Michiel78

Well, I'm just glad I left Canon and Nikon for Panasonic. Bought the cheap G6 for now, but this GH4 lurking around the corner is beautiful, especially with this type of info! Just curious about the workflow though, do you have to process each individual clip through AE before getting 10bit 4:4:4?

 

I have always been annoyed by the skin tones coming out of the GH3 and now the G6.

 

Last week I made a discovery, while trying a cheap but fun app called camerabag (photo editing software) with various stills from video shot with GH3 I found out that the skin issue could be resolved by adjusting the red hue brightness. This adjustment also made the reds from GH3 look more natural and life like. (light reds are no more pinkish, oranges and no more yellow) I then tried to replicate the adjustment in FCPX, motion, after effect, speed grade, resolve... and it was just not possible. Weird.

 

Yesterday I found a way of creating a .cube file's LUT from the settings of camerabag and the results are amazing. With this LUT applied the red color of GH3 and G6 video looks a lot like 5D markIII and Blackmagic cameras.

 

Here is the LUT applied on a graded still from video of G6 

 

 

This sounds interesting! Could you provide more details please?

Wow! Looks absolutely stunning... made the right choice purchasing the now 300 GBP G6 :)

 

Would like some info on the lenses and adapters too, please.

I'm expecting my new G6 and metabones Speedbooster soon. I'd like to buy the Nikkor 50mm / f1.8 lens, but I'm not sure if I should buy the D or G version?

 

It seems the D-version has it's own aperture-ring, whereas the G is automatic, but can be manually controlled by the speedbooster; however it's not entirely accurate: http://www.slrlounge.com/near-full-frame-in-a-micro-43-camera-the-metabones-speedbooster-nikon-adapter-review

 

The bokeh and sharpness of the G is better and since you'll be focussing more than changing the aperture, the larger focus ring of the G might be better. The price difference is only 50€.

 

Any advice?

 SB + Nikon mount (e.g. Sigma 18-35; AI-s manual primes) is the best investment because you can use them on almost any future camera you buy, the result is more filmic than MFT, and the SB gives you Super-35mm crop and improved low-light. 

 

I just went this route, Jason, also because in the future with Nikon lenses you could switch back to Nikon DSLR for films (or stills, always loved Nikon for stills). Canon lenses won't fit on the Nikon cams (if I'm correct), but Nikon lenses do fit on Canon DSLRs with an adapter.

 

So, if you go G6+SB or D5300 you're always future proof. 

Thanks for confirming the GM1 as a great cam, and that FCPX 10.1 has no issues with AVCHD.

 

I just went for the G6, although I do mind its plasticky body a little bit (the camera vanity indeed), but it's even cheaper than the Speedbooster now! So I'm staying within my 1000€ budget, while opening up an amazing range of lenses for the future. 

Honestly, I think it comes down to your personal preferences; which cam 'feels' nicer.

 

While many agree that Canon (without hack) is surpassed by Nikon, Sony and Panasonic; I still feel it delivers quite good quality, it certainly has a better cinematic feel than your average camcorder. I don't know if the RAW hack is available for the 70D, but the AF is quite a nice touch for someone who is new to DSLR; gradually you could go over to MF. 

 

D5300 would be a little more challenging as it offers no peaking for example, but video quality as well as stills are very, very good!

 

I started with the 60D, but while I'm waiting for the BMPCC v2.0 or 3.0, in the meantime, I'm placing my bets on m43. Panasonic seems to understand what we videographers need and want, rumors have it they're creating a new organic sensor. And with Olympus on their way, some good things are about to happen in m43-world.

 

70D crossed my mind, but Canon essentially isn't improving anymore (except for the new AF-system). D5300 was an option too, as I really like Nikon stills, but the Panasonic-series offer peaking and other videographic goodies, and with the Speedbooster, an amazing arsenal of lenses is available. So I bit the bullet and (after some good advice here on the forum) bought the Pana G6 just to start out; it's so cheap now it's no shame to replace it in 1-2 years, while I'm investing now in a Speedbooster and some lenses which will last a lot longer!

Thanks all for your input, going for the G6 and SB... :)

Skip,

 

Sometimes you know the story beforehand, but to me, many times the story comes while filming or editing. Although it's not easy: sometimes you have the story and visuals outlined in your head but can't get them on your screen. That's frustrating and could lead to a form of 'writers block'.

 

But first: I assume you're fully used to your D5300, know your camera, you can set it up quick and easy so you're not missing important shots. It's like a racing driver knowing his car inside out. 

 

Then: if you have a story in your head, go out and film it. If you don't have inspiration, no worries: just go to a city or forrest or something you've never been too. Stop fretting about wanting to make that great film, don't shoot yet, just feel the atmosphere, the mood the new surroundings give you. Then try to capture that mood. Some possess this quality naturally, others have to learn it, but if you train this often, you can distill the mood/emotions/story faster and easily convey that to your film. The advice from Brandon is great too, as is Tosvus'. If you see or hear or read something which touch in an emotional way, a song on the radio, a story in an newspaper, a quote on the internet; save it somewhere and use it later. Point I'm trying to make is: inspiration is always there, sometimes we don't know where to look for it, sometimes we're looking too hard for it when it's already there. It's conveying that inspiration to film is what we have to learn.

 

Post-production: personally I find this the most difficult, because I've got the visuals and story or mood in my head, but my shots are not what I envisioned them to be. Sometimes I really have to push myself to start editing, use all the anti-procrastionation techniques, and once I've taken that hurdle, many times it flows from there. Don't let the drive for perfection get you, I've heard many great filmmakers are not entirely happy with the films they've made, even if they've won numerous awards and the public loves them... 

Just try and convey your story, and about the noise or neat video: story comes first. Even if an image is not up to your standards from a technical point of view, but it is essential in conveying an emotion, use it! Hell, Philip Bloom made a compelling story filmed with a VGA-Barbie-camera ;)

 

And if, after editing, it's not really the masterpiece you've wanted, so what... It's not like Van Gogh or Rembrandt always painted masterpieces every time, but from every trial you learn, and this leads to experience, which maybe makes your next movie into a masterpiece, or at least your filming-life a little bit easier ;) Good luck. 

 

Unless you have a very clear reason to go for the GX7 over the G6, I would give the G6 very serious consideration.

 

It's just that the GX7 or GM1 are so much more good-looking compared to the G6, but in the end, I think Julian and you are right... since the GH4 and other m43 cams are around the corner (imagine what would happen if Olympus got their video codecs right), it makes more sense to invest in SB en Nikon glass which can be used over and over again, and a lot less in a camera which probably will be replaced in 2 years. Also, the mic-input is an added bonus which I definitely like. 

Thanks Julian. Funny we're talking English here while both from the Netherlands ;)

 

I'm considering the G6, but although it's the cheapest option, it uses a relative older sensor than the GX7 and GM1, but it has peaking.

I like the G6 audio-input, the better EVF.

 

It seems have to decide if I take my camera bag with me or not... I'm planning to use a small backpack so GX7+20mm will fit... choices choices...

Just curious about your opinion. I'm going to visit Japan and New Zealand and I'd like a small cam for video as well as stills. I'm switching from my Canon 60D to m43 (don't have a lot of glass so no problem). Thought about the BMPCC but think it's better to wait for v2.0, and I loose the stills. Thought about the D5300, great for stills and video, but slightly too large, and not really optimized for video (no focus peaking, aperture-problems etc).

 

Right now I'm thinking about the GM1 or GX7. Both are small enough for my taste, use the same sensor en processor, so IQ should be the same. My considerations:

 

GM1

I like the small size and looks of this cam, but I'm worrying most about its ergonomics, especially when filming and using manual focus filming handheld. I'd like the Panasonic 20mm/1.7 II but it has no stabilisation and it's a little bit to large for the body, so a monopod or small tripod could be difficult. I won't be using a rig. But, since the GM1 cheaper than the GX7, I can buy the Speedbooster Nikon to m43 and use its tripod collar instead. Lenswise I'd go for the Nikon 50/1.8 or equivalent. The size-difference between GX7 or GM1 with Speedbooster would be eliminated of course. 

 

GX7

Its a bit less refined than the GX7, although I really like the beefy grip, so ergonomically it should be better. I've tried the EVF and although I see the seq-field problems, and don't think it's problematic and could be handy in the field. It's more expensive than the GM1, but when it comes bundled with the 20mm/1.7 II the price difference with the GM1is small. Also I like the 50p and MP4 video-modes, so its easier for my Macbook when pre-editing en route (make the final edit at home).

 

Essentially it comes down to this:

Would you go for GM1 + speedbooster and open the world of Nikon-mount lenses or go for the GX7 + 20mm (and bonus MP4 en 50p). Of course I could always buy the SB for the GX7 as well, but it goes a little over budget then, because I need to buy now and cannot wait for the new Panasonic-series showing up this year.

Personally Jurgen, I wouldn't risk further harming your sensor and go to the store you've bought the camera for advice. Many specialized camerastores are experienced in cleaning your cam/sensors and will do it for a small fee or sometimes free of charge. And otherwise they will ship it to an official repair center.

 

I don't know, but if you're using a small microfiber cloth (for cleaning lenses or glasses or such) I think it has to be absolutely clean for any impurities on it could scratch your sensor...

 

But... found some useful links: http://www.mu-43.com/showthread.php?t=21725 

and http://photosol.com/product/sensor-swab-plus-4-pack-type-1/

 

It seems the SensorSwab is pre-moistened with cleaning solution, so I assume it would remove fingerprints as well, and it's packed sterile so no impurities that could damage your sensor.

 

I don't have any experience with SensorSwabs myself so use it at your own risk :)

I've just replaced my Flaat 11 video test with a less compressed file that shows quite a bit more detail. Download the original file for best quality. Grading details in description on Vimeo page.

Hey Matt, very nice video. Deep and beautiful colors. Is it me or does the footage (especially where you're panning over the leaves) have some sort of wobbly/wavy feeling. I think its the FCPX stabilization but could you please confirm this?

I think that the D5300 must be resolving equal to the D7100, in my perspective. I Have a D7100 and it resolve very nice sharp detail: 

>

 

Wow Rolf! Amazing low-light footage, what a great combination this GM1 and the Voigtländer make, especially in the shots with shallow DOF it has an beautiful cinematic quality. Perhaps it will be the GM1 instead of the D5300... Show us more, please :)

 

It will surely benefit from a shoulder-rig or monopod to eliminate the wobble!

 

Do you also have an Metabones Speedbooster to show the look with full frame lenses?

I'm surprised you're not finding the resolution of the Panasonics better though. It's always hard to judge online, but I always find them to be by far the sharpest of the low-bitrate cameras. Personally I think the video above looks quite soft (which I mainly put down to compression and him using a kit lens for some of it).

 

I agree with you. Pannys look incredibly sharp... and this D5300 is soft. While I don't like an image to be too sharp, I find this D5300 footage too soft. I've heard some other (photographic) reviewers note that the Nikon kit lens is not good enough for the sensor by far... furthermore, most shots are wide so it's more difficult to assess sharpness as opposed to close/ups. The night footage looks better, perhaps due to his use of the 35mm prime?

 

Although I don't really like the sharp Panny look, I'm very curious what Andrew can deliver with the MB adapter...

GM1 sample, looks on par with the RX10 I think (great resolution and sharpness, but again not that cinematic quality I seek in a camera)

On the plus side: the optional benefit of being able to switch lenses... so you'd have more options in lowlight than the RX10 especially with the Speedbooster...

 

 

Andrew, could you confirm it has only 50i in fullHD? 

Just to make the life of us Nikonians a little more difficult, but please watch this film by Johnnie from Cinema5D, the 70D

 

 

Although you get no Nikon-stills, and probably moire, aliasing and mushy codec... but I really like the organic/cinematic quality of this handheld shooting, although he probably filmed it during the Golden Hour, but... AF seems a big step upward, considering you don't especially need a rig or follow focus for runandgun shoots anymore...

 

I really was thinking about getting a D5200 or 5300, but then I need new lenses and I'm tempted to buy the Ninja 2 as well (if you got clean HDMI out, you might as well use it, although no more small signature shooting then)... but since I already have a Canon 24-105/f4 L lens as well as a Sigma 30mm prime, wouldn't be the 70D a better choice? Anyone seen a similar great looking D7100/D5300 film yet?

Watch this... 

 

Although it may have moire, it may have aliasing, it may have a mushy codec... but I just love the image quality of this film by Johnnie...

And it's mostly ungraded too, just imagine what a small touch of film convert could do...

Andrew Reid proves my prejudice against the RX10 as a boring TV camera rather unfounded ...

 

>

 

A camera not without issues, but he's certainly got some nice stuff out of it.

I understand you, skiphunt! I'm in the same boat, although I don't need the camera for work, just for fun as I'm trekking in New Zealand coming year and I intend to make a small film of it, in the style of Brandon Li (rungunshoot.com). Having mostly filmed my travels with an ordinary videocamera, I really want the organic look, something like the BMPCC can provide (but unfortunately needs to much gear).

 

What I really like about the RX10 are stabilization (although it's said to introduce moire; see slashcam reports), autofocus (even though I'm always falling for AF because it seems so handy, many pro's do it without. And I myself am in a constant battle with the AF of my regular cams so I think its time to skip it altogether... although something like focus peaking would be very welcome then, don't know if thats available on the D5300). So in the end, two important arguments for the RX10 seem to become less valid. And most importantly, until I see some graded real life footage softening the sterile RX10 look, I tend to go with the D5300...

 

(I heard something about Panasonics upcoming organic sensor with an amazing DR, perhaps thats what the future GH4 and RX10's going to need).

Very interesting discussing. I'd like a new camera for traveling next year. Video is main objective, but good stills are a bonus too. Needs to be small. And I'm looking for an organic, filmic look.

 

RX10 looks very promising, all-in-one package, relatively small. I assume it's better for video than for photography. Seen some footage, but what's been said here as well, the footage has a sterile video-like quality to me. A little bit the same as the Panasonics, which also have that strange sterile look to me.

 

D5300 is a strong contender too. Quite small, even with just one or two lenses a little less flexible than the RX10, but: less flexibility stimulates more creativity. Large sensor, choices of lenses (albeit not as much as mirrorless mounts). Also a very, very nice stills camera! I'm leaning to this camera!

 

BMPCC was my first choice but it seems it's still a v1.0 camera, which needs so much extra gear I think it's no longer practical...

 

X100S seems great for stills, but no word on video-functions...

This is great news, Andrew! Looking very much forward to your review. I'm planning to replace my old Canon 60D for something a little less smaller, and planning to use it for video and stills. Always been a Nikonian for stills, so the D5300 is on my mind, which I've heard should be very good for video as well (I believe it shares the same sensor with the D7100).

 

But the RX10 seems to be a worthy alternative...

 

(Perhaps a little too much too ask, but are you planning a review about the Fuji X100S video capabilities as well?)

It's a technical vs esthetical discussion here. You could look at all the small technical details, and then decide you don't like this look, or you could see the image as a whole, and although there are some small issues here and there, you still like the look or feel: that's esthetical, and personal. I like the Canon look more than the Panasonic look, just as I like Nikon look in stills photography.

To me it's important if the image holds when grading it, will it exacerbate issues baked in the flat image?
And what's even more important... I'm a one man band, I'm no professional lighter, I'm no professional grader, and I suspect many here are working alone or in small groups.. will the image be forgiving enough so that we can still make the most of it in post...