Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by RobertoSF

  1. On 11/27/2019 at 10:12 PM, IronFilm said:

    Are you making Netflix commissioned productions?

    If you are: you'll have plenty of budget to hire Varicam/Venice/whatever!

    If you are not: then that list doesn't matter at all.


    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?

    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. On 9/5/2019 at 4:16 PM, Eugenia said:

    Panasonic's CineLike D and a rather soft, low contrast lens: https://imgur.com/a/FZoTc8j (open image in its own tab to look at full 4k size).

    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. 4 hours ago, DBounce said:

    Anamorphic with the GH5/S is a blast to shoot with. Both cameras do 10 bit. The GH5S can stop down more and stay clean. The GH5 works well hand held.


    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. 6 hours ago, tweak said:

    I'm not sure because I don't shoot with the GH5s. But from what I understand with the GH5, the best DR is found at it's base 400ISO setting. Probably DR is best at the GH5s base dual ISO's as well. That bbeing said if the image is clean and you expose properly I don't see an issue with changing ISO as it doesn't make a massive difference to my images or work flow. I just try not to go much over 1600iso on the GH5 to limit noise.

    That's the ISO space I prefer being in, settled around 400, stay under 1600.

    Interested to do more testing now. Thanks, tweak.

  6. 3 minutes ago, tweak said:

    Yep, that's one nice bonus of the GH5s! Perhaps a tad nicer colour as well.

    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. 4 minutes ago, tweak said:

    Yep. No 6K on the GH5s unfortunately. One of the draw cards for GH5 anamorphic shooters I guess.

    Well, that's ok, I'm hoping the low-light performance will pay off on (typically) slow anamorphic lenses. We'll see!

  8. 11 minutes ago, tweak said:

    Nice and sharp! 

    Not sure about the GH5s but on GH5 you can shoot 8 or 10bit 4K 4:3, or 6K 4:3 24/30fps. I assume on the GH5s you could also shoot 10bit 4K 4:3 24/30fps.

    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? 



  10. 4 hours ago, AaronChicago said:

    This was a feature on the GH5 as well. What would be cool is if it could preview and desqueeze the actual file.

    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. ;-)

  11. 8 hours ago, Zak Forsman said:

    I just rigged my EVA1 up with my Kowa BH (in a Rectilux housing) using my Leica Summicron 35, 50 and 90mm set as taking lenses, and it is awesome. Was also happy to note that i can get away with a 35mm taking lens without vignetting given the fact that I'm doing a 2.39:1 center extraction.

    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.

  12. 4 hours ago, IronFilm said:

    Office politics apparently. From what I've heard the leader of the pro division is mad at the GH developers for what he thinks is "stealing" from him.

    There may be a history there, going back to the GH2, which blew us all away. A certain camera gear dealer in LA said then, "That camera looks far better than it has a right to!"

  13. 4 hours ago, Fritz Pierre said:

    Indeed you can!!!...I was going to go the route of the EVA...unlike the Varicam, which would have to have a specificproject pay for it, I could buy the EVA (I seem to remember you gave your producer a bit of a heart attack when you spent a fair percentage of your budget on those Anamorphic beauties!)...anyway...I own a large collection of lenses and without a flexible or optional mounts, I'm looking at the UMP...a member on this forum shot a comparison between the UM 4.6K and theGh5..,they cut very well together, as will the Varcam LT if a get a couple of big projects funded....back to your film if I may,....I never saw anything but the trailer, which I loved...is it available on ITunes? I found every  aspect of the film stunning...acting, cinepatography....your Male lead and of course your directing..and writing...would love to see it if there's 




    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!


  14. On 6/5/2017 at 8:18 AM, Fritz Pierre said:

    Your points are all valid, but regardless of how companies intend for cameras to be used, individuals make their own choices, as to how they use what they spend their money on...a couple of lovely features (cinematography wise) have been shot on the $800 GH2....

    Can I assume my feature Mandorla was one one them? ; ) A couple of GH2s and a set of vintage anamorphic lenses was an adventurous route to go 6 years ago.

    Today, like many here, I'm happy to read about the EVA announcement and await to see how it performs, and how much "Varicam" it brings.  Meanwhile, I've decided not buy the GH5 or any other camera (or computer for that matter) until I'm headed toward production and have tested cameras and a workflow from production to post.

  15. 45 minutes ago, AaronChicago said:

    I LOVE the fact that they're giving LUT preview in camera. I hope they give an anamorphic desqueeze preview option.

    Agreed, it would be great to have anamorphic desqueeze in-camera. An external recorder/monitor usually handles this of course, and, from what I understand, the new HDR Ninja Inferno offers 4:2:2 10bit recording 4K ProRes via HDMI, for under $1K. So pairing that with a GH5 is an option I would take seriously. I hope they give one to Andrew to test.

  • Create New...