Neumann Films

Thank you for the kind words! What contest is this?

There's some VFX work that I'm waiting on to get completed before I move on. BTS for this episode will be out on Friday hopefully though!

GH5, Kit Lenses, Natural Profile. Minimal to no grading.

Adobe is an antiquated company and they operate like one. Have you ever looked at their forums in search of a solution? It's an absolute nightmare, the first response from an actual Adobe team member is generally condescending and dismissive. They have gotten fat and lazy on the subscription model which gives them a million reasons to slow progress to a drip. Why rush along updates when their entire business model is built around people continuing to pay a monthly fee? Doesn't make business sense therefore it doesn't happen. I'm pretty fed up with it myself. Will likely switch to Resolve full time soon.

It's unfortunate because if they just put all of the pieces together then they would likely get the sales required to make it feasible. With an incomplete eco-system, it's hard to get people to shell out $6-$7k for an aerial only camera. If that camera can move from drone to tripod/gimbal...then it's a totally different discussion.

I mean, they promised it and still have it listed on their site as "coming soon" to other products on the site. The idea was to come up with an Osmo solution, sadly I bet they have ditched it.

Thank you sir! It's been a while but from what I remember you need to still do something to get the DNG's off of the SSD. It was fairly quick but there's no way around it...it's slow. I compare it to working with the 5D3, it's not going to be an easy workflow but there is something fun and unique if you are OK with slowing your process down. The fastest route I found was: 1. Record to both SSD and Micro SD (1080p on Micro) 2. Transfer both to same folder 3. Utilize Premiere Pro Proxies 4. Dynamic Link to AE to color DNG files via Adobe Camera RAW 5. Export to Adobe Media Encoder for upload Slow, yes...but not much different than my workflow anywhere else. Sometimes I just slap a LUT on in Premiere Pro and export there but it's not very often.

I didn't have issues like that. Not saying it was a dud as I had my own headaches but that sounds...faulty. I could be wrong though. Maybe my experience was the exception rather than the rule. I was a huge fan of the X5R/Inspire 1/Osmo set up. It had quirks but I dealt with them because I loved the image quality, now with the price being much lower, I think it's a hidden gem. No ProRes is rough as DNG slows everything down. There are ways around that though, you can record proxies directly to the Micro SD card and then utilize Premiere's proxy workflow. Personally, I made my cut in Premiere using proxies then Dynamic Linked to AE to use Adobe Camera Raw...which is STILL the best way to process DNG files (in my moderately humble opinion) I haven't used Cinelight, the PC solution is bare bones but stable and straight forward. Cinelight...I can't speak for. I have heard mixed things as well. I just cut this together, it's a reel of Osmo and Inspire stuff all on the X5R, should show the versatility. Tripod, pan/tilt (via app), car mount, Osmo, and Inspire 1: At one point we were working on a light weight (*feather weight) jib made out of carbon fiber pieces that you could backpack anywhere and build up to over 40 feet. The Osmo was so light that it just barely worked. The idea was...easy epicness in national parks. Sadly it never fully came together but there is one shot in the video using the set up (shot at 1:20). Keep in mind, it's a little like dealing with Magic Lanern on the 5D3 or something. My tolerance for stuff like this might be different than other people's. It's quite a bit of work for less footage...not for doc or any kind of long form content. It's niche, for sure. Yes but they use Panasonic sensors and work closely with them, so they might be protecting that relationship.

HA! Oh God...that half pink screen is giving me flashbacks. That is probably going to be a beautiful image though. Andrew, you going to try it out?

Beautifully written piece, Andrew. I really enjoyed that and I totally agree.

This guy should get a half-pass since he's blazed out of his mind.

It's not that complicated. I haven't been able to watch a 1080p video on Vimeo without buffer in 5 years. I have 1GB internet. That's like not being able to eat food at a restaurant. Best of all, in Vimeo's case you still need to pay the bill when you leave. Great business model.

In my experience, this varies from company to company. Some companies give you almost 100% creative control (Panasonic), while others want you to say specific things about the product. I have always stayed away from companies that do the latter. If we get into talks and they say "We would like you to mention this and this", I'm out. That said, if I sign on then I'm under contract to do a job. Who in their right mind knowingly gives less than 100% to a client? It doesn't matter how big of a job it is, I have always tried to go above and beyond. Whether it's a wedding, an unpaid thing for a friend, or a commercial. All you need to understand the relationship here, is apply your own experience with clients on bigger jobs you've had. Same thing. You do your best, you attempt to give them a great product, all the while maintaining as much artistic integrity as possible. The only projects where artistic integrity is your sole objective, are self funded narratives. Everything else...you have someone paying the bills. TL:DR Watch the footage, listen to what the shills say, but ultimately YOU know what you're shopping for...so just look at the specs and the footage and pull the trigger. You can expect to hear the "pros" section of the list from the shills, but you have to wait for someone that isn't associated with the company to hear the "cons". Because I was on here shilling "face to face" In all seriousness, you shouldn't need any of that though. You know what the specs mean. Combined with test footage you just make a "pros and cons/budget list" and the camera you need should be easy to determine. I tried to drop hints to prevent people from buying a GH5 before this was announced. I knew that would be a point of contention with a ton of potential customers. I didn't really try to shill...just inform that something else was coming and that maybe people should wait to make a decision. $2000 is quite a bit of money and it's worth spending some time to make sure you invest in the thing that fits your needs. No different than buying a car. The "camera doesn't matter" crowd is flat out incorrect. All large purchases matter. If you think otherwise, put your significant other in charge of your finances. Immediately.

Not a transform as in "plop 30p into a 24p timeline and let Adobe handle it". I actually slowed it down by 20%. Same process as conforming 60 to 24. There should be no difference in motion cadence if shutter stays at 180 degrees and you properly conform. Doesn't matter what frame rate. What you saw in the video is what the GH5S spits out. I didn't notice anything different with the motion cadence myself, wouldn't have let it leave the kitchen if I did

Which video feels like 30p? Quite a few shots in the official one were at 30 and transformed to 24, so that should have no effect on motion cadence. The low light test and then our Vlog used 24p and 180 shutter.