andrgl

I use FCP and have done for 13 years. I'm not using a PC, ever. Sorry. 

I stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed.  At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later.

By moving super slow you will not need IS at all as long as your gimbal settings are optimal. I then use speed ramps and 60FPS to control the actual speed of the footage. You can always speed up footage, you can't always remove instability or slow down the footage enough to make it smooth. But if you start super slow and focus on stability you have much more flexibility in post. For really large properties I've seen people on YouTube use things like skateboards, etc.....to try to remove the up/down bouncing, but if you perfect your ninja walk and go super slow or use speed ramps Resolve can even remove the Z axis movement.
The other mistake people make is when they speed ramp real estate footage they only go to 200% or 500%, that's a mistake, that just magnifies any instability that is already there; if you are going to speed ramp do it right.....jump to 2000% or higher then add the motion blur FX and suddenly your footage is buttery smooth; then drop the ramp down to 50% since you shot 60FPS and it looks great. Obviously don't over use this technique and its better for larger houses or commercial properties; for smaller ones I use a mixture of a monopod for pans, tilts, and detail shots, and only a little gimbal work and jump cuts to go from room to room.
But back to the S5, I haven't shot any real estate with it and really don't know what lens I would use if I were to shoot one tomorrow. I feel like the 16-35 EF Canon lens that I have would be too front heavy for the gimbal. It would be great if Panasonic released a 14mm F1.8 prime lens for landscape/real estate use.

Some other interesting pretty neat useful feature is this one, never seen before going along a smartphone AFAIK:
 

Some idiots came first.
Many idiots came after the algorithm.
The reasons are many. The dissemination and profiteering (by the social tech companies) is just part of the problem. The profits first approach is the cause of much destruction in the world from ecological to societal to our own mental health.
I’m not a doom-and-gloomer but there are seriously dark times ahead. We are seeing even the craziest bat shit fringe bumbling up to the highest levels of society. We are seeing massive inequality in wealth breeding a tinder box of dysfunction and disillusion in everything.
A reset is coming. It probably, most definitely, won’t be pretty.
 

I watched this video just for the comedy factor. Just watching the video started giving me a headache. The Panasonic S5 is such a joy to shoot with compared to the R6. It's like Canon is selling a sports car but puts a limiter on it, rations the amount of horsepower it can put to the wheels at random times, then expects you to thank them those few times you can actually drive it like their marketing material said it could be driven.
 
 

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. 
As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard!  This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer,
There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok".
As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up.
Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

I did it guys. I went back to the Sony F3! Finally found a descent deal on it. 2.1k for all this. Since I don't need the 4k I was between this, a canon c300, c100, Sony fs5 and fs700. 
The F3 with 444 has 850hrs and the pix e5 came with 960gbs of storage. 

Logically, you'd think they'd put the R5 internals in the C70 style body, whack on an EVF and even double the price if they wanted to and serve up a powerhouse that still undercuts the Sony FX9 by 20%.
Then you wake up and remember who's logic it is that we're dealing with.
 

Indeed : )
And if Spielberg's Saving Private Ryan is typically the finest example for high shutter speed creative use from Janusz Kaminski's tip, Mel Gibson's Apocalypto (cinematographed by the Aussie Dean Semler) is the opposite for a 360 degree shutter or open shutter, that is, double motion blur when a video smear look ends as purpose. Just for our matter of taste on the basis of need, function and alike. Not everyone sees it in the same way, no matter what. We can't all share the same yellow colour in point of fact.
a7RII release, as for instance, came along its slower shutter speed capability in video mode beyond the 360º shutter as a very special hybrid acquisition experiment tool as you wish (I am used to shoot both video and stills with my Blackmagic Pocket series in 2020).
Here's Dan Chung's sample:
https://indietips.com/shutter-speed-and-shutter-angle-explained/

@Nathan Solomon Please keep us up-to-date, I am personally enjoying following this project and am interested in pursuing doing something similar. 🙂 Everything you share is a great help.

This youtube video lists the camera as "Ursa Mini Pro 12k".
Wow - impressive!  The color rendition is special in the way that the different shades of a color appear distinct and unique even when they are very similar.  I also like the motion cadence.  The image is solid and without distraction.  It's nice to not have any obvious flaws that steel my attention from the content.
 

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting.
The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709:


It will interesting to see; I hope to explore it soon!
All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit

I don't know if it's interest to anyone, but I took the information here as a starting point for exploring use of D-Mount lenses. I tried to document the process as well as I could, so it's probably pretty boring to anyone not specifically interested. I hope it's of use to those who are. By the end of the month I should be done with the building, and probably have two more posts yet to write to cover the completion. http://coldmaceration.com/camera-conversion-project/

This is the initial design, sent off now for SLA printing (high-res, tough-durable) to test the form and basic dimensions. In the image, I have it unscrewed to show the components, but essentially, I’m thinking the space between the D-mount lens base (screwed atop the red ring), and the bottom of the M12 blue ring is 10mm, with another 2.3mm from the bottom of that to the sensor. If anyone already knows that this will fail, feel free to tell me why. Otherwise 🤞🤞🤞

Definitely match in heaven for Panasonic shooter!

Possible answer, Dolby paid them. I'm someone who thinks the Dolby Vision workflow is incredible, doing HDR and SDR in single grading pass is witchcraft but their system pulls it off,  only problem with it is it is proprietary and expensive. 

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

Andrew most be loving this, everyone has forgiven Canon and forgot the r5 🙂
RIP consequences.

No SDI. What a shame. Some directors like to see an image on their monitors, right! For image quality only I wouldnt buy it. For that price it needs to have SDI.
I second that, 2x S5 plus one Mamiya 645 speedbooster and two middle format lenses- Hallo IMAX! :),  plus a dummy FD adapter and two Canon FD lenses instead.
How about a YAWG thing with battery for the S5, Panasonic?

The codecs are pretty annoying...strong for Canon but below avg for the competition. Editing those types of files nearly always need to be transcoded first. I do think it would do great for corporate work and it would be nice to use a single camera for both gimbal work as well as interview type work. Right now I use my C200 for interviews and tripod work and the GH5 for gimbal work and b-roll. For lower budget clients I could use this camera for both.  If I need RAW I can use the C200 or rent another body.
The URSA 12K looks great but it is over twice as much and the gimbal for it will cost more than this whole camera, not really considered a run and gun camera due to the extra rigging required, it will need proper lighting and rigging to get the most out of it, and the storage needs are astronomical. It definitely has its place but the URSA and C70 simply aren't meant for the same target audience. I like to stick with bodies that can shoot 90% of my work and for that last 10% I can always rent the gear needed for the project.
One thing I can't tell is if APS-C lenses will work with the C70. I know they have the speedbooster, but no one has said if the speed booster will only work with FF or will it work with APS-C lenses as well. My favorite C200 lens is the 18-35 Sigma APS-C lens.

Nobody even has this camera yet, and BMD have released a pretty amazing update for it.
Also updated RS readout times:
 

That is INCREDIBLE. 

For 99% of us we don't need global shutter.

I still have an em1mkiii and the three Pro prime lenses. It’s a buggy camera and I’ve had issues with it locking up on me. I’ve stopped using it for that reason. Hopefully firmware will solve those issues. I think Panasonic made a bad move going to full frame. They should have just embraced m43 and dominated the space and that in turn would help boost Olympus. With cameras like the XT3 being only $999 now I don’t see a point in the Oly anymore. The ibis and colors are great but low light is bad and video features are lackluster. Maybe we will see some firmware updates that will add more video features... but for the price... I don’t see why anyone would go for the EM1 anymore. Not to mention the EM1X. That camera is way too expensive. 
I don’t know... just my thoughts. Loved Olympus for a while. Still love them... but it’s starting to seem a little outdated at this point. 

Dear Panasonic,
I would buy this L-mount, FF, 4K 120fps, EVA2 in a heartbeat.
Signed,
a former EVA1 owner that is getting by with two S1H bodies at the moment.

This announcement appears to have caused a lot of anger in the comments at Newsshooter for some reason.
Someone has even played the CineFran card.
Thats like the Godwin's Law of discussion about an independent camera development.