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I decided that poring over the list of what cameras I could use for a Netflix film was distracting me from my other concerns such as what amp Paul McCartney would prefer me to use on his next album and the approved list of colognes to wear on a date with Sofia Vergara.

* Bitrate of at least 240 Mbps (at 23.98/24 fps) recording So after the '400Mbps' firmware update, 4K 10-bit log GH5 should be good to go!

they unapologetically and unashamedly show that they use RED for their anniversary short film

No disrespect for the GH5 wonder cam, but the fact that the GH5 will likely be a Netflix approved camera and the Alexa isn't makes a bit of a mockery of the whole thing. Maybe the Netflix execs had a good sales pitch from Sony/Red that they thought was a proper comparison which Steve Yedlin alludes to in his ASC interview. I'm not sure I buy the whole future proof argument either, going by current trends any good films will have had at least one remake by the time an Alexa-shot film looks bad.

In the ASC mag interview Yedlin readily acknowledges there is nothing new in the video (for technically minded people). It is deliberately narrated using language targeting non-technical people. His agenda is that decision makers lack technical skills but impose technical decisions, easily buying into marketing talk. Also, in the video he explicitly acknowledges the benefits of high res capture for VFX and cropping.

Are we going on a double date? Anyway, I agree such discussions and not terribly practical! But they are FUN :-D Plus sometimes interesting and practical points do arise naturally from such discussions.

Great thing about s16 lenses is they would love the 1.4 crop mode of the GH5, which is still 4K and should give pixel perfect downscaled HD. Makes the GH5 a nice stabilized s16 cinema camera, the GHMCC, GHMagicCinemaCamera:)

@Gregormannschaft That's so useful - thanks. You guys have helped a lot - jonpais saved me from a lot of frustration trying to manually focus those fly by wire lenses! I thought the Metabones was the only tolerable focal reducer - again, that's really interesting. Especially as I love the Takumar look - that's one of the reasons I was thinking about the Tiffens, to get that from modern lenses without too much time in post. I've got to say though "Lens Turbo II" sounds like some Shopping Channel product from the 80s. (It's *always* the 80s on the Shopping Channel...)

So you've got story and sound sorted and your cologne research can help when they release smell-o-vision.

I posted a screenshot from the LS300 and the Oly 17mm somewhere and it might be somewhere in one of my videos as well. Just cant remember. This is shot in full auto with the Pen-F and "graded" in camera with a bunch of presets and toy filters Maybe not showing the best of the lens.. but still. BTW, regarding the A7ii. I really think you should try it first. Because the video on it if using slog is actually worse than the video from the original A7. There is so low detail that I think it might start to bother you. And how much where you planning on buying it for? Here the A7ii goes pretty close to the X-T20 with the stabilized zoom. Imo, between A7ii and the X-T20 the later is a no brainer for both video and stills.

Of course you can. The content was created to watch on a 1080 screen and the term used 'noticeable difference'. The difference is not noticeable watched at 100%. It's start to get noticeable at 200% and even more noticeable at 400%. ...however at 100% you will not be able to see the differences. On a 4K screen that means using only a quather of your screen. So if you saw a difference you either where looking fullscreen ( and now your screen starts to create 4 new pixels for every one pixel of the content, for allready two different pics) or your screen has pixels that are somehow better then the pixels of a 1080 screen and in that case I for one would really like to see a screen shot of the differences you saw on the pixels of your screen, as I don't think that is even possible.

I guess to make it even less “offensive” instead of using the ‘developing world’ nomenclature, they moved on from that last year. It was then decided that it would be more appropriate to now use the phrase ‘emerging (market) economies’ instead for such locations, so there is less confusion about what is being described or discussed going forward. I know it’s a lot to keep up with all these changes, along with all the other things going on in the world at this time, but it is what it is.

Thanks for the reply. I have really liked what I have seen from the A7ii, even though I may be the only one that thinks this is a video underdog. I guess compared to the fantastic a7s, it seems a silly choice, but I already own the 5D3 and started investing in Canon glass, so the point of the second camera is to get a pick up and go camera... so IBIS is vital. The Olympus definitely wins on that front with the superior IBIS, but I am fond of the floaty variant on the A7ii as well. And I must say that after shooting full frame for the first time, I finally get the appeal of it. The big problem with the A7ii is that I can get an a6500 for the same price and have 4K and better IBIS. If I could get one for a6300 money, it would be a no brainer and I'd go the a6500 route. Since IBIS is at the top of my feature list, I only have 5 options... • GX85 • E-M5 Mark II • G85 • a6500 • A7ii Honestly, even with the 4K, I just don't want another Panasonic right now. Every other camera I bought over the past two years was a Panasonic and I eventually either sold it or returned it. So that leaves me with either the E-M5ii, the a6500 or the A7ii. Since this is supposed to be a casual camera, I don't see the point in spending close to $1500 for one of the Sony's and to be honest, I don't want to get something that is too good either. I am actually a big fan of the a6500 4K... it blows my mind how sharp it is, but the Raw on the 5D3 blows my mind how cinematic it is, but knowing me, I would start reaching for the simpler, 4K camera more than I will the 5D3, and I think that will hurt my work in the long run. If only I had all the money and time in the world, I'd own a 5D3, an e-m1mk2, a GH5, an a7s, an X-T1, a C100, a C200 and an Alexa Mini... I bet the Alexa Mini would take great cat videos and rack focus shots of dead leaves... Cool shot, you pulled some nice detail out of that considering the high contrast scenario. Do you have any videos taken with the 17mm? Thanks Marty, I saw that video but he doesn't have any samples with the 16mm, so I was unsure if there is coverage. I letterbox everything anyway, so even some dark corners will usually work for my tastes. The Fujinon 12.5mm f/1.4 does indeed fully cover the 4K frame with the G7, GX85, so I assume it works with the GH4 and G85 as well, but I doubt it will with the GH5. With the GX85, due to the IBIS, you can see some sensor blackout, on the sides of the frame, if you pan too fast. Here's a link to the one I have... https://www.etsy.com/listing/510474480/fujinon-f-14-125mm-tv-lens-i-c-mount-i?&utm_source=google&utm_medium=cpc&utm_campaign=shopping_us_a-craft_supplies_and_tools-imaging_and_lighting-cameras_and_imaging-camera_lenses&utm_custom1=29a8702b-e63f-43dc-aa44-47a9f3db3b71&gclid=CjwKCAjw2NvLBRAjEiwAF98GMXVjH3DHuQwEYTIjDo7cgupybk7Kr4OowTVP_ZL5wlXs2wkBwNY7oxoC3ugQAvD_BwE

Their camera list only pertains to projects they produce...most content they stream are shot on cameras not on their list...when they put up 8 or 25 or 60 million to make a project though, they will decide what gets used...really no surprise there at all!

Schneider ES Cinelux 2x (Custom single focus) | Carl Zeiss Jena Pancolar 50mm F:1.8 | Sony a6300 Some shots with varyND. Early test, needed to learh how to achieve best result with this setup DIY-body... and few stills at Helios 44-2 F:2 and... ...Carl Zeiss Jena Pancolar 50mm F:1.8

The title pretty much says it all. I recently got the Anamorphot, GH5 and Panasonic Leica lens, so I have been playing with them to see how thing pan out for a complete anamorphic novice. So far I am liking the combination a lot. The Nocticron can autofocus even with the Anamorphot in place, this was a surprise. Anyway enough yapping, below is my fooling around:

Imagine a meeting with Netflix executives, marketing, and lawyers, along with reps from ARRI, Red, Sony, and Panasonic, regarding the new 4K subscriptions and 4K content. Red, Sony, and Panny say "we have cameras that actually shoot 4K" and ARRI says "but but...". Netflix exec replies, we're selling 4K, not the obviously superior image quality that ARRI offers, sorry ARRI, when you produce an actual 4K camera like Red, Sony, and Panasonic, let's talk. Netflix marketing and lawyers in the background nod to exec. A while later ARRI releases the Alexa 65 with a 6.6K sensor and it's accepted (actually 3 Alev III sensors rotated 90 degrees and placed together, AKA the A3X sensor). Nyquist is > 2x sampling to capture without aliasing, e.g. sample >4K to get 2K and >8K to get 4K (along with the appropriate OLPF). 4K pixels can have max 2K line pairs- black pixel, white pixel, and so on. ARRI doesn't oversample anywhere near 2x and they alias because of it. That's the math & science. From Geoff Boyle's recent chart tests, the only cameras that showed little or no aliasing for 4K were the "8K" Sony F65 and the 7K Red (only showed 1080p on Vimeo, however small amounts of aliasing might be hidden when rendering 4K to 1080p). We can see from inspection of current cameras shooting those lovely test charts, that as sampling resolution approaches Nyquist, aliasing goes down, and as we go the other way, aliasing goes up. As predicted by the math & science, right? Since the 5D3 had eliminated aliasing, when I purchased the C300 II I was surprised to see aliasing from Canon (especially for the massive relative price difference)! The C300 II has a 4206x2340 sensor which is barely oversampled and uses a fairly strong OLPF producing somewhat soft 4K. Unlike the 1DX II 1080p, which produces fatter aliasing due to the lower resolution, it's still challenging with the C300 II 4K and fine fabrics. Shooting slightly out of focus could work in a pinch (and up post sharpening), however it will be cool when cameras have sufficient sensors to eliminate aliasing. Given how powerful and low-energy mobile GPUs are today, there's no reason in 2017 for cameras to have aliasing, other than a planned, slow upgrade path as cameras gradually approach Nyquist. Once there, what's the resolution upgrade path? Can't have that before there are 8K displays

@jcs and @HockeyFan12, you guys confuse me. Maybe it´s my lackful English. Maybe it is your English, you guys are able to express all this knowledge with. Will try to understand that interesting stuff some day. Astonishing! Wow! @mercer Glenn, Mr. Netflix might reply: If your GH5 only had Olympus colors, I´d give you green light for your not horrible film, that you pitched oh so well:)

Whoa, why haven't I heard of this crop... Are you trying to spend my money for me, Marty? Does the crop work in 4K 60p as well? So it becomes a 3.4x crop? Man the Kern 10mm would be a wicked little lens.

The blackout doesn't happen with anything 25mm or over on the GX85 or the G85. And even on smaller focal lengths, it only happens if you pan fast. I haven't tried the G85 but I had the G7 and the GX85, with adapted lenses. With the G85, once I got lenses or a speedbooster I'll be well over a grand... at that point I wonder if it's just better to save for a GH5. I'm in the middle of shooting my film on the 5D3, so I'm in no rush. I found a good price on the e-m5 Mark ii so I'm considering it for a kick around camera. Or maybe I'll get a GH5 after the firmware update comes out, or if it goes on sale. I don't see myself selling the 5D3 ever but I may sell my Canon lenses after I'm done this short and put that money towards a GH5 this fall and then use my vintage lenses with the 5D3 and the GH5.

Got it Glenn? Told you... GH5 rocks man, gonna buy one ; ) Or simply go to fake an orgasm and sell your content's workflow as politically acquired... : D They're asking for, though ;-) Nice guide anyway. That 240 Mbps rate is actually outstanding. Really. Means technology is finally democratized.

Yes, I recall them (SLR Magic) mentioning straining focus motors. The filter threads on some lenses are on the focus assembly. It's probably wise to avoid such a setup as it would no doubt lead to damage. Most zooms also IMO are a poor choice. I have had my eye on the Panasonic Lumix 35-100mm V2. This lens, while a zoom apparently does not extend, and the filter threads are on the lens body, not the focus assembly. The only thing that concerns me with that lens is I am unsure if the filter threads are plastic or metal? It goes without saying that you would want a reasonably solid lens to mount this adapter to. Also, keep in mind that if you intend on adding the Rangefinder or a diopter, it will add more weight. I've been giving consideration to flying this setup on a gimbal. I have a Letus Helix Jr, but don't believe it is the ideal gimbal for a GH5, as it does not really allow for opening of the LCD screen. Maybe the Titla Gravity G1? While it would be heavy for one handed work fully rigged, there is the option to attach additional handle via Arri Rosette. Lastly, you are right, I need to take this thing out at night and try for some of those anamorphic flares and crazy bokeh. I sense this will happen sooner as opposed to later

The filter threads on the Nocticron are on the lens body, and the lens body is all metal and feels quite sturdy. So I have no concerns there... since, no stress is on the focus motors. It's a very interesting combination. I did a fair amount of research prior to investing in this setup, taking particular care to make certain all the components would work well together. Do you have any thoughts on the IQ of the footage? I have to admit, when if first saw the early review of the Anamorphots, I thought they did not look great, but I think this can be attributed to the choice of taking lens, rather than the Anamorphot. One thing I can tell you is that the Rangefinder is heavy. I'm still trying to figure a way to use it comfortably without rigging it. But that may be wishful thinking.

I think he is targeting Netflix for making a hard + fast rule of 4K camera acquisition only. It's easy to say 4K is top quality for a consumer, but that is only a fraction of the variables. It's much easier than advertising "Shot with Arri Master Prime" or "Shot with Cooke Speed Panchro but mastered in 6K so it all equals out".

No worries, I look forward to seeing your short as well, so it equally applies to you of course. Yes, the E-M5 Mark II has a microphone input and with the added grip, you get a headphone input as well. I actually briefly had the camera last month and really liked it, but I thought I wanted a 4K camera as a second cam, so I returned it. But after looking at my options and buying and trying another GX85, I decided I don't need 4K. As always though, once I start spending money, I begin to question if I should just spend more and get the better camera. Too many choices and none of them are perfect.

That´s right. It´s going to be shot at the end of August. It´s gonna be a fun experience. This time with usable dialogue sound, though not in English:) My bet for your camera would be: A6000 or G85 or EM10 II. Oly EM10 II has the 72mbps ALL Intra, has 3 axis IBIS, does not have Flat profile. For the Oly 5 n 10 II, do they have mic input? All in all the Olys seem pricey, but your choice by heart. So, maybe Oly E M10 II could be it, if audio and battery solution is nice. EDIT: Hoppla, thought you meant my lil project, conceided me. But of course, hopin too that Mattias gets to shoot his film. Sorry about the mistake at the beginning of my post.

That's very cool. I hope you get to shoot that script. I mean you couldn't ask for a better location.

Yup, that's why I said that he should try it first. Because the ibis on the A7ii isn't very good at all and the video is very disappointing compared to the original A7 and the A7s imo. It was just friendly advice and I would feel pretty bad for not pointing it out.

85inch is pretty tiny compared to a movie screen. And the content has been ready for that since the 20ths.

I doubt that Yedlin would disagree with you. I certainly don't. All else equal, bring on the pixels! In his words he made the video because "I’ve seen multiple situations where filmmakers or studio decision makers are shown something that’s meant to be a comparison and they are being shown this not by a technology expert from their own company but by a vendor who stands to gain by whatever decision is made based on the demo they are giving. That’s not really a fair comparison situation. So these decisions are not only being made with entrenched presuppositions about what makes an image look the way it does, but these false comparisons that are only nominally scientific and actually more of a marketing manipulation."

His overall point wasn't "pixels don't matter," it was that people place way too much attention on K count than on all the other aspects that make up an image. You have to admit, the difference in the 4K master when downscaled from 6K and upscaled from 2K was not very different at all! Noticeable? Yes. But would the 2K master really get in the way of great story telling? Hell no! That last statement of yours ("the truth is 4K is still better than 2K) is kinda the whole reason he put this video together: "We shot with cameras that range from 3K to 11K, and the highest actual resolving power is in the middle of that range at 6K. The 3K camera is better than some of the 6Ks, and one of the 6Ks is better than the 11K. You just can’t tell what you’re going to get based on counting Ks."

I doubt it's for legal reasons as they could easily add to their fine print that some of the 4K content may be be upscaled to 4K from a lower resolution. I assume it has to do with future proofing to 4K broadcast standards. With the assimilation of Netflix as a channel with Comcast, I assume Netflix has plans that exceeds their current subscription service. Even though this list isn't new, the public release of specific cameras that meet their standards is probably a way for them to encourage indie filmmakers to produce content on those specific cameras. Although we know they won't refuse to include films like Tangerine or other indie films shot on lesser resolutions or specs, if they can encourage filmmakers to shoot on a Varicam, a Red, or others, it is only a benefit for Netflix's marketing and delivery strategy. It will be interesting to see if the GH5 gets added to the list because it does meet all of the qualifications mentioned... I believe? And if it does get added, going forward, there really is no reason not to shoot a no or micro budget narrative or documentary on a GH5.

@Dustin sorry, personal/family videos. It doesn't do much in terms of stabilization, it's just easier to hold (it also has a trigger) and with a view finder (the ones that cover the whole screen) it is exactly like an old camera. Another trick that works better and it is completely free, is to use the camera strap to hold the camera against the back of your neck (or whatever this part of the body is called!). If you master this technique you can reach very stable shots and you can start practicing immediately.

Netflix charges more for 4K content subscription access, and thus wants more "real 4K" content. Perhaps the lawyers mucked this up so people (external lawyers, lol) wouldn't litigate? Everyone at the professional level knows that uprez'd 3.4K Alexa footage spanks most of the competition, and most consumers wouldn't care anyways, even those paying for the 4K sub since it still looks way better than 1080p when viewed on a 4K display sufficiently up close. While a test chart would show truth, I've seen people say crazy things about test chart results, so maybe just sticking with numbers/specs gets them close enough to their 4K goal with the least drama. Lol what does this say about your post?

The whole discussion about what camera Netflix would allow for their projects seem a bit curious...is this like a scenario where one has just negotiated a 20 million feature that Netflix wants to produce, and then the discussion of permissible cameras come up and the director storms out lol?...it's not a quick process, getting anything greenlighted...there are multiple areas that are up for discussion...with ANY studio, and Netflix after all, is just becoming one of the largest studios in exsistance...I could give a shit if Netflix allows me to use my cameras or lenses, if I brought them a project they want to executive produce....far more important to me would be the choice of Line Producer, DP, Production Designer, Editor and where I'd get to make the film....when somebody puts up the money to make one's project, the camera used will be decided by the DP in discussion with the Director, relative to the logistics and look and ergonomics of the project....it will almost never come down to just one make of camera, and is pretty far down the list of hurdles one has to overcome!..With anything done on a budget, the size of what Netflix could provide, if you did not already own one of the cameras on their list, production would rent what you needed and that would come out of the Film/TV series budget.

This thread is insane.

I've been using two 256GB 1066x Komputerbay cards for three years no problems at all. Just test the speeds when you get your order and return if it doesn't match as advertised.

If you want rock solid performance go for Sandisk Extreme Pro card with 160MB/s. Lexar 128 1066x are fine too, there are few complains mostly about fake cards. Komputerbay is rebranded Lexar, 64GB 1000x is rock solid, 128GB is questionable. Transcend 64GB 1000x rock solid, 128GB 1000x is slow, not recommended. I have Lexar 64GB 1066x from amazon and it's working perfectly.

Here is why. A big selling point of Netflix is a library of 4K HDR content. HDR demands a high camera dynamic range, as well as a large color gamut. Those 3 things--4K+ resolution, high DR, and wide color space--are therefore important requirements for Netflix's premium commissioned content. One of the primary differences between the F5 and F55 is the color filter array, which is "wide gamut" on the F55 and "optimised for r.709" on the F5. Thus the F5's disqualification. The Alexa/Amira are very crisp cameras, but not native 4K+. Thus they are not included. This only applies to content produced/commissioned by Netflix; content they acquire after the fact is not subject to these limitations. There are many excellent cameras on that list. I'm actually somewhat grateful for these edicts, as they've pushed the new Varicam into the limelight as the new narrative television workhorse. You don't have to like it, but their reasoning in this matter is completely transparent.

While I think the Oly would be better for video, for stills the A7ii would be better. The A7ii also gives you dual use with your lenses with both FF and APSC modes. Native lenses can be more expensive though there are some very good lenses that are no dearer than the better M43 lenses and of course you don't need as fast a lens for subject isolation. While it is also around $800, the Sony Zeiss 55 1.8 is a wonderful lens (and gives you 55 FF and aprox 85mm APSC). I just got the FE 85 1.8 and it is also an extremely nice lens for the price (a bit less than the 55 1.8). 5.6 lenses FF can still give quite decent subject isolation in some cases.

I can only speak to my own job of sports photography but I think they might struggle with a D6 or even a D5s. No one is really crying out for higher speed at this point and if they are the economics are so tough at the moment that there are still plenty of D4 and D4s being used that shows people aren't ready to spend on the D5. That's the problem with selling workhorse cameras, people will take you at your word when money is tight! If this D850 is to be the last hurrah for the D8** line in a mirrored format then maybe there is something in it being called 850 rather than 820. If they are looking to go out with a bang and also keep sports and photo journalists in the fold then a halfway house between the 820 and a D5 would be very popular. Something just a bit less resolution but that had proper performance at 12800 would be enough for me to do what I don't want to do which is buy another mirrored camera! There are plenty of D8** cameras used in sport (by me included) but they tend to disappear into the bag when the lights dim. In the wilderness years before the D500 came along, the D8** was effectively - due to how far you could crop in - the best pro APS-C DSLR that Nikon made and that's how we used it. If they can combine that with better low light performance then it won't be a difficult sell for people like me with battered cameras who are baulking at a D5 price ticket this late in the mirrored game. Who knows, maybe if they're committed to NOT doing another mirrored D5 successor then they might say "fuck it let's just make the last high end DSLR we make also be the best DSLR we ever made". If they're looking for legacy like they did with the F5 when digital was coming in then that's exactly what they should be doing. As it stands, their legacy from this era will be the D3. Which is no bad thing but it would be great if they bucked the trend and went for giving us everything they could in a product instead of holding back. Dream on though eh? It'll be a million mp, useless beyond ISO3200, 1080p with a 5x crop, and have a mirror slap that could be measured on the Richter scale. The only thing approaching IBIS it will have is the Irritable Bowel Syndrome it give you when you shit yourself at the £3.5K price tag.

Yes it has the clutch. Its a bit loose, not voigtlander smooth. More like a Sigma or something. But usable. Its a great street lens since you can zone focus. An old pic I took with the GX7 and Oly 17mm.

And it of course depends on the content. If I want to be on the local news reserve list they will demand that I have a camera that live up to their standards. If Im a regular dude that calls them and say I have footage of Donald Trump making out with a cow.. then it could be shot on super-8 for all they care. And everything in between.

They're trailing it as 'the next frontier' but I wonder whether it might also be 'the final frontier' as far as DSLR's are concerned? At some point the mirror will have to yield and you wonder how many more times round the block they can go before that happens. The D8** series being Nikon's highest resolution cameras and having a 2-3 year cycle, could this be the last one before mirrorless takes over as its hard to imagine them hanging in there until 2020 isn't it? Its weird to think that an announcement like this, which doesn't exactly have the pulse racing, might turn out in the fullness of time to have been for a camera that would be the highest watermark DSLRs ever reached.

Not allowing the Amira and standard Alexa is straight up moronic. The upscaled 4K in it thrashes the pants of plenty of native 4K sensors in terms of look and detail. I've had them side by side plenty of times. Looking through the list and numbers and so on, the word that comes to mind is "arbitrary" Also demanding Alexa 65 with Arriraw as the only acceptable Arri format when nearly every feature film is shot on Arri... and plenty on Alexa ProRes... it seems more like a political alliance with other manufacturers against Arri dominance than much else. Which is silly, they're dominant because their product is the best. Thought the Varicam is arguablly as good if it gets the uptake.

A "Clear Look at the Issue of Resolution" comparison by Steve Yedlin, ASC. He offers an intriguing demonstration on how capture formats, pixel counts and postproduction techniques affect image quality and why simply counting Ks is not a solution when selecting a camera." End quote. https://ascmag.com/articles/a-clear-look-at-the-issue-of-resolution

I've never had any problems using the 28-70 on Fotodiox Pro Nik-EF one, which is around 1000grams. But it might not be ideal if you change lenses a lot, as I've read the pin that holds it in place can break during lens transfers (personally never had this issue).

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

It is there, thanks for asking, Fritz!! Mandorla can be found (in all its GH2+anamorphic glory, thanks to Andrew Reid and this community that sparked me to quit my day job and make the film) on iTunes worldwide, in English with subtitles in French, Spanish, Portuguese, and soon Italian and Chinese (thanks to friends of the film), and also on Amazon, Google Play, Microsoft, Orange in France, Sony in Spain, and Vimeo and VHX worldwide. If you have a compelling story and a dream to make it into a film go out and do it. Camera, lenses, and microphones help, along with a good script and actors, supportive crew, and a producer who believes you when you say you have to spend most of the budget on lenses!