of the way to such an extent he can shoot short films in public and direct the actors at the same time as being the main cinematographer. His work sticks in the mind as some of the most creative and spontaneous I've seen and there's not a C200 in sight... zero need for one! I think pros have by-and-large completely forgotten and lost the spirit of the DSLR movement back from 2010-2012 as they sought efficiency. XLRs, built in NDs, yadda yadda. Blackmagic as well, when they ditched the small cameras and went all-out URSA on us. Canon too... Oh wait, they never got it in the first place, and they invented it! Cameras should not just be about making money. That's how an art-form gets boring. That's how it dies. They are not just about doing a job. They're about creatively enabling artists and they're about democratising the art form so that price doesn't act as a road block to new talent. Of course Canon only care about profit, they are not interested in that. The Olympus E-M1 II's stabilisation isn't seen on any of the pro cinema cameras. It's unique. It offers something creatively to the result that a bigger, more complex shooting rig simply does not. On the audio side, so important creatively, small mirrorless cameras used to have limitations and some still do - but with XLR boxes with phantom power that fit in a hot-shoe, you can't really complain. Audio is not a big limiting factor on the Panasonic GH5. I still know that pros have their professional reasons for going Cinema EOS or Sony FS or RED or even Arri... Workflows, codecs, ergonomics, power, performance, looking-the-part... I'm not denying their reasons for one second, it would be so naive to suggest they drop the workhorse cameras and use a mirrorless camera for paid work. But the creative side of the small cameras is what matters to me and I think it is being overlooked as specs in the $6000-$10,000 pro market hot up. Sure, you can shoot all day on a big battery to a small broadcast ready codec with the C200, very practical... But can you put a 1970's Super 16 lens on there? Can you increase the character of your images by a factor of 10? Does it have an anamorphic mode? Nope. If I ever buy a C200... Shoot me. It's over.
  17. 7 likes
    "Hackine D" today test on GX80 and Pany 20mm 1.7 , 1080/50p By mistake Sharpness is set "0" :-( And it can be seen , I always set up for panasonic sharpness -5
  18. 7 likes
  19. 7 likes
    I hate to say it, but I agree. Only maybe 5% of tv and 20% of theatrical features (I'm guessing, but it's along these lines) are shot on RAW. Because it's not worth the extra expense on productions already costing $250,000/day to get that last tiny little bit of image quality. And yet it's a huge omission on a camera that costs $8000? You can't expect everything. Or you can, but you'll be disappointed.
  20. 7 likes
    Sucks so bad the Panasonic EVA1 lacks a Locking Micro Four Thirds Mount (like a baby made from the union of the JVC LS300 & Sony FS7 mk2 mounts). Panasonic has blown a massive opportunity to provide an upgrade path for their GH users as they progress through their career, & was an opportunity to grow Panasonic GH5 sales at the same time. However credit can be given to Panasonic for blasting out of the water the C200 which Canon just announced, but that fact should surprise exactly no one.
  21. 7 likes
    OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html
  22. 6 likes
    You guys made me laugh hard. You are the same people who said years ago that FHD was completely enough and that 4K was useless, when we were telling you it is not about the people having 4K TV to watch your 4K movie, but about the cropping, stabilisation, noise, resampling, and so on that allows you also to have a lot nicer FHD image. Soon the same will be true for 8K to the 4K content we will deliver. You are the same people that said the 12mpx of the D700 were absolutely plenty enough for photography, that more was absolutely useless unless you print on a wall, where I am using 24-42mpx sensors all the time and benefit all day from their cropping capabilities, better noise, better details even seen on my 15" laptop. Anyway, just like 90% of the people on earth, you are reluctant to change and with people like you we would still be using nokia keyboard phones. Thanks god the 10% do exist. Can't wait for 8K 1000FPS 14 bit 400mbps x.268 to arrive in my hands! Stay with your 480p cameras! No insult in my message, take it with humor
  23. 6 likes
    I love my X-T2. I've only had it for about a month and used it mainly for stills so far. Planning on doing more video soon. I carefully chose my lenses around their IS zooms for video use and their weather-sealed primes for photo. Here's a couple shots I got in Hollywood.
  24. 6 likes
    I want to share a short script I wrote in python that does focus ramping time lapses for Panasonic cameras. I believe this is doable in magic lantern for Canon users but I've yet to see an implementation for Panasonic. Here is a short technical preview: Here is the python script I used to make this focus rack timelapse: https://github.com/lippyt/lumixlib/blob/master/focuslapse.py I'm sure that there are much more creative uses especially for shots with the majority of objects in the near-medium range.
  25. 6 likes
    Nice vids from the archive! I'm the same, I don't like rigging up my cameras. I want them as bare bones a possible. Some of the FS5/7Q rigs I've seen are like houses, not my kettle of fish. Yes, I have an Inferno but I can't find an ergonomic way of mounting it on the camera. So I just run it off the SDI and let the other guy hold it for monitoring. Recently, I shot a music video on the A6500 with this criteria, to see what would happen: Completely handheld. Only A6500, 18-105mm gear used. No lights, No grip. Nothing. Autofocus only. Mostly 4k, and some 100fps. At the time, I had an FS5 in the bag too with a bunch of Sigma lenses. Didn't use them. A6500's dim screen and rolling shutter was annoying, but I got round it.
  26. 6 likes
    I remember a story many years ago when home studio recording first started to take a hold and Tom Robinson (ask your Dad, kids) was talking about why he'd got a new fangled (at the time) Tascam Portastudio to record his demos on. His reply has always stuck with me because he said that when a band reaches a certain level of success the first thing they do is get flight cases for their gear and cables that you could tie the QE2 to the quayside with. This all then has to go into storage. So when he felt like writing a song, he'd have to call a roadie, call a van hire place, get the roadie to go to the storage place to pick up the gear, book a rehearsal room (because the flight cases made it impractical to have in the house), drive to the rehearsal room, wait for the gear to be unpacked and plugged in and then he could start to jam and record ideas. At which point he'd forgotten what it was he wanted to do and had lost the energy to do it anyway. With the portastudio, he could just switch it on and get on with it. I see a lot of parallels here too. The only thing thats inspired me to pull the RED Epic out of its case since I got it back was to do the side by side to tune the GX80 profile. It felt like having to go to the corner shop in a Sherman tank. In my real day job I have to take the same 'get the big clunky stuff out' approach because there is an expectation to deliver a set standard both in terms of image quality but pretty much in terms of content too. Coverage is what its all about to be honest. And the demands of that type of efficiency directs you to a certain type of kit. All of which means I'm about as creative as the guy sitting next to me who has also got exactly the same sort of kit (with a 50/50 shot on the brand). Which means to say, not very creative. Or certainly not a massive differential in creativity. We're looking at the same scene and covering it with the same kit so inevitable we're going to be much of a muchness creatively. But the creativity can sometimes be forced upon you (by equipment failure usually!) so you have to do something with what you've got and that triggers the resourcefulness response that is so often at the root of creativity. Being in a situation of "I can't make what I want" often makes you find better ways to make what you actually need. After wrestling with the Epic and then putting the same lens on the GX80 and shooting the same thing, I was left (with a bit of twiddling) with these two test charts. So, could I shoot this same scene with a camera that cost less than the media of the other one? Yes. Could the same be said the other way round about what I could shoot with the little camera? Yes but not without calling the roadie and hiring the van and getting the flight cases and, well you get the point.
  27. 6 likes
    Dear folks, I have been stealthily snooping around and making grateful use of your experiments and knowledge exchange. Thought I'd pay it back with a little test: Cinelike D. Settings: 0, -5, -5, -3. GX80 had a Olympus 12mm, and the G80 a 17mm, for the rest settings are all the same. Hope it's worth your while. Jpg 1 is G80, 2 is GX80.
  28. 6 likes
    (IMO) I cant believe we are still having this discussion. Canon is the number one best selling camera company. They haven't forgotten to put in 4K. Nor made a non thinking decision. Or because of conservatism. Or any of the other hundreds of reasons we will see on forums across the world. They have made the decision based on MONEY! They have spent lots of time, research, endless meetings, focus groups, analyzed data, you know... all that stuff that people in forums have absolutely not done. And based on their findings they have made a decision. So far they have been right every single time. No matter what Panasony puts in their cameras Canon is still outselling them. And if that wasn't enough. This is the 6D... its always been their sub 5D model... And its an awesome stills camera. Aimed at the people out there who actually buys cameras.. stills shooters. Now if they would have put 4K video and IBIS in their 6D. Driven the cost to the same level or at least to close to the 5D. And scared of the biggest bulk of the camera buying target group, who actually quite often gets mad about having to pay for video features... Well that would have been truly stupid. But whats most supricing of all. This happens every single time. They are not now nor ever going to release a stills camera that will wow the video crowd. So just let it go. Its the same thing when all the whining about Blackmagic delays are rolling the interent. Even though its how they do it every single time.
  29. 6 likes
    For anyone looking for a cheap 4K travel camera with a 30x zoom (!) that can have cinelike d then I can confirm that it can indeed be done for the Panasonic TZ80 And if you are travelling through Stansted airport then if you go to the Dixons tax free shop then ask to buy the demo one as I've just been there and left it already enabled on C3 for you
  30. 6 likes
    The GH5 has the chunkiest 10bit files I've ever seen for $2000. Some of the lenses are even more of a bargain. Read the full article
  31. 6 likes
    The documentary was destined for broadcast, and post wanted 10-bit for some compositing stuff with stock photos. XF-AVC isn't yet an option on the C200, so Raw would've been my only choice there. The actors weren't blindly improv-ing for 5-10 straight minutes. They started by working directly from the script, then the director would talk to them about the character and encourage them to change the words up for their comfort. Then the actors would add new lines and topics, and feel their way to a richer, more natural conversation. This meant the conversations had to play out in as long a take as possible, at least in the first angle, as otherwise the dialogue would suffer. Very cool working method, and we got some great stuff. More to the point, I was hired on as the DP. You've never worked professionally, so this may be new to you, but I would never presume to tell my director how to work with his actors. I'd never work again. As the shooter, my place is to collaborate with the director and bring his vision to life. "You shouldn't work that way" or "I can't work like that because my camera..." etc are not options. Commercials and corporate work are generally for broadcast, meaning that I'd have to use RAW. Also, this was another instance where clients requested 10-bit 422. In addition, it had to be delivered to their post people for a relatively quick turnaround. If post called me and said "what the hell is this codec and how do I edit it?" and I answered with some shit about the Canon utility and how great it'll be once NLE support is widespread, guess who's never hiring me again? We were not able to have electronics within a wide radius of the Tesla coil, as there was a risk of the field it creates frying anything nearby. Also, all available house power was going to lights and the robot, and we had a generator to handle the coil. There was nowhere to set up a DIT station, and we were shooting somewhere pretty of of the way, so no extra personnel for that either. Plus, as you said, it wouldn't be ideal. We would've needed to bring down the robot arm, dismount the Faraday cage, change out the card, format, re-mount the cage, run the camera, then re-position the robot arm. And that would've taken 2-3 people to do quickly--people who were needed to reset the rest of the scene elements in a timely fashion. We were shooting night exterior, and we only had one day with the coil. There was no extra time to wrestle with media. That's why I say this camera falls into no-man's-land. The 8-bit isn't good enough for me and many of my clients, and the RAW isn't practical for many shooting scenarios I encounter day to day. And the fact remains that I need enough media for a full day of shooting; it's an actual problem, not a straw man argument. For you personally, shooting RAW all day with minimal media may be a viable option. For many of us, it is not. Implying that we are being disingenuous or lazy for pointing that out is reductive and misleading.
  32. 6 likes
    Panasonic needs to leave dfd af and figure out how to compete with dpaf because amateurs and professionals without large crews know how much time and energy this saves on a shoot. Panny can come out with the best features but dpaf is joining the idea of canon colors on why most will go with them knowing that their overpriced cameras are being crippled.
  33. 6 likes
    I use this for my PC when I need to edit at Starbucks.
  34. 6 likes
    This looks amazing. Really gets that super16 feel. I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
  35. 6 likes
    This camera takes SDXC, and let's get real for a minute: raw is wholly unnecessary for 98% of the camera's target market. The Varicam LT may be 'only' a few thousand more - but Starr factoring P2 cards and the price jumps drastically. And since when does the LT do raw internally..? The FS7 doesn't even have a proper EVF. Stick a loupe on the LCD and voila - you've got the same solution as the FS7. You know the URSA Mini also doesn't come with an EVF? And really, the 'back of the body' EVFs on the C series and FS5 are next to useless. But sure, feel free to denigrate a camera based on the cost of wholly unnecessary accessories
  36. 6 likes
    If they were to do that I think it would be in a DSLR/Hybrid format. This won't eat into their Pro Camcorder sales, but a $4000 version would. I predict that JVC will add internal Raw to the LS300 and it will look and work amazingly, and no one will care.
  37. 6 likes
    Believe me, I know. I'm working on a few Netflix series now and YouTube and Hulu series, too. (Well, not at this very moment but this year.) Netflix is pickiest about cameras. YouTube will accept 4k Alexa footage and most of their content is shot on 4k-upscaling Alexas. Netflix won't accept Alexa footage so I'm mostly seeing Red and F55 and I think there's some C300 Mk II mixed in, too. My preference would be Alexa but it's their choice to make. But yes, they'll buy rights to anything even if it's in 1080p, even if they later release it as an original. I'm only saying that at the low end of the industry where I work, only Netflix really cares about 4k, and even they will accept 1080p content for their originals (if used sparingly or if a show or movie is produced before they acquire it). I don't think that changes too much until you're working on tentpoles. The features I work on are all 2k DCP deliverables even if they're shot on 4k. I guess my only point is, if you need 4k, you will know, because your clients will tell you before you roll a frame of footage. So speculating about it is a bit foolish. Whoever needs it knows they need it from the get go.
  38. 6 likes
    It's been a little while now since BTM_Pix shared his hack for the GX80, but still no sample footage. I'd be interested to see whether the profile really resembles Cinelike D in the G85. The following is straight out of the camera, no color correction, no sharpening, nada. It has not been exposed to the right, it is just for comparing how skin tones and dynamic range compare with your footage. I don't want to come across as though ETTR is dogma, use it when you feel like it, but folks should try it for themselves for sure, don't listen to those who say the highlight rolloff is so awful, you need to save the highlights, blah blah blah. Those who always shoot with the histogram to the left or who aim for 'correct' exposure in camera will be surprised to find just how much more detail there is in those highlights. Naturally, in post, you're going to want to pull the highlights and midtones down a bit. There's a ton of information there. Don't take my word for it - the 'overexposed' files even take up more GB than underexposed clips, that's color information. I will be posting a comparison between the clip above, exposed 'correctly' and the same lighting shot ETTR very soon. It goes without saying that if you're shooting at high ISOs, don't bother with ETTR. It's most effective at base ISO. Finally, if we're talking about using Cinelike D photo style, I'd rather see footage straight out of the camera, not heavily graded clips. I'd also like to see a screen grab of the waveform monitor showing how the clip has been exposed to begin with. I will be sharing that with everyone shortly.
  39. 5 likes
    1. Trust your own opinions. Don't follow what someone likes, even if they are a big shot DP. Do tests. Use your eyes. 2. Don't be lazy. Being lazy is the worst. Get low on the floor. Move that light higher or try something different. 3. Be prepared. Be organized and think before the shoot as much as you can. Make diagrams and lists. 4. Do not overlight. Trust yourself in the moment. Step away from the monitor then come back. 5. Bounce the light. Try that first, then direct. 6. Use a capture device like the odyssey 7q and then take screengrabs and you can compare your lighting and blocking. 7. Communicate as much as you can with your crew ahead of time of how you work.
  40. 5 likes
    The Canon 100D is £250 used and I have always had a bit of a soft spot for it, being the smallest and lightest Canon DSLR body. I recently installed an experimental version of Magic Lantern on the 100D and am absolutely taken-aback by how good the image is! It practically eliminates moire and softness. The 100D shoots continuous 1.7K RAW video in 25p and 24p to SD card. Read the full article
  41. 5 likes
    I own a video production company that specializes in automotive. We have a string of long-term clients in retail as well as editorial. Here's one of the shows we shoot for Motor Trend: Our (my) gear purchases usually revolve around solving problems: better slow-motion, more mobile, faster lenses to address low-light, better mounts for a specific rig shot, drones because... well, drones are awesome (I went out and got my FAA part 107 certification). Though I like new tech, I don't buy something unless it addresses a specific need.
  42. 5 likes
    Spot on..... I've filmed entire paid music videos on a GoPro because that was the vibe, attaching a small camera to everything POV style. In a studio, I've used the FS7 only because it was a tripod and I need chromakey slow motion at an affordable rate. I filmed my biggest ever project... on an A7S II. There was no chance to do lighting, we had to run around all sorts of locations and grab shots on the spot. I used the old C300, even though I had three other Sony cameras. The interviewer was adamant about "natural, organic, really good looking skin" in the interview. The video above, I used the A6500 with one lens to stay very discreet on the streets and still get a high IQ with a minimum fuss. Yesterday I used the FS5 and Inferno in ProRes as we set up 4 scenes in a very controlled space and needed very high resolution, high bit rate compositions as the colour management was very difficult with all the multi-colour neon signs knocking around. That said, the EOSHD vibe is certainly favoured to small mirrorless, and most of the work we show here is very "street", minimal kit and run n gun. I find it a much more enjoyable experience shooting like this, because it's very liberating. Creativity is the quality of the idea. Choose the best way to get the best out of the idea. In Hollywood, it's a huge crew behind 3 Arri Alexas. For a lot of us, it's a GH5 with a Zhiyun Crane and a GoPro with no permits. Whatever works best given the material.
  43. 5 likes
    I think only VR stands to benefit from 8K. Cinema doesn't need it. However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema! I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D. But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.
  44. 5 likes
    - How do you speak free on camera? Do you memorize a script or is it completely free? Script is the way to go unless you feel very relaxed. Use cue cards and don't worry to much about jump cuts. There are ways to use them as an effect. Look at Ray William Johnson's old stuff or I'm sure many here can link to others that use it successfully. - How do you feel when you see you on the video? I feel terrible. Seeing one self and hearing once voice is always uncomfortable. I've worked a lot in live broadcast radio and I can speak for many when I say that the feeling never goes away (exceptions to confirm the rule of course exists). Just try to ignore it. - What is the biggest positive thing initiate by your channel? My personal channel is just a hobby and for fun, I don't even really try to make it grow. But still it tends to do so and has opened some doors for fun projects and real work. I work a lot in social media professionally and there youtube has lead to profit, market awareness, etc, etc. Its a channel and an outlet for communication with a wide reach. - Do you have some tips for me how i can start my channel? Allow yourself to fail, don't skimp on the audio, remember that content is king.
  45. 5 likes
    So I've been playing with my new prodding device and.... Its interesting. What I did was do record a clip of a colour chart from lets call it a well known brand of camera that is named after a primary colour and then put the same lens that was on that camera on to a GX85 and shot it again. Both clips were recorded onto a Nina Inferno. What I was doing though was monitoring the recorded clip of the posh camera on the Ninja Inferno with the scope overlay on and then switching to the input to look at the GX85 and using the prodder to manipulate the parameters live and try and replicate the signature of the recording of the posh camera. I then tweaked a few things in FCPX to match a bit closer with the purpose of then taking those changes back to put them in the profile of the GX85 to match it better straight out of the camera. One of these images is the film log setting from the posh camera and the other one is the GX85. There are definitely challenges regarding noise with doing this on the cheaper camera so its obvious which is which but I've got some ideas about that. Tweaking the values and getting instant feedback was very productive and I think this may be the start of an interesting journey.
  46. 5 likes
    Am still working on my film and still loving the results. Here's a screengrab from my shoot yesterday. I just threw a LUT on there, to get it into Rec709. I'm sure the final look will be different and more refined... However I do have a question for some of the ML Raw veterans out there... I tend to shoot a lot of silhouettes, and I am finding it tough exposing for them. The Raw histogram is telling me it is overexposed when the sun is in the shot, so when I close the Iris to get me some sun stars, even though it is still showing as over exposed, I am getting a crap ton of noise. I know @squig ends up with some dark footage, any ideas? Also any new news in 3K/4K Raw?
  47. 5 likes
    And in today's episode of "Fun With Lumix And Gaffer Tape" we have the new LCD display module which gives you a pro SLR style top panel info for your little GX80/G7 et al. Well, pro style if Nikon and Canon used more gaffer tape in their production process that is.
  48. 5 likes
    nikkor 35mm f1.4 ais & nikkor 85mm f2 ais on a metabones speedbooster xl. I love how these things perform especially with a black pro mist filter 🙋🏾‍♂️
  49. 5 likes
    I hear a lot that you should focus on one job, especially in filmmaking, because it's a "collaborative process". But my spirit guide lately has been Jim Lujan (writer/character designer/animator/voice actor/composer/editor). Today I was looking a lot at where to start learning to compose music for films.. which is a job made up entirely of skills I don't have (but with time, anyone can do basically anything of course). Then I started thinking I was being dumb.. I still want to believe at least learning some of everything is going to be helpful, even if you never end up doing it, just for ease of communication with your team maybe (actually I'm keen to do it all as well) - but I know I'm closed minded at times and possibly in the minority, so I'd like to hear some opinions. I know Tarantino was very relieved to get the advice from Terry Gilliam "As a director, you don't have to do that. Your job is to hire talented people who can do that -- Your job is explaining your vision. Your job is articulating to them what you want on the screen." Is the biggest risk that I do it all and just don't realize that I suck at half of it?
  50. 5 likes
    Believe it or not, that amazing Varicam 35 reel that blew us all away a few years ago was shot on the same 10-bit AVC-Ultra codec.