utsira

Everyone I know still shoots with canon and won't hear anything otherwise :/ that's part of where the frustration comes from I guess. The fact they have all this market share almost undeservedly so.

G6 is not exactly an insider tip, but almost. Forgotten silver. Everybody raves about 4k or raw now, but a simple little device like that, with decent colors and superb resolution - isn't that all we need?

I think what people are saying above is accurate, it's a word that gets used a lot, and the meanings of it change quite quickly within the videography community. I think it's constantly used as a kind of gold standard that video has to aspire to, but which is always out of reach (JJ Abrams said something along these lines when justifying his decision to use film to shoot Star Wars 7, rather than video like the prequels). In other words, it means "not video", but the question of what is "not video" shifts all the time as video changes.
 
One example: I remember in the days of the HV20, which was just before the DSLR video revolution broke, people were really hung up on shallow depth of field, in part I think because it was very expensive and cumbersome to achieve with a small-sensor camcorder. People would attach their HV20s, upside-down, to a "depth of field adaptor" with a focal plane that needed to vibrate in case a speck of dust landed on it, and get a razor thin DoF that was a nightmare to focus. 
 
Then, as soon as large sensor video became readily available with DSLRS and mirrorless, videographers got less fixated on shallow DoF. This is good, as "cinema" shouldn't be stereotyped by one aesthetic, as it covers an enormous number of styles and practices. Citizen Kane is frequently voted the best film of all time, and what is it famous for, cinematographically speaking? It's incredibly DEEP depth-of-field. So deep in fact, that some shots are actually trick shots made with back-projection:
 
http://www.davidbordwell.net/blog/2007/10/10/do-filmmakers-deserve-the-last-word/
 
Nowadays, Kane DP Toland could just use a GoPro...  :P

Just to be clear - I think the new Speedbooster is totally incompatible with the E-M1.  The protruding prism prevents the adaptor being mounted at all - or so I read.  I had to cancel my order last week which is a great shame.  If anybody knows differently please let me know.
Jim

Congratulations on reaching step 3 of GAS anonymous  ;)
 
I know what you mean though, the Panny cameras are basically mature now, there's only incremental things they can improve with each new iteration. Enjoy peak Panasonic! I think we're still a few years away from peak Sony though.
 
Apparently the OMD E-M1 2.0 FW has leaked already, and..... no new video features. 2nd time this year some kind of videography update was rumoured, and nowt delivered:
 
http://www.43rumors.com/e-m1-2-0-firmware-already-unofficially-available-at-olympus/
 
I still might trade my E-M5 in for an E-M1 though. I don't mind 30fps, and I could use the extra mbps the E-M1 has.

Hello there (Sorry for my bad English)

I'm the director of the film embedded above. To clarify many question talked about in this forum. I would have to explain how we shoot this.

For the equipment, we had 3 5D Mark III with 1.2.3 Magic Lantern firmware installed with 3 Canon Cine Prime Lenses (28, 50 and 85mm.) few L lenses (50 F1.2, 24-70mm F2.8, 28-300 F3.5-5.6 and 70-200 F2.8) and Samyang (Rokinon) Cine 35mm.

In term of optical quality most lenses have pretty good sharpness (to the point that most of the audience will not notice the different unless you are working in this field) as long as you keep the F/T above 4 (and less than 11). If you want to work on 2.8 or 3.5 (less than that are totally not recommended by any chance even you sharpen it up in post. If you want the soft look, it's better to use Black Pro-Mist filter or Fog instead of using lower F/T Stop) then you'll probably see a some different between each lenses. At 1.2-2.0, it'll probably be used only in certain situation and I never recommend anyone using this T/F range as it always hard to focus and the overall sharpness is bad.)

for color rendition, Samyang and Canon Cine are on par with the color representation. We found that 70-200 and 28-300 have less saturation and luminance than the rest. But it's still manageable in Post-Production to get the color to match the rest. I prefer trying best to use the primes one rather than the zoom unless it's for the sake of fast background movement or really soft background.

The good thing about Canon Cine comes to the 300 Degree focus ring which helps a lot in such a complicated shots (like 10-15 focus shift in one shot while dolly back and forth and do a 360 camera turn) Even that (with F3.5), My Focus puller cursed a lot (in Thai) !!

For those who look for a cheaper alternative to Canon, I would suggest you to get Samyang (Rokinon) as it has a full range of lens (with 50mm coming up soon). For my point of view, Canon Cine Prime are mostly for rental companies to own and rent it out (in cheaper price than Ultra Prime/ Cooke i5 or Master Prime) and still give a good optical quality for lower budget type of film.

this should help answering all the question about lenses.

For 5D Mark III with magic lantern. How we lit the scene is that we trying best to lit it in the camera's histogram range. Most of the people I knew of normally didn't do a proper testing to see how far the camera can go in terms of dynamic range and color the sensor can recorded. Everything you see in the frame is designed to take the full advantage of the camera CMOS sensor (blood color, skin mock up, on set smoke to tame the contrast down and bring the dark part up and at the same time lower the highlight down, cloth and set color etc etc.)

Most of the DPs wouldn't go that far to workout with the rest of the crew to bring the best out of camera and therefore don't get what they deserved to after long hard working day shooting it.

and last the Post-Production Workflow. We work on CinemaDNG all the way from the onset DIT to the lab. Using MLRawviewer to check each and every footage after we change the CF card (Sandisk Extreme Pro 128GB, we have 2 of them). Then break the MLV down into CinemaDNG and send it to Davinci at the lab (which required a fast set hardware to work on it at 2K DCI)

We did tried blow it up to 4K and the result is stunning as it still contain all the sharpness. I asked some dude from Canon Thailand to come and see this footage (in 4K) at the lab on the big screen and they were stun of how there little old camera are capable of. I'm pretty happy with the result though (as long as you put a lot of hard work in it to make sure you squeezed every bit of their capabilities out of the camera)

Oh .... we shot our film in Thailand .... it's pretty humid and it's 37-42 degree Celsius most of the time. The camera got heated up to the point that we were worry that we might cooked it for our next meal break, but it didn't get any damage though.


Hope all this information help : )



 

 

 

 
 
Hopefully I can post more of the stuff soon. Still 2 more days to go til I finish the film. After the lab work, I'll probably come up with the trailer that I can post once more to see the end result.

On the E-M5 I use a custom picture mode (in order to save the settings) that uses picture mode natural, sharpness -2, saturation 0 (though this could be -2 if you really want it flat), contrast 0, with a custom curve of shadows +2, highlights -2. The idea is that the custom curve is more controllable than setting contrast to -2.
 
Never use auto WB as rather than setting wb once at the start of the shoot (as most other cameras I've used do), it will continuously vary the wb throughout the shot.
 
NR to off.
 
You have to shoot with the mode dial on "movie", as it is the only way to lock exposure (yes, even in manual mode, exposure doesn't lock in video for some reason). Unfortunately movie mode is a kind of baby mode that gimps the best features of the u.i:
1. it removes the exposure meter from the display (why, Olympus why??).
2. it overrides your custom settings for the down button and right button. I have these set up for one touch access to ISO and WB, the same as on a Panasonic. This setting is only recognised in the photo modes.
3. it replaces the fantastic quick menu that the photo modes get with a stripped down menu that doesn't include, for instance, picture styles.
 
So you have to jog the dial round to one of the PASM photography modes if you want to see the exposure meter, check which picture style you're using, have one touch access to wb ISO etc etc. For photos, the UI is absolutely perfect. For video, it's gimped, for no reason that I can fathom. There's nothing remotely deal-breaking of course, but it will come as a bit of a shock coming from a Panasonic, which has a wonderful UI for videographers.
 
Of course, perhaps all these UI complaints were fixed on the E-M1. I'd be very interested to hear.
 
To maintain 180 degree shutter, shoot at 1/60. This will make electric lighting flicker in 50hz environments though, so use 1/50. Honestly, I don't think you will be able to tell (did you watch my video on one of the OMD firmware threads that mixed 1/50 and 1/60 shutter? Could you see a difference?)
 
If you retime 30p footage in a 24p timeline, you'll get a nice 80% slow motion effect. I'm not sure that you'd want to put it in a 25p timeline, but presumably it would be 83 and a third % slow mo. 

HUNTER
shot on BMCC 2,5K
edited on FCPX, Resolve and AE
 

 
Directed, Shot & Edited by Marc Linnhoff
Music by Broad Rush
Label : Dub All Or Nothing
With : Clarisse Hagenmuller, Denis Jelly, Pierre Riff, Joffrey Schmidt, Sandrine Pirès, Marine Gardeux, Sylvain Clauser Routier, Anne Sophie Gole, Jonathan Lagrave

Sponsored by Frank Linnhoff
DP : Dom Pichard aka P-mod p-mod.com
DP Assistant : Ludovic Haas
Camera Assistant : Vladimir Lutz lutzvladimir.fr
Make-Up & Hair : Anne-Ka Lejeal, Sophie Renier, Elsa Parmentier
Costume : Adèle Wucher
Barbecue Spit made by Christophe Fruh
Skull made by Jean Linnhoff jeanlinnhoff.com

Special thanks to Brigitte Desforges, Kevin Linnhoff, Frank Linnhoff, Jean-Marie Hagenmuller, Elodie Heitz aka Mnémo, Jacques Roth, Bouna, Jo, Delphine Lagrave, Famille Lejeal, Ross Middleton, La Clairière - Longemer

Backstage photos by P-mod : flickr.com/photos/p-mod/sets/72157646215719879/

What I Think I Look Like

The Cinema5d article has been updated to state that there are, in fact only 10.5, stops of dynamic range.
 
Apparently there was a bug in their test software.
 
 

Hi Ebrahim, I've been using the E-M5 alongside the Panasonic G6 for a while now. This was all shot on an E-M5 with an Ai-S 85mm lens on a lens turbo:

http://marginaliafilm.wordpress.com/2014/08/19/floating-lanterns/

Nb there is also some stabilisation in post added here. Only a very tiny bit added though, a few pixels in some cases, just to ease the vibration, as a heavy 85mm lens, even with a focal reducer, is sometimes just a bit too long for the stabilisation. (EDIT see post below this one) Some of the shots are with the 2x electronic telephoto, ie 244mm, these needed more stabilisation in post.

Overall, I find a well stabilised lens, such as the Panasonic Mega OIS lenses, to be more pleasing for video. In my experience these are just as steady, and with less "drift" when a camera move ends. (edit, hmmm, on 2nd thoughts maybe OMD 5-axis edges this one......) Plus the G6 is incredible for video, and I really like the Panny lenses too. Of course, the E-M5 works with absolutely any lens, so it's definitely a great camera to break out if you want to grab some handheld shots with manual glass.

well to be fair, you can't really pan fast or walk with it as it ends up looking like you used warp stabiliser in post. At least from my experience with the EP5 last year.

I reckon go for it (though it's not my house either). People have posted films in the main forum before. There was a horror short not long ago. And you're right that posts in the screening room don't seem to get the number of hits.

According to Sony Alpha Rumours.

If true, this means that XAVCS isn't just for cameras at the top of the lineup. I wonder whether it's a full sensor readout as well.
 
I wish they'd hurry up and do an A6100..... or better yet a meaty firmware update for the A6000

http://www.sonyalpharumors.com/sr5-this-is-the-first-image-of-the-new-sony-a5100/

Hi everyone,
I've decided to make all of the music on my site free for commercial use as well as noncommercial. Just please credit me properly as detailed on my homepage.
If you decide to use one or more of my pieces, a donation would be greatly appreciated...any amount you can swing would be helpful.
As always, thanks for your feedback and I hope you find something you can use.
Eric

Two journeys, a plane into Macau, and the ferry to Kowloon, as the storm clouds come in. 
 

 
Panasonic G6, 20mm 1.7, neat video NR, ImpulZ LUTs
 
Unfortunately the noise reduction means that banding is evident in the vimeo stream. It's a bit better if you download it.
 
It got a nice review on Coconuts Hong Kong, which has never happened to me before. If you'll forgive me quoting my own good press!
 
http://hongkong.coconuts.co/2014/08/08/video-fall-love-hong-kongs-typhoon-season-romanticised-wet-weather-treat
 

the panasonic 20mm pancake would do everything you are looking for (street, astrophotography, portraits, etc.). Best lens for the money

Posts in the subforums just don't seem to get anywhere near the number of eyeballs that topics in the main forum do. It's a shame, there's some great stuff in the screening room sub-forum. I think the issue is it's just too diffuse, with each video in its own thread (and sometimes, if people haven't embedded it properly, it's another click away), plus some things are in the GH4 or ML specific threads. I can see the point of gear-specific threads, but I don't just want to see stuff shot on the same cameras that I have, and I don't think its healthy to have a gear conformity attitude (remember Kendy Ty!)
 
I think screening room would work really well as a long single thread. It would be a one-stop site where you could see what people on the forum are up to and get some inspiration (or, if you're watching one of my contributions, look at an urban cityscape you've seen in countless other videos cut to a hip soundtrack with some speed ramping and a LUT or two. Yeah I know my limits)

Posts in the subforums just don't seem to get anywhere near the number of eyeballs that topics in the main forum do. It's a shame, there's some great stuff in the screening room sub-forum. I think the issue is it's just too diffuse, with each video in its own thread (and sometimes, if people haven't embedded it properly, it's another click away), plus some things are in the GH4 or ML specific threads. I can see the point of gear-specific threads, but I don't just want to see stuff shot on the same cameras that I have, and I don't think its healthy to have a gear conformity attitude (remember Kendy Ty!)
 
I think screening room would work really well as a long single thread. It would be a one-stop site where you could see what people on the forum are up to and get some inspiration (or, if you're watching one of my contributions, look at an urban cityscape you've seen in countless other videos cut to a hip soundtrack with some speed ramping and a LUT or two. Yeah I know my limits)

Posts in the subforums just don't seem to get anywhere near the number of eyeballs that topics in the main forum do. It's a shame, there's some great stuff in the screening room sub-forum. I think the issue is it's just too diffuse, with each video in its own thread (and sometimes, if people haven't embedded it properly, it's another click away), plus some things are in the GH4 or ML specific threads. I can see the point of gear-specific threads, but I don't just want to see stuff shot on the same cameras that I have, and I don't think its healthy to have a gear conformity attitude (remember Kendy Ty!)
 
I think screening room would work really well as a long single thread. It would be a one-stop site where you could see what people on the forum are up to and get some inspiration (or, if you're watching one of my contributions, look at an urban cityscape you've seen in countless other videos cut to a hip soundtrack with some speed ramping and a LUT or two. Yeah I know my limits)

Posts in the subforums just don't seem to get anywhere near the number of eyeballs that topics in the main forum do. It's a shame, there's some great stuff in the screening room sub-forum. I think the issue is it's just too diffuse, with each video in its own thread (and sometimes, if people haven't embedded it properly, it's another click away), plus some things are in the GH4 or ML specific threads. I can see the point of gear-specific threads, but I don't just want to see stuff shot on the same cameras that I have, and I don't think its healthy to have a gear conformity attitude (remember Kendy Ty!)
 
I think screening room would work really well as a long single thread. It would be a one-stop site where you could see what people on the forum are up to and get some inspiration (or, if you're watching one of my contributions, look at an urban cityscape you've seen in countless other videos cut to a hip soundtrack with some speed ramping and a LUT or two. Yeah I know my limits)

We shot this music video with my Lumix GX7 after comparing the image quality with other Canon cameras that we had available.
Samyang lenses were used with a EF adapter.
 

This is a trailer to my brand new movie from our expedition to Angel Fall in Venezuela. The story of the film is about making a children's dream to come true. When I was a child I loved books full of adventure and the most loved was an old komix describing a tour to mysterious tepui mountain.
This dream become reality for me a few months ago...
Shot on Panasonic G6
Lenses: Panasonic 25mm F 1,4 + Canon FD 50mm F 1,8
Mic: RODE videomic PRO
ND filter: Hoya ND8 and ND4
 

this is a short shot I finished this mornig, it is a synergy of art of Yoga master & industrial environment.
All shot by Panasonic G6 + 25mm F 1.4 + 14mm F 2.5, Konova slider K2 1m + Camera Jib.
 
Hope you like it :-)