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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.

Apparently we are only 15 years away from commercially viable nuclear fusion reactors. Funny, but when I went on a tour of the Joint European Torus 35 years ago they said we were about 15-20 years ago from commercially viable nuclear fusion reactors then too.

No way, Nikon will absolutely have backwards compatibility with all existing F mount lenses. Nikon F mount has been around since the early 50s, and every F mount lens still mounts on modern day cameras (you might lose metering and stuff but the lens still works.) The only reason Nikon shooters (me included) haven't completely jumped ship is because of lenses -- if Nikon doesn't ship an F mount adaptor that works perfectly with their mirrorless system then they might as well give up now. Seriously, if you need/want FF mirrorless why wouldn't you go to Sony if you have to buy all your lenses again? I've already half moved to Fuji, so really if 2019 is how long I have to wait it makes the decision to sell all my Nikons and get a GFX that much easier...

When I first joined the forums I thought I was a run-and-gun shooter, but I think now the term Guerrilla film-maker might be a better fit. I say this because: I shoot without official permission (and therefore can't have a setup that looks 'pro') I shoot in public where I have basically no control of what happens The subjects of my film (friends and family) tolerate my filming, but won't cooperate to the point of wearing mics or anything else like that This seems to present a different set of challenges to run-and-gun shooters who can mic up people, have control of lighting and 'set', and can have 'pro' looking cameras. Anyone else shooting in this style? (I think it's likely to either be hardcore documentary filmmakers, travel film-makers, or vloggers).

I don't edit directly with my recording media (I mean I have, occasionally, for super quick, tiny little projects, off of SD cards) but for the past couple months I have been editing all of my projects off of my Samsung T5 USB-C ssd, which is what most will be using with the new pocket, and it works perfectly. Super tiny, light, and incredibly fast. Once I get my my hands on this wonderful-looking new cam, recording with the Sammy and then editing immediately should be a breeze.

Thanks, tweak. I just noticed the scroll bar on the menu... now I see all the other anamorphic settings, 10bit 4K 4:3, etc. Didn't see any for 6K as yet, which might be due to the lower megapixel count than the GH5?

There are virtually no information about matching Nikkor 14-24 2.8 with speedboosters/focal reducers. Thus, I would like to share with my rough, unscientific and spontaneous test: OOC .jpg, handheld, GX80, Standard -3/-0/-0/-3. This is a comparison between: (a) Nikkor 14-24 at 14 mm, 2.8 + Mitakon Lens Turbo v.2 vs. (b) Lumix kit lens 12-32 at 12 mm, 3.5. IMHO there is a clear difference between these two sets, including that Nikkor is wider I would be more than happy to hear your thoughts. Scene 1 Scene 2 Scene 3 I have almost no focus peaking when lens turbo is on GX80. Please let me know what I should change to improve this. There is no problem with focus peaking when using the kit lens with MF mode on. Although there is no major play between Lens Turbo and GX80, I am considering Fotga as a cheap and small lens-support solution. Do you have any other recommendation? PS. IBIS with GX80+adapted lens is really good.

Here is a quick comparison made on GX85 SOOC between: Panaleica 8-18 at 8 2.8 Panasonic 12-32 at 12 3.5 Nikon 14-24 + Lensturbo at 14 2.8

Hi, here is a quick comparison made on GX85 SOOC between: Panasonic 12-32 at 32mm 5.6 Panasonic 35-100 at 35mm 4 PanaLeica 42.5 at 1.2 Nikon 50 1.8D + lensturbo at 1.8

It has SD, CF AND usb-c, which none other has. It records internal raw and various ProRes. I see no issues here, only options, and no external recorders/monitors needed (but I will be really happy to use my Focus on this one).

Locations permits (often) run in the thousands each and require production insurance in the first place, which is another thousand dollars. That makes shooting non-commercial work a lot less fun when it's more expensive for one day on location than to buy the camera you're shooting with! I don’t think having a script and boards is abnormal, I thought everyone here did! It's a filmmaking community, after all. I was drawn into the hobby by narrative and by an interest in acting originally, but that's subsided since don't like being on camera much it turns out. The script is my main interest now, even though it's often an excuse to try out new gear. I thought most people here were shooting narrative, but I suppose there are a lot of documentary shooters, too, and corporate video shooters. My understanding (based on SAG rates) has been that ultra low budget is under $625,000 and low budget is between $625,000 and $2.5 million, but there's lots of budget manipulation so it's usually in fact higher. Either way it's semantics. I'd fall into the no budget/guerrilla camp. Also I agree with the sentiment that an Alexa is A) not that expensive–you can rent a mini here for $250/day, less than the cheapest location fee, and B) not materially different from an F3 for most purposes. If it doesn't look amazing on an F3 it's not going to look amazing on an Alexa, you might just have a little more highlight detail and a better texture and less skew. (And better high frame rate options, but worse low light.) Anyhow, I can sere why some of my opinions have rubbed people the wrong way recently, I made some incorrect assumptions about the community and their needs. I get now that image quality is of more importance to other people than it is to me, so my advice isn't helpful, and might lead people down the wrong path. To that extent, I should just get back to writing and not arguing over camera specs. My apologies.

By NZ's standards we have a few very minor "names" attached to it.

Can you use cfast 1.0 in the 2.0 slot? If so, what resolution and formats are reasonable to expect? Cfast 1.0 is rated at 80mb/s

It’s my understanding these phrases such as “ultra low budget” equates to something like this... $0-$1000 = zero budget $1000-$10,000 = no budget $10,000-$50,000 = micro budget $50,000-$500,000 = low budget Either way, it’s all just semantics, and probably irrelevant to this post. But I will add... I don’t know if I really understand why somebody would spend the time and money, with the state of indie film distribution being the way it is, on anything over $50,000... unless you have some kind of name attached to the project?

Yes it's quite a leap from a 5D to an Amira/Alexa, hence my skepticism towards means of affordability.. especially for hobbyists shooting kids!!! FYI most current ARRI cams are in the hands of rental houses, hollywood studios & tv/film/production companies. sounds cool, care to elaborate?

I'm just contemplating being sat in front of a 43" 1000 NIT monitor on my desk. It'll be like Bikini Atoll

wait what... tons and tons of content gets shot on ARRIs for YT.. ?! who? where? how? if IQ isn't "that important" as guy above states.. and for "no budget festival-oriented narrative video" why are we talking a $40K 10lbs body exactly?! above all.. in a "guerrila shooters" thread that states "can't have a setup that looks pro" Am i missing some kind of sarcasm ? Are yall pockets even that deep? or are we on some E.S. BS here again ?? *confused*

I think what Arri means (someone else can correct me if I'm mistaken) is that most of the UI and buttons on the Amira are placed on the left side of the camera, facing the operator. Whereas traditionally, and on the Alexa Studio, they'd be on the right side of the camera, where the AC could hit record and make adjustments. Traditionally camera operators aren't tasked with hitting record, but since different operators work differently I assume there are record buttons on both sides of both cameras–but the UI is switched on the Amira so the camera op can make adjustments to frame rate, etc. without an AC. I think. Arri might have also added focus peaking so the operator can pull focus without an AC; I'm pretty sure that's on the Amira viewfinder and I don't remember it being in the Alexa one. Not sure. Don't quote me on this, but I think that's the main difference. Not that it's ideal for a single operator, but that in some limited circumstances (such as NFL films), it's conceivable a single operator could use one because the UI is on the other side of the camera.

I can’t speak for what Olympus will or won’t do. But they certainly have heard from me about moving in that direction. They genuinely want to do better video, and they need to up their game and then some if they want to truely challenge Panny. JB

Well there is no doubt it is pretty awesome for what little money you have to spend to get into the system. And I am sure X amount of people on here has had a body laying around for years. Plus a cheap way to be able to get into ML Raw and learn how to use and edit it. Sounds like a Win, Win to me. Cheap thrills.

Thanks! I don't know about 60p in Raw, I'm not sure I've hard of anyone doing it. It actually crashed a few times when shooting with the bitrate at 3x so I had to drop it to 2.5x (I also tried 2.7x but that crashed too). All you need to install ML is the right Canon firmware 2.0.2 or whatever, and a fully charged battery. This is a good video that walks through how to do it: Incidentally, the maker of the video, Ryan Moorman, made some great videos with the EOS M and ML. His videos, as well as the videos of Victor Suwatch, and Johnny Santo Domingo were my initial inspiration to get the EOS M. These are my favorite EOS M videos:

Thanks. With my Sandisk Extreme Pro 95mbps cards I was getting bitrates into the 90s sometimes. These are my EOS M videos. Both have grain added but the original images were very clean. The first video is 3x bitrate and has some grading, but the lobster claw segment is the off the card color, with grain added. The second video was entirely 720p60, with the bitrate between 2.7-3x I believe. The detail/sharpness isn't bad considering it's just 720p, although you can tell the moire is a lot worse.

It is pretty amazing what can be done with this camera. I still have mine. I paid $175 for it during the original fire sale. No real reason to sell it, so I figure I may start messing with Magic Lantern on it. I did try Raw on it a few years ago but I really couldn’t get rid of the pink dots without chroma smoothing and the IQ took a hit. With the new leaps of SD cards and ML Raw, it sounds like some interesting things for the future. But the crazy thing I’ve noticed is that even the simple 3x Bitrate bump does wonders for this camera. @Matt Kieley has some great samples. Sure it isn’t Raw but for small, fun little videos why put up with the added workflow?