Emanuel

Well, six months from now...

Not exactly underexpose by default but some underexposure techniques can help. As for instance, from what I've seen the GH5 footage can really shine especially if you have the highlights under control... What about your two cents?

LOL ;-)

I see rather the opposite. On the contrary, I don't see anything from others from same range (when not higher) you can't mimic (or even overcome) on GH5... And that includes Blackmagics. Show me something that may prove I am wrong ; ) To me, that's also the typical self-confidence attitude that you're able to get it better no matter what 'cause "I am or my camera is the one". A reverse of my neighbour's grass is greener. This is very human, but simply not science. I'm sorry but I only see subjectivity on GH5 criticism when not to justify why "I am not in the mood or don't want or simply won't buy the camera for whatever reason is" under different circumstances varying from case to case obviously; sorta non-investment excuse or alike. Also because I concur we all need to defend previous investments already done or recently made... Nothing more : ) Well, maybe only food for thought or just my two cents :-)

Dennis... this IS the camera we've been dreaming about for ages, I believe :-)

@tihon84 ;-)

Might they include some customization desqueeze feature I guess? ____ Yet, and from your review: "Shallow DOF is overrated because it covers up for a lack of good lighting and motion cadence. I’ve noticed a subtle interplay between motion cadence, shallow DOF and the film look. A shallow DOF can help to give you a three dimensional pop and film look with a LongGOP codec and hide the fact that 24p doesn’t really look like film 24fps. When you have true 24p and an ALL-I codec like on the GH5 with the 2.0 firmware update, you find yourself liking the look of deep focus more, because the movement isn’t as eye fatiguing and everything looks more film-like. If you have ever seen projected film from a Super 16mm camera you will know what I mean, it has a cinematic dreamy look that you don’t need an extreme shallow DOF to compensate for." Yeah, the results are always a commitment that works. Without the usual sugar, the sweet will variably have a different taste going on with some other attempt to figure out how to replace it. That is, we're speaking about something else, that's it.

https://youtu.be/_mB4RS1y8ok?t=575

Here is: https://youtu.be/_mB4RS1y8ok?t=628

John Miller's stuff (Congrats man!) on the 1st one. Nick Driftwood is another part of the chain-link fencing.

We live and will live much harder times, that's for sure... : (

^ No mercy for production issues.

The year was 1999. Under Sicilian mob threats because of the plot -- a true story to be told... a DAT tape lost. Hundreds of thousands lost. The major credit card had about 300 bucks of remaining limit. Flights to pay. Weeks of shooting to repeat for direct sound and dialogue. Script re-written with Marco Tullio Giordana on the purpose in order to fit the Portuguese actress (Ana Moreira) casted for the lead female character had to be reduced. And the character had to be cut off. The actress had no role anymore for her contribution and ours as co-producer despite the hard work and participation in the movie as such, after never ending hours of working time. I went to hospital with heart arrhythmia (my 1st experience with Inderal) following two nights and days with absolute no rest for the weary. In the end, the movie is still considered one of the major hits of recent Italian cinema (won five awards in Venice BTW, nominated for the Golden Globes, USA and so on) and helped to launch both Marco Tullio and Lo Cascio careers in their next collaboration together La Meglio Gioventù / The Best of Youth, an epic of 2003 all Italians easily recognise as the History of the second half of their XX century. http://www.imdb.com/title/tt0238891/

OK, placed the provocation; show us where those pages are then... ;-)

@PannySVHS, you're on the spot : ) and we live cinematic days from Walmart toys... *cough cough* Real movie cam, yeah, seems more appropriate to call them so, when the results are beyond any screen requirements. BTW, speaking of big-big-screen, a dozen years ago, in a Master Class with Tonino Guerra, the great master had all his eggs for the future of motion pictures in those 'cineprese giapponesi'... His words when he pointed one of the attendants with one of those consumer digital cams in his hands filming his lecture. Nice to see he stands fully right ;-)

Sure, all about the shooter... There are better capture devices than other ones though ; ) Here's more from the same production house. Worthy to take a look. Those two couples shine because there's an eye beyond the camera and skillful hands to handle it.

Nothing wrong to assume predictable framing for cinematic purposes. On the contrary, people go to film school in order to practice predictable techniques :-) Cinematic can also be the word for Russian wedding cinematography: No need to go to the movie theater... at all.

http://www.4kshooters.net/2017/08/13/mtf-services-can-convert-your-fuji-mk-cine-zooms-to-sony-fz-and-micro-43-mount/

http://www.4kshooters.net/2017/08/13/mtf-services-can-convert-your-fuji-mk-cine-zooms-to-sony-fz-and-micro-43-mount/