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RobertoSF last won the day on January 24 2013

RobertoSF had the most liked content!

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  1. If I make a pilot for a show, with my own gear, and that show is picked-up by a platform, be it Netflix or others, then yes, Varicam and beyond is within budget, as is the whole crew surrounding it. Until then, exploring a look, professional workflow, and most of all story, all with my own gear, matters.
  2. I didn't see Z Cam listed on Netflix approved camera list here, unless I missed something? https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture For buying a camera at this level this list is a factor, at least for me. I also like how Panasonic leverages their higher end (Varicam) camera tech for models like the S1H. After having a string of Panny bodies going back to the GH2... I honestly like how Panasonic keeps their menu system and nav around the camera working consistently and evolving well (so far). I hope I will be able to get ProRes Raw out of the S1H with a Shogun...hopefully we'll know soon. In any case, I agree, Z Cam is a poised to disrupt... just not yet for me.
  3. Nice work. Good to know these kind of results are possible. Have you guys used/considered vintage cinema lenses to get a vintage cinema look, rather than softening in post or adding texture? As sensors get larger and sharper, especially those that support 4x3 anamorphic, I'm curious, if not excited what the images will look like with vintage anamorphic glass. I'm hoping 1, that vintage glass with a PL mount with cover an LF sensor, and 2, that a LF sensor will help compensate for how slow (~T4) vintage glass often is.
  4. Thanks D, inspires me to get out and try some more tests, especially at night. Ideally, I would add a GH5 and use it handheld, keeping my GH5s in it's cage on sticks. ; ) Maybe I'll sell my old GH4, which I hardly ever used (I kept picking up my GH2).
  5. That's the ISO space I prefer being in, settled around 400, stay under 1600. Interested to do more testing now. Thanks, tweak.
  6. Perhaps, I really do like the color, and will be sure to shoot the next test in 10bit! For ISO, I'm wondering if it's best to stick with 800 or 1600 and let the 'dual ISO' do its magic from there? I like the freedom to ISO roam, for the clip here I had to drop the ISO down to 160 because I had an ND3 filter on (bright mid-day, ND6 would have been better). I hope the 'dual ISO' works effectively at whatever the setting?
  7. Well, that's ok, I'm hoping the low-light performance will pay off on (typically) slow anamorphic lenses. We'll see!
  8. 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?
  9. Finally went for a springtime hike with a friend and took a moment to do a 4K 4:3 anamorphic test shot with my GH5s and an old Lomo 35mm squarefront. The vintage "scope" look that came through was enough to warrant more tests in other conditions with other lomo lenses. But first, some questions to the EOSHD anamorphic legion: - is there really only one 4K 4:3 anamorphic setting on the GH5s, 3328x2496 8bit ? - recommended algorithm for processing into a video editor like Avid Media Composer (I have 8.9.1 running on a 2013 non-4K iMac)? I'm ok with bars on a 16x9 window but also like the idea of a proper 2:39 video as well sans bars. Will look to upgrade my editing system once the workflow is better understood for 4K. - other GH5s anamorphic footage out there? Thanks, Roberto
  10. Thanks, Jon. Just got my GH5s last week and wanted to know more about the audio features. Good review. Looks like I may need the DMW-XLR1 as well.
  11. Yep, it appears the GH5 anamorphic features were kept for the GH5s, with the notable exception of shooting 6K anamorphic. Understandable, given the big difference in MP. What attracts me is that the GH5s footage looks better in general from what I've seen so far, and it apparently goes around 3 stops further in low light. As you probably know, anamorphic lenses aren't very fast, at least mine aren't, so this is a big difference. Not sure I would rest easy with a camera desqueezing the original files... better to batch process those with computer horsepower at the end of the day, while I sleep. ;-)
  12. The GH5s can shoot multiple aspect ratios, namely the anamorphic friendly 4:3. And, apparently, the anamorphic video mode lets users record “squeezed” footage, then desqueezes it in the display, so the footage can be viewed in a more cinemascope-like aspect ratio.
  13. Thanks, Andrew, will look for the full review, and hopefully some video? Good to see the GH5S supports anamorphic shooting, v-log, 10-bit, low-light, C4K, time code sync, etc. I may well have to get one. Odd that the EVA1 does not support anamorphic shooting.
  14. That's an exciting looking rig. Looking forward to seeing images from your Kowa BH set-up. I share your passion for color rendition and dynamic range, and I suspect the EVA1 will perform well with these. Also nice to see that Wooden Camera in Dallas has created a PL mount for the EVA1, albeit one requiring shims and may void the camera's warranty. That's welcomed news nonetheless as I have a happy marriage with my PL glass. Bottomline... Panasonic... needs to provide access to 2x anamorphic shooting via menus, like the Varicams and GH5 do. Then their line will be unbroken. Meanwhile, looking forward to seeing those images.
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