Fritz Pierre

A7s2 120fps fhd is soft. Rx10ii 120fps looks better and more sharp. Today did test of 120 and 180 fps on gh5 and it looks great, i think

I'm speaking under correction here, but I don't believe the Varicam LT shoots RAW  without an external recorder....if I'm correct about this, and can't see how there would be any business incentive for them to put it in their next down the line Cine cam.

It's not an either or situation...if you're shooting a commercial or a film, you would have a focus puller....you would, whether shooting on a GH5 or C100 or RED or Alexa have at least 3 in the camera dept not including the DP....when the crew cost is 100,000+ per day, telling me that AF missed my best take, is not an option...not snobbery or being pedantic....simply what is economically involved on some shoots compared to others...shooting corporate videos or documentaries or weddings are no less professional as people still get paid....perhaps the biggest difference is that now you're working with a crew of possibly 2 or 3 people (in the case of a documentary I may be short)...you control the edit and if AF misses in a few shots, you're not going to use everything you shot anyway...so a few misses can be worked with...to shoot a 30 second commercial with say half the day on a sound stage and 2 other locations, takes between 3 to 4 prep days...a shoot day between 12 to 16 hours (not flat!) and a wrap day....so...the AC needs a focus puller....the director wants his stuff in focus and the producer does not try to save $350 on the shoot day because it's ridiculous...the one scenario is no more or less professional than the other...what is different are the scales of economy...and of course there is one important factor not being mentioned so far (maybe I missed it)...as with all artistic positions nothing is cooky cutter...and pulling focus and developing a rhythm that works for the scene and making decisions as to when to blur the image, when to rack and when to stay sharp throughout the shot happens in real time...decisions being made between the DP, director and camera department...something AF simply can't do...and make no mistake...pulling good focus is a difficult job at the level of narrative...it requires an instinct for the speed the actors move through their marks and how you follow them on the follow focus and excellent eyesight...it is a precise and demanding job....especially shooting in unforgiving resolution...and lastly....if we're shooting in 24p, because that is the frame rate we are accustomed to in movie theatres...the motion blur we want to see, and yet we use AF which is always obvious to the eye...why not just shoot in 60p as it handles movement better and gives you more than twice the frames per second...so much better image...EXCEPT we want our stuff to look like what we saw in movie theatres when we were kids!...well, to some, the same applies with AF/MF...it's a question of creative choices, economic choices and finally practical choices (the delivery of the final product to client)...neither is superior to the other and nor are they replaceable....the one works where the other would not and vice versa.

It's not an either or situation...if you're shooting a commercial or a film, you would have a focus puller....you would, whether shooting on a GH5 or C100 or RED or Alexa have at least 3 in the camera dept not including the DP....when the crew cost is 100,000+ per day, telling me that AF missed my best take, is not an option...not snobbery or being pedantic....simply what is economically involved on some shoots compared to others...shooting corporate videos or documentaries or weddings are no less professional as people still get paid....perhaps the biggest difference is that now you're working with a crew of possibly 2 or 3 people (in the case of a documentary I may be short)...you control the edit and if AF misses in a few shots, you're not going to use everything you shot anyway...so a few misses can be worked with...to shoot a 30 second commercial with say half the day on a sound stage and 2 other locations, takes between 3 to 4 prep days...a shoot day between 12 to 16 hours (not flat!) and a wrap day....so...the AC needs a focus puller....the director wants his stuff in focus and the producer does not try to save $350 on the shoot day because it's ridiculous...the one scenario is no more or less professional than the other...what is different are the scales of economy...and of course there is one important factor not being mentioned so far (maybe I missed it)...as with all artistic positions nothing is cooky cutter...and pulling focus and developing a rhythm that works for the scene and making decisions as to when to blur the image, when to rack and when to stay sharp throughout the shot happens in real time...decisions being made between the DP, director and camera department...something AF simply can't do...and make no mistake...pulling good focus is a difficult job at the level of narrative...it requires an instinct for the speed the actors move through their marks and how you follow them on the follow focus and excellent eyesight...it is a precise and demanding job....especially shooting in unforgiving resolution...and lastly....if we're shooting in 24p, because that is the frame rate we are accustomed to in movie theatres...the motion blur we want to see, and yet we use AF which is always obvious to the eye...why not just shoot in 60p as it handles movement better and gives you more than twice the frames per second...so much better image...EXCEPT we want our stuff to look like what we saw in movie theatres when we were kids!...well, to some, the same applies with AF/MF...it's a question of creative choices, economic choices and finally practical choices (the delivery of the final product to client)...neither is superior to the other and nor are they replaceable....the one works where the other would not and vice versa.

Very nice but isn't she a bit young to be getting married???
Seriously, nice images. Can I ask what lenses and settings you are using for your weddings?

Yes me too...I never finished watching the film..and it's rare that I do that...the direction felt clunky...none of the characters felt convincing....I found the firefight scene with all the cars parked in line at the border crossing ridiculous...although all the actors were first rate...so I think the blame has to fall on him....of course a lot of people liked Sicario...just did not work for me.

Thats why I use MF, so I don't have to worry

It's not an either or situation...if you're shooting a commercial or a film, you would have a focus puller....you would, whether shooting on a GH5 or C100 or RED or Alexa have at least 3 in the camera dept not including the DP....when the crew cost is 100,000+ per day, telling me that AF missed my best take, is not an option...not snobbery or being pedantic....simply what is economically involved on some shoots compared to others...shooting corporate videos or documentaries or weddings are no less professional as people still get paid....perhaps the biggest difference is that now you're working with a crew of possibly 2 or 3 people (in the case of a documentary I may be short)...you control the edit and if AF misses in a few shots, you're not going to use everything you shot anyway...so a few misses can be worked with...to shoot a 30 second commercial with say half the day on a sound stage and 2 other locations, takes between 3 to 4 prep days...a shoot day between 12 to 16 hours (not flat!) and a wrap day....so...the AC needs a focus puller....the director wants his stuff in focus and the producer does not try to save $350 on the shoot day because it's ridiculous...the one scenario is no more or less professional than the other...what is different are the scales of economy...and of course there is one important factor not being mentioned so far (maybe I missed it)...as with all artistic positions nothing is cooky cutter...and pulling focus and developing a rhythm that works for the scene and making decisions as to when to blur the image, when to rack and when to stay sharp throughout the shot happens in real time...decisions being made between the DP, director and camera department...something AF simply can't do...and make no mistake...pulling good focus is a difficult job at the level of narrative...it requires an instinct for the speed the actors move through their marks and how you follow them on the follow focus and excellent eyesight...it is a precise and demanding job....especially shooting in unforgiving resolution...and lastly....if we're shooting in 24p, because that is the frame rate we are accustomed to in movie theatres...the motion blur we want to see, and yet we use AF which is always obvious to the eye...why not just shoot in 60p as it handles movement better and gives you more than twice the frames per second...so much better image...EXCEPT we want our stuff to look like what we saw in movie theatres when we were kids!...well, to some, the same applies with AF/MF...it's a question of creative choices, economic choices and finally practical choices (the delivery of the final product to client)...neither is superior to the other and nor are they replaceable....the one works where the other would not and vice versa.

Yes...A friend's brother bought the GH5 in Germany as a kit with the 12-60 which came in at around 600 where I paid 1000 for mine...in the US where my GH5 is from. no kits are offered...having seen your film on Peru though, these were made for you!

Great job with matching these two cameras...for those preaching the 5D as the holy grail...it's your opinion...nothing but subjectivity there...I remember one critisism of the GH5 being that you can actually match it with the 5D...or have to...lol....well only if that's what you're looking for...I prefer Panasonics image over Canon...what does that mean?...NOTHING....to be exact...just my taste...my preference...just like yours....and it holds the same weight...if the 5D is the image you're loving....happy for you...as I'm happy with my Panny cameras....

With some exceptions, I never considered zooming while shooting to be a good practice. I got into a lengthy discussion with someone on another forum who defended the practice. It's rarely used today in cinema. If you looked at old TV shows and movies, it was used far more frequently back then.

Agreed...I actually much prefer the look of a handheld heavy camera over a gimbal...or of course a skilled steady cam operator...when I fantasize about the LT, I think more about the rest....the support gear...like my 22lb Miller head on a 75 
mm bowl will probably not cut it??....so in addition to the 20,000 ++ Varicam package I'd have to also factor in a $5000 Cartoni or something...but what a joy this camera would be....and everyone says if you get the Panny sliding shoulder pad, the camera balances so well that you can practically let go of it???ahhh....desire will be the death of me!

I know!...lots of talk about the new mystery camera....but the LT is what I really want....IMO simply nothing to touch this exept the F35.... which was over a $200,000 more than in 2008 and shoots in 1080P only....but this dual ISO feature is saving producers a lot of money as the Varicams are being used more and DP's love it....but the color and the image!...it's all there!...even the LTis a brute in size though....you hit the 20lb mark with it pretty quickly!

You and I both just brought it up...it's the whole reason in my mind for having a zoom...I never zoom while shooting....that would be a dolly or a slider for me....but the freedom of that lens on your camera...

Only the Panny/Leica 1.4...when you handle the lens it feels like a toy...but the image is all Leica...and at 1.4 the lens is tick sharp and the DOF unforgivingly shallow...as I never use AF, the fly by wire MF took a bit of getting use to, but the lens has performed flawlessly in over 5 years of owning it.
@Rich Merritt...I recently bought the 12-60 Panny/Leica 2.8 and although I don't have the GH5 that I bought it for yet, I am already very impressed with this lens. It will definitely earn it's keep! I got both the 20mm 1.7 and the 1st generation 14-140 4.0 on cameras I purchased and although slow, the 14-140 is a good outdoor video lens and the 20 is fast and sharp for indoor use...especially needed if you shoot Vlog as raising ISO in Vlog seems to get noisy quickly...

I opted for the 12-60 Panny/Leica...I already own the PL 25 F1.4,  Panny 20mm F1.7 and the 14-140 F4.0. I think it depends on your needs really....to me Leica glass was important...that the lens is F2.8 at 12mm and for interiors I would be on the wide end...I care less about the fact that it gets slower through the zoom...the extra 50mm of reach was also important to me, as I would need that outside, where for my purposes the F4.0 was outweighed by the longer reach of the 60...I would suggest, as they are both in and around the $1000 mark, that if possible you try them out...both for build quality and image
Edit...The only M4/3 lens I actually bought....not as part of a camera package before the 12-60 P/L was the P/L 25 and the lens blew me away...then I added the 12-60....and I can now see myself selling my two Panny lenses and adding the P/L 42 prime and the 8-18 when it's released...there is a distinct difference between the Leicas and the Pannys....so where you go with your set should probably factor into this for you too

You and I both just brought it up...it's the whole reason in my mind for having a zoom...I never zoom while shooting....that would be a dolly or a slider for me....but the freedom of that lens on your camera...

I opted for the 12-60 Panny/Leica...I already own the PL 25 F1.4,  Panny 20mm F1.7 and the 14-140 F4.0. I think it depends on your needs really....to me Leica glass was important...that the lens is F2.8 at 12mm and for interiors I would be on the wide end...I care less about the fact that it gets slower through the zoom...the extra 50mm of reach was also important to me, as I would need that outside, where for my purposes the F4.0 was outweighed by the longer reach of the 60...I would suggest, as they are both in and around the $1000 mark, that if possible you try them out...both for build quality and image
Edit...The only M4/3 lens I actually bought....not as part of a camera package before the 12-60 P/L was the P/L 25 and the lens blew me away...then I added the 12-60....and I can now see myself selling my two Panny lenses and adding the P/L 42 prime and the 8-18 when it's released...there is a distinct difference between the Leicas and the Pannys....so where you go with your set should probably factor into this for you too

It is easier to buy an expensive car, than run the costs of it. Servicing, fuel, insurance, taxes, etc
That applies to everything, in my opinion (and experience) everything in the workflow is important. Especially with tripods, you can't cheat, there are no very cheap Chinese ones, and you can't buy smaller if you don't want to harm your usability, I learned that the hard way (it is always hard!) a dozen years ago.

I know!...lots of talk about the new mystery camera....but the LT is what I really want....IMO simply nothing to touch this exept the F35.... which was over a $200,000 more than in 2008 and shoots in 1080P only....but this dual ISO feature is saving producers a lot of money as the Varicams are being used more and DP's love it....but the color and the image!...it's all there!...even the LTis a brute in size though....you hit the 20lb mark with it pretty quickly!

Great job with matching these two cameras...for those preaching the 5D as the holy grail...it's your opinion...nothing but subjectivity there...I remember one critisism of the GH5 being that you can actually match it with the 5D...or have to...lol....well only if that's what you're looking for...I prefer Panasonics image over Canon...what does that mean?...NOTHING....to be exact...just my taste...my preference...just like yours....and it holds the same weight...if the 5D is the image you're loving....happy for you...as I'm happy with my Panny cameras....

I think whats been made aware on this threads  that both of these cameras, hell ANY video camera, can be molded into what You want it to look like. There are LuTs for everything in this day and age, and guess what you can even make your own.
No 2 people I think ever see the same thing in reality exactly the same. I know women see a lot different than men do, colors wise they say, even on a lot of things not related to Video!!
So I guess that is why there is so many video camera makers, with so many different cameras. But this still proves the old saying, you have to go out and shoot, shoot, shoot, to get good at it, and with both of these cameras being new in a sense it will take time to learn them.
I think I have learned something here, and that is we all have different needs wants, and desires. And that is what makes life interesting. And nobody got in a fist fight.  Now that is how great this Forum is. Well done.
Wow hyalinejim that is a impressive looking Stadium next to the Landsdown Tennis Club. Soccer maybe??

Great job with matching these two cameras...for those preaching the 5D as the holy grail...it's your opinion...nothing but subjectivity there...I remember one critisism of the GH5 being that you can actually match it with the 5D...or have to...lol....well only if that's what you're looking for...I prefer Panasonics image over Canon...what does that mean?...NOTHING....to be exact...just my taste...my preference...just like yours....and it holds the same weight...if the 5D is the image you're loving....happy for you...as I'm happy with my Panny cameras....

Great job with matching these two cameras...for those preaching the 5D as the holy grail...it's your opinion...nothing but subjectivity there...I remember one critisism of the GH5 being that you can actually match it with the 5D...or have to...lol....well only if that's what you're looking for...I prefer Panasonics image over Canon...what does that mean?...NOTHING....to be exact...just my taste...my preference...just like yours....and it holds the same weight...if the 5D is the image you're loving....happy for you...as I'm happy with my Panny cameras....

The fact few people if any can tell the difference lets us know all we have too.......
 
Both cameras look great and if most people here cannot tell the difference, 99.9% of the audience will not be able too either......
 
Go and create the project you've always wanted, the camera is no longer an excuse /