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Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part I think this place must be the only website on the entire internet without adverts. Long may it continue like that. Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing. You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is. And yes, it does look rather like a calculator doesn't it? The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are. Here is the finished spec and features : Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories : Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders. The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever. I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then. So, I have been a bit less lazy than first imagined By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). The new album (last I heard) was at No.7 in the official UK chart. I'm a big fan of what Panasonic has done with this camera. That said, the shining star of this video is the band.

My dear erstwhile member can you please stop attacking John Brawley now. I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

Hey Everyone, Here’s a bunch of stuff I’ve shot, graded and edited for music videos between 2012-2018. The shots in the reel not done by me are the drone shots. For you camera nerds, I used...... Sony FS700, FS5, FS7, F55, A7SII, A6500. Panasonic GH3, GH5. DJI X3, X5R.

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...).

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

I like the pictures. A lot. This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range. I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. I was a little worried about it having less DR Than the 4.6K but I think the other clips show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided. Those that did so only reveal their own inadequate understanding of what those shots reveal. I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera. They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge. Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. With regards to the 4k Pocket. Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting. I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding. Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs. BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. The best testbfootage will be friends users so the sooner they ship the cameras the better. Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at. JB

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results). I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right: I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope: Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added: And here's the same shot with the colour correction applied: Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3? I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR. First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera. A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview. If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS. FOLDER: https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms ALL FILES ZIPPED: https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

What a shame. Who are these "deep state" BMD insiders that are here pushing an agenda ? Myself and Hook. Who else ? What do you guys think, there's a plot and conspiracy ? You guys don't wat these contributions I guess ? I'm here because I've been a member here for years and I'm on many camera forums and this is just another one I like to read and contribute to where I can. I want to know where all the clowns that were saying on this thread that the world was going to end because BMD didn't have any footage out yet and that definitely meant something was very wrong and the shipping date would be missed. All I've seen so far is that a planned marketing campaign by BMD that has gone off the way they intended. They commissioned some actual filmmakers (not bloggers or camera reviewers) that make certain types of film (natural history, action sports, nature) to make some films and then they released them and the camera originals. Then they gave some cameras, complete with some boxes as if they were new to some secondary users, and whilst having them also under NDA, got them to shoot some test footage and allowed some of them to release that footage. Again. Not reviewers. Not bloggers. About a thousand reviewers and camera jockeys have done a bunch of made up comparisons and VLOGS based on existing footage. (hey I love seeing my footage being butchered by grading nerds) Think about it. No blogger or reviewer ANYWHERE has gotten a functioning camera to shoot with as far as I can tell. Because that's not what BMD want to do with their marketing of this camera. This isjust marketing 101. They need people using the cameras in the many difference specific sectors of the market will use the camera. Camera reviews aren't part of that plan. (though it hasn't stopped people doing it based on existing footage) Until it's shipping, it's their choice to give it to whomever they want. I'm tired of this entitled bullshit. I recently left a few facebook groups I was on for this camera, and I'm doing the same here. Frankly it's juvenile and I don't need the agro I sure hate explaining what should be obvious. There's no slight. BMD have a marketing department and they have a plan and it doesn't involve forums, bloggers or camera reviewers. That's not a snub, that's just them marketing the product in the way that they see fit. JB

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days. Our best work yet. Movie is still going through post-production. Production company: 55Media Director/Writer: Uche Aguh Director of Photography: Dennis Schmitz (me) Assistant Director: Ukairo U. Ukairo. Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G' Editing done in Premiere. Colorgrading done in Davinci Resolve. Dealing with the usual quirks of this camera, but results are still great. More information: www.imdb.com/title/tt7928156 www.55media.net

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

Make it 40... to me this camera doesn’t even exist. Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it... Eventually card info will be released, and more people will complain. Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain. Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain. At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS... And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous. The End.

After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

Andrew, the comments about grading weren’t intended for you specifically. Read the post. I was talking in generalities about recent facebook groups I’d left and a similar entitled tone here. It was not a personal attack but you chose to take it that way. Cmon, I shoot these shots for BMD for exactly this purpose. To be downloaded and graded. If I was truly precious about it I wouldn’t do it again and again would I ? You’re throwing a tantrum, publicly, because you dind’t get an invite to a BMD event that is seems like few even knew about. Somehow you think that’s got something to do with me so you went and wrote a post about me. A really lovely piece too. I’ve said it already a thousand times. I don’t work for them. I don’t have that much to do with them day to day. Last contact I had with anyone at BMD was weeks ago. It’s not my job to make sure YOU get some attention from them. That’s on you to make that case. And by the way, this kind of childish unprofessional behaviour is exactly the kind of reason any company would think twice about working with you. Instead, you launch a highly personal assasination blog post as well as numerous personal attacks because I dared to try and explain that to you in a way that you thought wasn’t deferential enough ? You don’t do this for free. You sell something. I don’t but you actually do. Having traffic come to this site means you have a greater chance of selling something. You sell LUT’s and you sell guides and you use the traffic here to do so. So don’t pretend all this free traffic is somehow a favour to BMD and free publicity. I didn’t even see the post you made about the BMD footage till your personal attack on me, but I noticed when I read your BMD post you’re mixing in a bunch of references to LUT’s you’re trying to flog. How about this... Delete every single post of mine. All the IP that I’ve posted and shared on this forum? All those posts where I’ve shared my knowledge and experience. Go ahead and put your money where your mouth is. JB

So as some already know, I recently purchased a 5D3 primarily to shoot Magic Lantern Raw. Well this week I started my first short film with it. It was definitely a learning experience but I really don't know of any camera where I would have achieved such pleasing images. I also purchased the Canon 24-70mm f/4 lens and I am consistently blown away by what a great lens it is and the OIS is so damn good, even at 70mm, that the majority of my short, thus far, has been shot handheld. With the recent 4K Raw developments, I figured I would post some pros and cons in case somebody else is looking to pick one up. Well the first pro is that shooting Raw could not be simpler with it. Set up Raw histogram with the overexposure hint and when it shows your color channels are starting to clip or the word "over" appears on the histogram, then just dial back your exposure a touch. Another pro is that there are a bunch of people on this forum still shooting with the 5D3 and everybody is helpful. If you have a problem about any aspect of the process or workflow, there are plenty of other ML shooters around here that go out of their way to answer even the stupidest of my questions... not nearly as daunting as the ML forum. Now a couple cons... you need a bunch of cards... or a computer and hard drive to offload your footage... 12 minutes on a 64GB cards gets filled quickly. Even with 3 cards, and trying to be conservative with my shots and shot ratios, I still ran out of space 3/4 of the way through my second day of shooting. Converting the footage is a bit tedious. The RawMagic route of converting the MLV files to CDNG is fairly fast but then you still have to process the footage through Resolve or After Effects before really seeing what you have. I really like the MLRawViewer program, but although you get to preview your footage, the conversion is slow and after I updated my Mac to Sierra, the version I have does not work with it, but I believe there is a newer version, so hopefully it will work then. I guess that's about it for now, so I'll leave you with a couple graded screen grabs, from a couple shots I briefly messed around with yesterday...

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

I’ll admit it, I use camera forums a lot. Too much, probably. I use them to check out the latest cameras and lenses and lights and accessories. I waste about two hours a day on them. Time I could spend watching “the View.” When I started out shooting part-time in 2005, I got a DVX100 because a juggler who was a featured extra on a tv show called “Sons of Saddam” told me to. “Cause it does 24p.” I didn’t know what that meant, but I plunked down $3,000 - all the money I had in savings on this camera. The camera could have been a bust. But I did it because a juggler who played one of Saddam’s sons goons said so. That’s how easily influenced I am. Then I bought a HVX200, not even testing it first. “Cause it can do HD.” I bought the Redrock micro adapter because I watched the work of MacGreggor and some other DPs back then do stuff on a Gorilla 35 lens adapter that hadn’t even come out. I hadn’t even tried it first. Just sent in my credit card info. Rinse and repeat. All these periods of time I bought things just based on videos I saw shot on them. No tests - I didn’t understand tests. Just videos shot with them and the opinions of people I respected. I could look at screen grabs but just scroll down to their opinions. Well finally 11 years later, I am seeing what I was doing - buying based on people’s emotions. Based on the emotions of people whose work I liked. This is fine to do, but it’s not always the smartest thing to do. There are several, maybe twenty influential figures online in the cinematography world. David Mullen, Shane Hurlbut, John Brawley, Art Adams, Geoff Boyle, and of course Andrew Reid, come to mind as leaders who people follow and listen to. Even the opinions of the above people and the other influencers are, in the end, just their opinions. When someone says, “this to me screams filmic” or “this looks digital” - again, that’s all an opinion. If they say, “that grade is terrible” or “man you nailed the skin tones” - again, that’s all opinion. Even looking at test charts and camera tests, the results are subjective. Aesthetic is subjective. There are scientific tests, but they lead to opinions. This isn’t pure math - this is an art form. There is no such thing as filmic. Everything is digital. Film emulsions see the world differently, but they go through a digital intermediate. They become digital . And I think that’s probably about 99.9% of all films shot on celluloid. Maybe a few hipsters shoot film and use a steinbeck, but they still upload their results to vimeo, which converts this to a h.264 file. I have very strong opinions, and a lot of people have very strong opinions. That’s why we work in film. It’s an art form that is full of passionate people. But I also have low self-esteem. My whole nature of existence is based on others approval. I’m getting better at trusting my own self, but this is my basis. I think maybe most artists have low self-esteem or why would they want to share their art? Is it ego? Or the attempt for others to connect? Yes that’s part of it. But whether you want to admit it or not, we love when people love our work. We live off the feedback, or why would we check vimeo 5 times a day to see if someone commented? Why else would we have awards? Especially in an art field where awards are just based on opinions of a community who may or may not get your work? Something is beautiful if you think it is. You don’t need an oscar in cinematography to be happy with your lighting or camera movement or angle, or have your opinion mean anything less if you aren’t in the ASC. Everyone brings something unique to the art form. Everyone brings a new perspective that is needed, especially now, when everything feels pretty much the same.

Here it is! We recorded hdmi 8-bit 4:2:2 out of it and went to the odyssey skin tones overall are nice! and stabilization is amazing. The camera was interesting to use - especially considering that it's a 200 ASA camera and has moire and dynamic range challenges - sometimes this is interesting to have to maximize something with limitations. It's difficult, but I guess it disciplines you.

I inserted myself into the discussion last night when I probably shouldn’t have, but I do stand by my opinion that Andrew should have been invited to the Manchester event. I, for one, never felt that John Brawley was to blame for this and feel that most people on this site have been very thankful for his contributions, not just about info on the upcoming camera but his openness about the inner workings of a Hollywood set and his methods of shooting. But the disdain displayed to Andrew in this thread is mind boggling. I don’t always agree with him, but the man has wholeheartedly opened his craft and home to a countless amount of strangers for free. There is not one other site in the video community that is completely ad free and he rarely asks for a thank you. I can only imagine the cost it is to upkeep this site. I’d be a liar if I didn’t admit that I find him infuriating at times, but I would never question his devotion to his craft and his readers. With that being said, I feel JB’s reply to the events was unnecessarily rude. Perhaps there was a breakdown in communication as Andrew has already stated but for every person that felt Andrew could have handled the snub differently, they should equally admit that JB could have handled his response differently as well. BM was born on the backs of hobbyists and enthusiasts. We paid for the R&D of the Ursa Pro with every Pocket or Micro we bought. As much as we appreciate their inexpensive cinema cameras, they are only available because we decide to purchase them... it’s like a television show, it only exists at the behest of its viewers. But in the end, they are both artists and artists are passionate, honest and sensitive people... they must be to put themselves and their work out into the world for scrutiny.

Thanks Karim And Dan, yes webrunner is right. It's a cultish following around the Pocket camera. For example, I understand that Facebook targets each post to a subset of my followers on the EOSHD Facebook Page, depending on the subject. It's automatic, I don't have any control over it. But a lot of pitchforks came out for me today on Facebook which confused me because EOSHD supporters, followers and friends don't usually behave like that.... I know why this time was different, because Facebook had targeted a Blackmagic article at the Blackmagic hardcore fanatics and they didn't like what I had to say. As for typical BM roll out, yes it is. Trade shows have less meaning to everybody outside the bubble. Most customers don't want to be teased for half a year or even more before they can get the damn camera in their hands. Blackmagic should stop syncing their announcements to NAB and instead put the announcement out a week before they start shipping. The irony is, here I am feeling upset about being passed over for a camera in my hands... with a hardcore of Blackmagic users saying "what a crybaby EOSHD is" when at the last few camera launches, those very same people were moaning about not having a camera in their hands, because it's late or whatever. At the end of the day, I reflect on the course this thread just took and I regret it. I stand by my hurt over the camera and snub, but I regret what's happened. Take what you read from everyone on forums with a pinch of salt including even yourself whilst saying it! And including me. I am not myself on the internet sometimes, nobody is. The internet is a weird simulation which is causing issues in real society across the globe all the time. It's not real life, it's a machine-assisted facsimile of it. John Brawley and I would not have behaved the same in real life. The internet is an argument generator and a distorted mirror and I might indeed have to shortly go to the pub and have a stiff drink.

It sounds like you’re threatened by this camera so you’re making sure you point out any and all shortcomings you can. Isn’t sissy a bit emotional ? You’re reaching. Some people will be happy with 10bit 422 as their maximum image quality as long as they have a tilt able screen and autofocus. Most serious image makers know that 12bit raw and 10 bit ProRes for half the price trumps the MILC features you’re desperately trying to remind everyone your precious GH5s has. Mostly because “filmmakers” don’t tend to use those features anyway. I don’t use AF. But I shoot narrative drama. What I need isn’t what others need. For the majority, they will prefer the utility of the form factor, longer battery life, AF and IBIS on the GH5 and will find the bare minimum for serious work 400Mbps codec to be good enough. People who care about image fidelity will likely prefer what a Pocket 2 produces side by side and will also decide that they can work around the shortcomings that pertain to the way they work. The same way others will prefer to work around the shortcomings of a lower bit depth more compressed and sub sampled image because other features are important to them. On board batteries on an Alexa mini on my last show were lasting about 40 mins by the way. I guess you’re calling me a sissy. JB EDIT by the way, I don’t think it’s at all appropriate to use sissy, a word that means effeminate man or homosexual. Maybe you want to change that.

now only needs a sim card, we can easily dial phone numbers with these buttons, and talk with our client.

Minor update, still doing what Im doing, still digging and documenting what changes Im finding in the firmware, have started to explore with telnet and the camera. Its looking good. Have a few ideas on how it utilizes firmware updates but nothing solid yet. But I like how both stages are progressing. Although i wish I had more to show haha but dumping c isnt going to have a point! I should have a major update in a few days though!

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive): Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!) Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist) Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later... you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price) Zoom F4 / Zoom F8 / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level) Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this) And if you considering ones priced above those last three.... you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well! Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right". For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier. http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

Will be joining the YouTube party at some point.

We filmed Sammy the dog touring around Asheville, NC. Filming a dog is a crazy man's work. So difficult, but working with the cutest actor makes up for it haha... Let me know if you have any comments or questions!

Shoot everything at 1080p. Don't shoot yourself in the foot with 4K. Although I do like shooting ceremonies at 4K for the post crop. Canon skin tones are the best. Even a used 70d would be better than Sony IMO. The C100 mk1 and 2 are the best cameras for weddings IMO. I've shot a few recently with C100 mk1 and my 1DC and it's super nice. Here's a teaser I did with 1DC/ C100 combo: You MUST MUST MUST remember that wedding films are CONSUMER PRODUCTS. DONT EVER FORGET THIS. THIS IS 6 years of experience and over 300 weddings shot of experience talking to you. These people aren't professional filmmakers. They aren't producers. They aren't film snobs. All they want is pretty shots of them on their big day. If you shot it all with a t2i and a 50mm 1.8 they would love it because it looks "cinematic". Don't get caught up with the gear when it comes to shooting weddings. That's the biggest waste of time and money. The couples simply don't give a shit. I hope you enjoy it. Weddings are a fantastic way to get lots of experience and become a ninja shooter

Hallo NX World, the NX Booster it's coming soon! This is the Prototype Mark II. Marco do not worry, if I do not post my progress, is because I have a lot of work in my private life. Next week I start the test with Nx1 camera.

So, as some of you may know, I've been "experimenting" with having little chats with different Panasonic cameras over WiFi and after whispering in the GX80s ear last night, I may have come up with something quite interesting. The first image is a grab from a GX80 using its Standard profile. The second image is a grab from a GX80 that is definitely not using the Standard profile.......

I am certainly not bigger than a camera company, or more important than Blackmagic and I think people may have seen the hysterics as a bit silly. I accept that yes, possibly I have shot myself in the foot. Having said that, EOSHD is bigger than me as well and is a real community. I was standing up for the community and not just for myself. This was a perfect storm for me. A combination of several factors which caused me to get upset enough to write that article... First the Canon EOS R launch and the new levels of invasive of PR offensive we are seeing from the camera companies to quell dissent and turn even Caleb Pike into a "it's not perfect but WOW what a great camera" kind of guy. Rather than the person he should be, a "1.8x crop sucks" kind of reviewer. Secondly the overwhelming feeling of shithead sycophants climbing above my site, in the VIP lane, completely undeservedly. Thirdly the geographical positioning of the Blackmagic event, it being on my doorstep. Next the fact Cinema5D were paid to fly in. I could have walked in. Finally, the John Brawley factor on here and the lack of support from most of my own readers, honestly all this is enough to give someone a nervous breakdown. It's hard to really get across how I feel, because it is a weird situation and I think the internet is a bit weird as well. In real life, people don't say the things I say or say the things to me that I have had to put up with. People need to calm down, myself included. It's only a camera. But I do feel the future of camera and tech journalism is at stake. In fact it may already be absolutely dead. And the most depressing thing of all is that the reader is fine, unawares, and on the most part notices no issue. No, that wasn't my intention. Yes I have dug myself into a very silly hole. I'll be the first to admit that. Yes Johnnie at Cinema5D is laughing his business head off as we speak.

In December 2016, I wanted a stills camera. After some thought, I was swayed by the A6500 because of the video features. (typical!). I've been testing this camera mostly on the excellent Zhiyun Crane (on a price / value ratio I'd say it's the best gimbal you can buy). On my most recent shoot, I put it in the deep end. I used Slog2, the 18-105mm kit lens and exclusively used autofocus for the entire shoot. Felt weird. (stills attached) Overall, this has the potential to be a very special camera... but it's not...quite...there...yet. Here's my mini mini mini review: PROS The 4k image is the best 8 bit 4k I've used. Certainly the best in Sony's lineup. There's a very special sauce going on here - it's super gradeable, detailed and the A6500 colour is much improved. Colour is improved? The image and skin tones are very, very pleasing - both using a standard everyday look and a stylised look (which I tend to go for). Sony look? Not here. Autofocus is very responsive. Absolutely essential on the Zhiyun Crane, makes it so much easier to focus on the shot as the image is 99% always in focus, even at shallow DOF. Compact power. Very nice to hold in the hand without a rig. Super light. 120fps is surprisingly good. Sharpened up and exposed nicely, it's a stellar 120fps. CONS Rolling shutter is a problem. It's easily avoidable however it can be annoying and ruin a shot. There's very little in the 120fps mode. Battery life is poor. This is a constant issue with Sony mirrorless. Even if they make the bodies a bit bigger for a higher capacity battery, needs sorting! The LCD dims very low. Maybe this is to manage heat or whatever. But the LCD does dim quite significantly. LCD gets scratched easily. These cameras need a cover to come with the camera, or flip the other way round. Got 3 scratches on my LCD from transit. Some of the buttons are flimsy and thin. Sony need to extrude the buttons more. The wheel on the back i especially fiddly to use. CONCLUSION The 4k image in XAVC-S is absolutely fantastic - I've not been wowed by image quality in a while. But it do get giddy when editing it. What's going on there? The shortcomings do dilute the experience a little - and Sony should sort them out for the A6700. With other expected updates, this would be a classic camera. There should be more love for this camera, as it sits under the hype shadow of the GH5. (I expect the GH5 to be awesome, but haven't used it). Overall - it's a very useful tool in the bag with some stunning features, great for stills too.

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.

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.

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 !

I saw a film, swore to myself it was shot on 16mm nope it was shot on the red dragon. (Dayveon) Then I thought it was shot on zeiss ultraspeeds. Nope it was Canon K35s, which I think are similar to Canon FD glass. I saw another film, swore to myself it was shot on the alexa, nope it was shot on the c300 mark i (motherland) I was sitting 30 rows in the back, in the front, all over the place. I couldn't tell anything After all that, after everything we do, and say, at the end of the day, none of us can tell.

i goggled "music video" and this came up. director is some guy named paul thomas anderson. doesnt seem to match your formula. first time director maybe? clearly not a "pro"

Hey guys, I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF. The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight. For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738 I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35. It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now. However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely. As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this Anyway, here are some pictures for those that are interested

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing. I will only add lenses to the lists when you have proof, in other words: images. How? Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC. In Photoshop: Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm! To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it. List terms explained: Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera No = doesn't cover the sensor Needs modification = Doesn't fit on C-mount to M43-adapter without modifications Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example) Blackmagic Pocket Cinema Camera Compatibility list Primes Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof] Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof] Century 9mm f/1.8 - YES (poor quality) [link to proof] Computar 8mm f/1.3 - NO [link to proof] Computar 16mm f/1.4 - NO [link to proof] Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof] Cosmicar 8,5mm f/1.5 - NO [link to proof] Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof] Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof] Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof] Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof] Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof] Fujinon TV 16mm f/1.4 - NO [link to proof] Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof] Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof] Nikon Cine Nikkor 13mm f/1.8 - Yes = 37,5mm f/5.2 [link to proof] Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof] Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof] Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof] Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof] Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)] Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof] Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof] SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD) Tokina TV Lens 8mm f/1.3 - NO [link to proof] Tokina TV Lens 16mm f/1.6 - NO [link to proof] Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof] Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof] Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof] Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof] Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof] $ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof] Zooms Ernitec 6-12mm f/1.4 - NO [link to proof] Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

NX1 is actually more advanced with H.265, 6K readout, 1080/120fps and it is 5 years old.

I've collected a few gems from Facebook:

On my walk to drop off some gear at the rental house, I ran into 5 teenagers filming. I of course wanted to ask what they were up to, camera, lens etc, and it ended up being a very enlightening experience (15mins of). They are vloggers and instagramers here in Finland with over 100 000 followers/ subscribers in each medium. I, indeed, was the old fart (all 37 of my years on earth) they were humouring but they were super pleasant and made my day. But to the point, all they had as 'gear' was an olympus, native pancake lens, and a tiny plastic tripod. Their main goal was to walk around the city and produce content. I metioned I had some stuff like the Zhiyun Crane, like it was impressive... but it turns out that kind of stuff was arbitrary to their interests. These guys were content machines. It made me think. Have I been getting it all wrong? Yes, I script, I storyboard, I know my way around a manual cinema camera and traditional lighting techniques... But who cares anymore? These kids are the future and they did not care a toss about dynamic range or bitrates. They wanted everything auto so they could focus on actually enjoying a shoot. Something to think about...

Thank you! I honestly cant remember, its been quite a while, but it wasnt too hard, Ill try have a look and try to get something for you Im currently testing some new settings, heres a few examples, these are all separate projects, so they all have a slightly dif. look. These are all videoframes, and not pictures, as soon as im done testing these settings, ill share with you guys! Im considering creating a specific lutpackage that could be sold at a very affordable price, what do you guys think?

A story without words about the demobilized soldier watching with drone for the neighbors Inspired by Fargo (TV series) Budget: 15$ All work in Davinci Resolve Studio 12 Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3 Thank you for watching

I am just a guy with an independent voice in the world of camera reviews without hundreds of cozy ties to people from the manufacturers, without ads splattered all over the screen, without sponsors on my every video, yet still I find EOSHD mired in a world of cut throat rivalry. Only very occasionally like in the beginning with DPReview have I been given a leg up in this industry and even then it only takes one person like Barney to massacre that relationship too. The other blogs like NoFilmSchool, Cinema5D and NewsShooter spend 10's maybe even 100's of thousands of dollars trying to punt my homebrew EOSHD site into oblivion and I just find the whole thing utterly distasteful. Rather than offering a new talent an opportunity they instead I am treated like just another commercial rival to be beaten. In the end it is up to you guys to choose. The managed platform of platitudes and advertorial, or the honest opinions and educational books of an artist/filmmaker. May the best guy win.

Here is a quick video showing the NX1 and NX500 SD Card Hack for Focus Buttons. This program allows you to record up to 6 focal points, these are stored on the SD card and will work after a camera restart. This works for photography, especially good for storing infinity focal point to re-use when it is dark for Astro Photography. Works in video allows you to do focus pulling from one focal point to another. Thanks again to Otto for all the hard work, All details can be found on https://github.com/ottokiksmaler/nx500

Humbled this week while I am in Nicaragua using an older camera that would never be my first choice...the GH4. I have been pleasantly surprised by the image quality once I figured out how to dial in the picture profile. Shooting on Natural with contrast, saturation, sharpness down all the way and using filmconvert to bring the image back to normal. Shooting mostly with Sigma 18-35 with speed booster on a MoVI M5. Love the long battery life. The very efficient 4k compression. The audio preamps for in camera audio. Weather sealed body. Great slow motion in camera. My previous experiences with the GH4 SUCKED. Hated the IQ and never gave it a chance. I think once you dial in a solid workflow and picture profile...you have a killer video machine! More to come later. Ill post in this forum post. Should have a video soon.