AaronChicago

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

If you have $99 to spare I highly suggest watching Ron Howard's Masterclass. He has a few dedicated sections on blocking. It's invaluable if you ask me.

If you have $99 to spare I highly suggest watching Ron Howard's Masterclass. He has a few dedicated sections on blocking. It's invaluable if you ask me.

If you have $99 to spare I highly suggest watching Ron Howard's Masterclass. He has a few dedicated sections on blocking. It's invaluable if you ask me.

I'd be willing to bet that fans of The Damned wouldn't notice a difference in the GH5 and an Alexa. Except maybe that <1% of cinephiles.

Excellent. I love the Blade Runner influence with the holographic lounge singers.

I'd be willing to bet that fans of The Damned wouldn't notice a difference in the GH5 and an Alexa. Except maybe that <1% of cinephiles.

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. 
 

I'm seeing a lot of awful images on Instagram shot on film. The people who know what they're doing like Dana Gonzalez and John Chema obviously have stunning results, but I look at accounts that are great with digital cameras and their film prints are cringe worthy.

I posted a GH5 vs UM46K sample last year. I prefer the Ursa color, but GH5 and 5s are great.
password: test

I posted a GH5 vs UM46K sample last year. I prefer the Ursa color, but GH5 and 5s are great.
password: test

..and it's funny you mention that because that's basically what made me re-purchase mine!  
stumbled on some old C100 footage and was taken back at how cinematic it looked. 
i'd sold it shortly after jumping into 4K, thinking i'm done with 1080p. and planning on moving to C200 (before EU prices crushed that dream).
in the end though i still deliver most projects in FHD, and of course the great thing about the C100 is it's a 4K sensor downscaling to 1080p.
other cameras do that as well but with varying degrees of success. anyways there is just some mojo about the OG C100/C300 sensor imo.
what really put it back on my radar was when comparing that old C100 footage with recent footage with the same actors but shot on a Ursa Mini 4.6K (in DCI 2K).
couldn't believe it but to my eyes the SOOC C100 footage looked more pleasing than the graded UM4.6K! 
not trying to say C100 > UM4.6K but those canon skintones never cease to please..
speaking of BMD another old cam that shines was their BMCC 2.5K. 13-stops, superb fine detail, motion etc..
Digital Bolex IQ obviously and such beautiful hardware to go with it (already getting scarce, people are holding on to them!)
And of course how could we not mention 1DC & 5D3 Raw!
Any others giving filmic mojo on the lowlow?

I am... this... close... to maybe buying one. I know the Mark II is a more versatile camera... but there’s just something about the original.

It’s funny you mention the C100 bc I was looking at an old video that i shot in 2015 with it and had a fond moment of wistfulness. 

Those Kashmir pre amps by Sound Devices (all the pre amps included in the MixPre recorders series) are consider the best in business for such cheap machines. In reality, in forums and elsewhere, professionals are hard to say if it is a mixpre6 or a 633, the differences are minimal, if any.
Realistically, for most people, a MixPre3 is sufficient, and does have a lot of tricks in its sleeve (audiio interface/touch screen/usb c), and can be mounted on (under, to be precise!) camera and solve some issues with hybrid/dSLRs, or even cameramen that want to up their game sound-wise.
Now, if you want a independent dedicated pre - amplifier, that is a whole new level of conversation, they are literally infinite, and even your local - sound loving - electrician can make a hand made one. There are also some mic and instrument pre amplifiers with valves or digital profiles that mimic mics and instruments of the past. Even Behringer have some interesting and cheap similar products.  

I set up these cams (although more carefully aligned in the actual video) Details and settings are in the YT description.  

Great job! 

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days.
Our best work yet. Movie is still going through post-production.
Production company: 55Media
Director/Writer: Uche Aguh
Director of Photography: Dennis Schmitz (me)
Assistant Director: Ukairo U. Ukairo.

Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G'

Editing done in Premiere.
Colorgrading done in Davinci Resolve.
Dealing with the usual quirks of this camera, but results are still great.

More information:
www.imdb.com/title/tt7928156
www.55media.net

I wish the LUT gallery thumbnails were from the current selected video frame.   that way you can see all the grades how they would look like on your shot.
Now you have to select each one to see how they look like in a shot.  It's better than it was for sure, just could have been perfect if they did that.