jgharding

I hope that in the next couple of years raw output will be standard on these cameras.

Internal raw is probably a bit much to hope for but someone will do that eventually I'm sure.

I still don't quite understand the whole "paid upgrade" model. What is it designed to achieve? A genuine question, I'm not being edgy.

Call me cynical, but i'd put it down to just refusing to catch up with everyone else in terms of spec vs price.

Canon still have good skin-tone, but the last camera we bought was GH5. No point getting another C200 really. Shoots amazing Vlog footage, tiny and light, easy to travel with...

They were leaning on your average Joe knowing the brand, but now that market is being eaten by Sony and Panasonic.

Sad times, cos they have all the know-how to rule the sector, but instead they committed seppuku

Ah , looks like it's a model, I wonder when it will be out and the other stats?

It's probably cos they're sold on specs, and spec arguments attract that kinda crowd.

Same with Red. Most high-end is still shot on Arri no matter how many pixels Red chuck in, but that doesn't stop the red fanboys going postal on threads all over the shop.

I actually owned a Red for a while and it was good, but a bit heavy-duty for the kind of stuff we use in-house cameras for.

I always sold Sonys after finding them hard to use in post, but hopefully the next batch will have nicer colour.

Tools are always part of a working process, but for some people they'll always be the real obsession.

On 11/24/2018 at 8:36 PM, RWR said:

Although...Aren't they marketing the FS7mkii as having better color science? Anyone here liking that?

For the price it just isn't much of an upgrade as far as I can see, though if colour is stunningly better that would be good, but I think there are better options from competitors, personally

2 hours ago, hansel said:

Ok guys stop trolling at once. It’s all great, I can shoot everything with a 20mm and introduce ANYTHING else in post cropping, shake....only question is if they have a grip so I can shoot portrait mode. It’s practical bliss for the casual shooter...

It's good in theory, but you better nail your focus and have a damn sharp lens!

They should really focus on colour, it's the main thing that stops people using their equipment, at least for me and others i know. Whenever I've had a little Sony on a shoot with a Canon, or an Arri or a Red it's been torture to match it afterwards or just comparing its BTS shots with main shots it doesn't look good. They have poor skin-tone in general and a sort of cool, soul-less look, and it takes a lot of work to make them look nice compared to other cameras.

That's not to say that there is NOTHING nice made with them, but that it's hard work and the colour doesn't allow much varsatility from my experience, regardless of stats.

Sony have amazing stats on paper but most of the time you can spot the footage cos it has that "look". Even the F65 has a "look" that's not nice compared to an Alexa. It's sharp and cold and clinical.

And if they can't get their colour up to scratch at least give people more chance of making it palatable by offering 444 or 422 12-bit or something. 

But I'm guessing this is all part of a "we are selling 8K TVs let's have 8K capture in phones and cameras" thing.

We will more likely get 16k than 444 1080p ??

I have done a combination recently, and had a GH5 with IBIS on top of a heavy tripod with the legs pulled up, and holding it by the “neck” section

or you can build a shoulder rig and hang a weight off the back 

in short nothing replaces weight but you can get some reasonably similar looks by other methods 

Weight is part of it, an Alexa weight a ton as do the lenses usually, most often it'll be on easy rig or steadicam vest or both. If not it's on a big tripod.

The example looks great, but it does look like a small camera still, it's the quick jitter at the start

I've tried using GH5 with Dual-IS2 and a Ronin S recently and it gets closer but it doesn't look like a heavy camera.

So perhaps just add a load of lead ?

Maybe a Ronin S in briefcase mode?

On 11/2/2018 at 3:55 PM, Timotheus said:

Am envious man! Haha... But what sensor size are we talking about?

Ah sorry, it's a GH5 in 16:9 mode with a Speedbooster Ultra 0.71,

So it's about 1.4 crop i think

On 11/4/2018 at 8:21 PM, mirekti said:

I use Zhongyi II speedbooster with GH5S and 35mm Elmarit-R is the widest I can go. Had to use rings instead of Redsan adapter as it is really important to get the back of pre 36 to the front element of Leica. It is almost touching the glass. Also, I added this to the lens (managed to make better cut in the middle, but don’t have photo), which helped to remove white flare.

That's a good idea, I'll have a look at getting the isco closer to the lens.

On 11/8/2018 at 1:20 AM, MattH said:

Basically you have no idea what kind of deranged setup someone is going to be viewing on.  Slight browser differences are likely to be the least of the problem.  If you are lucky enough that a viewer is watching on a large desktop monitor (as opposed to a phone or smooth motion tv) with no overscan and not set to some weird 'movie' preset with the brightness too high and the sharpness to the max, then to have the only problem be a slight browser difference is really not much of an issue.   So its best not to worry about it.

sure, it's more for my viewing pleasure TBH, i'd like Chorme not to make video look like a bag of boiled dicks

7 minutes ago, leeys said:

Oh gods I think I have found a new series of shitposts. xD

haha this is definitely a meme format now

5 hours ago, TurboRat said:

I think there's an force color profile for chrome? - https://www.thefreewindows.com/21668/washed-colors-google-chrome-easy-and-reversible-fix/

Yes this was the solution, thank you

Hi all,

I wonder if anyone else has seen this.

On the right is my film in Firefox on YouTube, it looks as it did in Resolve

On the left. it's in Chrome, very de-saturated. My hardware acceleration for video in Chrome is active.

On 11/3/2018 at 6:49 PM, thephoenix said:

 

God I hate all this "TACTICAL ASSAULT ARMOUR" bro marketing stuff, I'm sure it's a great product, but Red style MONSTER ENERGY WOOOOOOO HIGH FIVE TRIBAL TATTOS marketing puts me of

Gotta love the Pre 36 Iscorama... Gorgeous as it is, I've found the oft-recommended Mir-1B has quite some vignetting when i clamp the isco on with a Redstan clamp. 

Does as anyone have any recommendations for wide (at 1.5 stretch, so 35mm and wider) lenses that won't vignette very noticably?

I wonder if i need to move the isco closer or further away?

5 minutes ago, Andrew Reid said:

Try giving it a wiggle in the locked-position.

Sometimes it just doesn't detect the lens adapter is secured properly.

cool i'll give it a shot!

30 minutes ago, Andrew Reid said:

Hmm strange. Is shoot without lens enabled in the menus?

apparently "shoot without lens" doesn't exist in the GH5, and they changed it to an automatic thing...

What's odd is i can shoot with just the speedbooster, but even just clicking the dumb adaptor into place on its own brings up the "lens attachment failed" message a few seconds later

weirdness...

Is it just me who has the lenses (helios, jupiter etc) failing to work even with chip-free M42 adapter?

I'm guessing the adapter may be shorting the contacts... but then it's odd since it works right up until the "click" into place...

A quick update:

The dumb adaptor for Exakta to EF mount works perfectly, but the M42 to EF dumb adaptor one has the same error as before, despite having no chip.

I can shoot as long as I want if i turn the lens to just BEFORE clicking into place, but as soon as it clicks in, i get "Lens attachment failed"

Any more ideas?

On 10/15/2018 at 9:05 PM, buggz said:

No where near the same effect, that was the entire reason I got a speedbooster...

He means put the lens on a dumb adapter, then that onto the speedbooster, which sorts the issue out.

On 10/16/2018 at 12:47 AM, scotchtape said:

You said "But if i don't fully connect the lens I can shoot fine, I'm guessing chip-free dumb adaptors will sort this?" but, ok.

I don't understand what you're saying here...

It's great to have another RedCode style codec coming out. They need to be open with it. 

Get it in some other cameras... dominate that sector with licensing

8 hours ago, Cinegain said:

Yeah, it's the adapter and the electronic connector. Try to see if there's a firmware update you can play onto the adapter. Alternatively try and put some tape or something over the connector, should sort you out. ('Shoot without lens' hasn't carried over from the GH4, instead it's standard).

Cheers, glad to see it is just the chip

ive already ordered some dumb adapters 

BTW how does one programme such a chip? I never worked that out...

1 hour ago, fuzzynormal said:

Does the gh5 have a 'shoot without lens' option? 

Is this what you're asking about?

In addition to what I asked about adapters, yes this is also a question.

if such an option exists I can’t find it...

Hi all,

I've come quite late to the GH5 party so sorry if this is common knowledge:

I have M42 to EF adapters I use on Canon bodies that have AF confirm chips.

When I attach these to the Speedbooster Ultra on the GH5 get a "lens attachment failed" message. It doesn't appear to have a manual "shoot without lens" option either, I just get a black screen.

But if i don't fully connect the lens I can shoot fine, I'm guessing chip-free dumb adaptors will sort this?

10 hours ago, Laurier said:

And technologies wise I don t think Arri is leading in any ways, sony are by far the leader, but Arri have better branding/heritage and a more artist friendly approach. 

this is an interesting point.

it depends on your definition of "technologies". Sony certainly innovate, and are always coming up with variations in technology, image processing, sensor and memory architecture, absolutely ingenious things every single year that definitely push the boundary of what's possible technologically in terms of size and speed... in terms of innovation, I don't think anyone matches them.

But people don't watch innovation on a screen, and they don't want it getting in the way of a production. Each new Sony camera is full of bizarre processing with crazy acronyms, layers and layers of menus and so on, and the colour is still never very good, it usually feels cool and sharp and a little soul-less. Even the top line and indeed innovative f65 had a very cold and sharp look to it. Check out Oblivion, that's all i Know was shot on it. And they only used it because clinical detail was part of the brief. 

Arri may not have reinvented the wheel, but they made a beautiful sensor designed to have grain and response as close as possible to film. They focussed on beating film and making a direct digital replacement for it. Sure, around that sensor is a tank-like box that eats giant batteries like M&Ms, but once you get the footage back you don't care. That dual-gain architecture makes it SO clean and gives it insane range. You can pull in Log ProRes 422 from an Amira and you'll probably prefer it to your Red footage, raw or no raw, as I always did. It seemed to have more usable skintone range and nicer colour even when very compressed.

And controlling it is so easy. They focused on a simple interface and the image that ends up on screen, not on the spec sheet, and not on selling you a new one every year. 

http://www.arri.com/camera/alexa/tools/alexa_camera_simulator/ 

I've just realised I'm on the verge of sounding like an unbearable Arri fanboi  but really I'm only loyal to a great image. I wouldn't want to run around all day with one too often, though i have... the GH5 is my new fave

1 hour ago, Laurier said:

I was wondering why Red or Arri haven t done a prosumer device for a while,

Most of their qualities come from software development (color science,compression ect) and sensors can be mass produced at a affordable cost.

That can easily be implemented in a prosumer device.

They have very good brand images and are niche products, manufactured at high cost in western countries but in relatively small workshops compared to Chinese manufacturers.

If tomorrow Red or Arri make a pro dslr with good specs ( let say no raw but a prores 4.2.2 or LT compression) for 3 or 4000 usd, I believe they will take a massive part of the market overnight.

High end production will still buy 50k+ equipement because they have specific needs for them, but I don t think that killing something like the Red raven line in exchange for a much larger consumer base is an issue.

Lets not forget that Davinci resolve use to cost a fortune and is now free, at this business scale, It s more about business strategy than manufacturing/development cost

I think the main thing holding this back from an Arri is the same thing that stops McLaren making a competitor to the Mazda MX5, for example: the company live at the edge of top-end technology, that is what they're know for and what (in Arri's case) they dominate. They thrive in the pro sector, hold some great patents (like the dual-gain channel sensor architecture in Alexa family cameras) that set them ahead, and they would only open themselves up to un-necessary risk by producing a high-volume consumer/prosumer piece.

as volume goes up, quality control becomes increasingly difficult, your equipment reaches the hands of those prone to user error, sometimes even total beginners. you have tighter profit margins, have to deal with distribution and sales channels on a far larger scale, along with all the attendant legal and logistic expenses and staffing costs. the personal touch you have when dealing with higher-end clients simply disappears.

It's very expensive and time-consuming to bring a product like that to market. Think of just how many mis-steps Blackmagic Design had with their cameras along the way... if you don't know about that, i wouldn't waste time reading up, but a lot of models had problems at launch. I mean I love em, and they did an amazing job coming from nowhere in that market, but they learned in public and as a result a lot of pros won't touch their prosumer line. And they already has a vast distribution and manufacturing network and so on.

TBH I don't think Arri need to. I feel RED may be another question... talking to hire companies, Arri and Canon dominate, with a smattering of GH5 and Sony for budget high speed. Technology companies have to react to the market quickly, or else it's curtains.

Disclosure: I used to have a Red and sold it for a C200. Convenience won! If we don't use that, we hire Arri.