Chrad

The short is actually pretty good. 

The final shot is a little unclear. We didn't get much of a view of the SUV earlier, so it's not an 'ah-hah' moment as much as it should be. And now that we're in this upper layer in the meta fiction, the meaning could be shifted...is that her actual vehicle in this world? It would be more clear if we had a shot of both of the cars. Maybe show her car and the SUV creeping in, still following her.

The other main problem I had is that a lot of the first half of the film felt like filler. I understand this is necessary to an extent and common in horror films, to put you in the protagonist's world so you feel the tension as they start to be menaced. But, a lot of little details could be trimmed. Since we can't actually see what she's writing on the laptop screen, a lot of the time spent around that could be trimmed. Or her running sequence, etc. Just generally tighten things, since nothing essential is being communicated. For a short like this, minimal is best. 

Love the BMPCC image on this. The noisy/grainy image is great for narrative, it really is today's S16 film.
What lighting was being used when she turns the lamps off in the bedroom? 

1 hour ago, Ken Ross said:

OK, so page 148 of the manual certainly seems to imply that you can get a 40% extension (1.4 crop) in 4K, with no loss in quality.

This has always been a feature of GH cameras. They can crop in to the central 1080p (and now 4K) of the image in ETC mode. 

On GH5 the 1080p ETC mode should bring it to 5.6x.

You'd tell the camera 72mm.

Don't understand why GH5 isn't your first choice? It has everything you're asking for.

Pretty stunning footage. Highlight rolloff seems great.

2 hours ago, Vladimir said:

First thing that came to my mind - BMMCC with 0.58x SB. And if u want to be even more compact - Fuji X-T2/X-T20 (can add some pistol grip stabilizer and still stay in mentioned budget). Both cameras have outstanding 1080p60 

The BMMCc option will likely go over the price limit when you add the monitor.

3 hours ago, majoraxis said:

@Imackreath. If you could let me know if the EX Tele Conv mode that is supposed to have a 3.1x crop factor for movies, records in 4k and looks to be 4k resolution, that would be greatly appreciated.

Thanks!

Mark

The crop for 4K ETC vs Canon 5D in video mode is actually 2.80, so it's a slightly oversized super 16.

GH5 1080p up to 60fps is very sharp (reportedly on par with Canon C300), it has the best IBIS under Olympus EMI Mk II, and the best rolling shutter level you can get on an ILC right now. If you don't have to use the Metabones and 18-35 right now, you could get that for under 2000 euros. 

I think you're underestimating how long it will take, but that does seem to be where we're headed.

9 minutes ago, dbp said:

Came in to post this. Only a matter of time, I suppose. Maybe they move the GH line to the video division?

That's already happened.

20 minutes ago, webrunner5 said:

I think you are wrong, the you get a 36 1.4 lens is right. But the statement that theM4/3 is really still is 1.4 lens is not right, a native 35 1.4 ends up being a F2.8 in reality without a Speedbooster compared to FF.

Nah, noone's right on this one. The Speed Booster gets you to a super 35 field of view on the 50mm f2. An easy way to remember it is that APS-C's field of view is roughly 1.5x the focal length and depth of field of 35mm film, and micro four thirds is again roughly 1.5x the APS-C equivalent focal length and depth of field (actually 1.4x, but 1.5x is faster to calculate). This works backwards as well as forwards, so you can calculate how the 50 will render relative to the smaller sensor, or what lens you'd need to emulate the look it gives you on a larger one.
On a super 35mm camera, the 50mm is going to act something like a 72mm f2.8 would on full frame, in terms of angle of view and depth of field. Which as we know is close to what a 36mm 1.4 would act like on M43. The advantage of the Speed booster is that you get the light transmission of the 36mm 1.4 as well, not just an F2.

48 minutes ago, Cinegain said:

Do you have any sources for that?

Acc. that video (4:26) & e.g. this thread and mentioned document (p.21): https://***URL removed***/forums/thread/4102483 , it's not yet supported (also not mentioned yet at: http://av.jpn.support.panasonic.com/support/global/cs/dsc/connect/dual_is.html ). But support should be there when new firmware is out this year?

Unfortunately not.

Pretty sure I read somewhere that the focus pull only works with Panasonic lenses.

40 minutes ago, Cinegain said:

Than the 12-40? Yes, obviously (it's a Panasonic's home game where you'd gain hybrid IS). The 12-35mm? Well. Supposedly you'd get the new one for weathersealing (freezeproof), cosmetic changes and the improved iris control only. I thought the old one would only be Dual IS compatible, not Dual IS 2. But he de-bunked me on that one earlier (see video), so...

Guess with either of the 12-35mm f/2.8 you're good too. Unless you like the 12-60mm range and don't mind the fall-off to f/4. Both support Power OIS + Dual IS 2.

Dual IS 2 for the original 2.8 zooms is cancelled : (

16 minutes ago, jonpais said:

I would think for the application you're talking about, it would be far simpler to just use the current tap to focus in Panasonic's image app, if the transition speed could only be slowed down enough. Of course, that would mean there would still be some hunting... On the other hand, If someone were walking around with a gimbal and another operator were programming Touch Pull Focus on an iPhone, the gimbal operator would have to stand perfectly still, and entering the settings would take too long. i believe Touch Pull Focus is for locked down shots. Or am I mistaken?

I'm sure it's designed for locked down shots. However, as long as it holds the same focal points regardless of whether the frame shifts (and I don't see why it shouldn't, since autofocus isn't running) it should work for shots where the operator and/or talent hit pre-rehearsed marks, and give a very professional looking result with no hunting.

1 hour ago, jonpais said:

Hugh Brownstone is impressed with the GH5's focus pull feature. Shot on the GH5 with the Leica 25mm f/1.4 wide open.

 

I recall Andrew requesting this feature in an interview with a Panasonic engineer years ago, and writing that said engineer wrote it down in his notepad. Interesting to see it finally come to fruition, and I can't thank Andrew enough for the part he may have played.

If the focus transitions are triggerable through the Lumix app, the production value it makes possible is incredible. Remote follow focus steadicam like shots with only a light gimbal. All you need is a 'focus puller' to trigger the pre marked points off their phone.

12 minutes ago, noone said:

That link to Shane Hurlbut's article and while under his name starts off "This is David Weldon, Shane’s assistant."      Just saying for accuracy.

He does state that it's based on Shane's impressions though, and when Shane wrote the V-Log skin tone latitude test article he echoed the sentiments about the default settings GH4.

1080p 10 bit 4:2:2 intra at 200Mbps could be great. Prores HQ at 1080p is 220Mbps. It all depends on the implementation of the codec. Let's hope it's better than the 200mbps 8 bit 1080p intra on the GH4.

1 hour ago, Arikhan said:

@jcs

Simply try to read some comments and always consider: Who is Hurlbut...

A guy sponsored by Canon, and probably the only professional cinematographer who would choose to shoot with the C500 as an A cam over the Alexa on a Hollywood production. No relation between these two facts, of course...

His claim that the 5D will always trounce the GH4 no matter the setting was and still is completely ridiculous. I believe that he was genuine in his dislike of the GH4 footage, but his stance there is super subjective, to put it lightly. 

For the record, he came around on the GH4 when V-Log L was released and said it created very nice skin tones in 10 bit. 

I believe AaronChicago has one, but he's not in Europe.

EDIT: Just realised this not what was being asked. That's what I get for posting on no sleep.

32 minutes ago, sqm said:

Hey Guys,

The gh4 had an option to send downscaled 4k to HD through HDMI, im curious if its possible with gh5 from 4k 60p to HD.

I´d like to record Prores on the 5 inch VideoAssist.

I would just record 10 bit 1080p60 through the HDMI, because this time around it looks like quality will be exactly the same. The videodslr.pl tests show the exact same rolling shutter for UHD and HD, which suggests the 1080p image is simply an in camera downscale. The resolution to my eyes looks identical in 1080p. 

The GH5 being used to shoot 'serious movies' isn't so inconceivable to me. The 10 bit 4:2:2 4K make it a good option for very low budget films that are hoping to eventually get picked up by platforms that are seeking out or require 4K content. Yeah, it's no Alexa, but it's $2000. 

On that note, if you know what you're doing, pretty much any recent camera can be used to make decent theatrical content these days. This was shot on two GH4s: 

The best thing that's come out of 4K on consumer cameras is finally being able to make sharp and detailed 1080p. 

2 hours ago, Daniel Joseph said:

Wasn't that the feeling about the GH4 until the A7S came out? 

In many ways the GH4 is still better than the A7Sii. Sony's sensor is amazing, but everything else is bad. Panasonics are wonderfully usable and reliable cameras.

It's true though, the merry go-round of better and better cameras never ends.

4 hours ago, Ken Ross said:

I never really thought about it, but I wonder if there's a difference in the effectiveness of the IBIS in HD vs 4K? I never really tried that on my G85, since I don't shoot in HD.

Based on videoDSLR.pl tests for noise, resolution and rolling shutter, it appears that the 1080p is just an in camera downscale, so the performance should be identical.

I'm very happy about this as it will mean I won't be so inclined to shoot in 4K and downscale as I am with the GH4, unless I really need to crop in. The 1080p looks superb.