fuzzynormal

10 years just about EVERYBODY on the planet that can afford a phone will have the same motion picture IQ power we currently have.
Best to question "what exactly do I bring to the table when offering video production services?"  If your answer is "the camera" you need to start getting really paranoid.  Most clients are not going to fret about DXO scores. If that's where your attention lies (and there's nothing really wrong with that) I hope you're aspiring to a much higher echelon of production than I am!
I'm pretty close to retirement so my day in the sun with all this stuff is coming to an end.  Looks like I'll be riding the imaging technical wave as it crashes onto the beach.

The only time I get interference is if I don't do a channel scan.  I'm really corporate'y with what I'm using mine for.  Rarely stretch the distance on them.  When I do they seems to go for about 100 yards or so?

So...I've had my Sennheiser G3 trans/receiver for...12 years now?  I think that was a good ROI.  Just used it again today.

So...I've had my Sennheiser G3 trans/receiver for...12 years now?  I think that was a good ROI.  Just used it again today.

So here's a simple story:  I was in the market to hire a guy about 4 years ago for a video shoot.  A shooter contacted me to inquire about the gig, but had almost no experience with motion pictures.  
He was just getting into video from photography and he asked me if his lowly Pentax, which only did 60p @720 would be okay.  His photos showed that he had a great eye for composition and when we talked about the assignment he explained that he was a video neophyte, but was willing and eager to learn.
Seemed like a bit of a risk to hire this dude. After all here was a guy shooting on a decidedly not video-centric DSLR and admitting that video wasn't his main thing.  After some coaching, both of us reviewing past examples of the job I was hiring him for, and collaborating about what I wanted to see in the footage, we decided to partner up, and off he went.
Meanwhile, I simultaneously hired another guy for the same sort of shoot on the opposite side of the country.  Dude made sure to tell me more than once what his list of gear included (would you also like to know about his C300 and PL mount lenses?  Apparently he was convinced I did) --and how he was a video professional with years of experience.  Sure, he knew what I wanted, not a problem; don't even need to discuss it.  After watching past examples of the job and assuring me he could do it, off he went.
With that narrative set-up you can probably imagine who delivered spot on incredible b-roll shots that were a bit IQ mushy, but captured great scenarios and emotion --and who gave me a pile of shit footage with no cohesiveness or creativity, (plus couldn't even get the horizon level) but sure looked super sharp with great colors.
I don't know if any of this is germane to the thread, but... Here's hoping that niche players like aspiring videographer Phil from North Carolina hang in there...and their camera gear supplier does too.

I try to solve this issue by not shooting images that need pushing around too much in post.

So here's a simple story:  I was in the market to hire a guy about 4 years ago for a video shoot.  A shooter contacted me to inquire about the gig, but had almost no experience with motion pictures.  
He was just getting into video from photography and he asked me if his lowly Pentax, which only did 60p @720 would be okay.  His photos showed that he had a great eye for composition and when we talked about the assignment he explained that he was a video neophyte, but was willing and eager to learn.
Seemed like a bit of a risk to hire this dude. After all here was a guy shooting on a decidedly not video-centric DSLR and admitting that video wasn't his main thing.  After some coaching, both of us reviewing past examples of the job I was hiring him for, and collaborating about what I wanted to see in the footage, we decided to partner up, and off he went.
Meanwhile, I simultaneously hired another guy for the same sort of shoot on the opposite side of the country.  Dude made sure to tell me more than once what his list of gear included (would you also like to know about his C300 and PL mount lenses?  Apparently he was convinced I did) --and how he was a video professional with years of experience.  Sure, he knew what I wanted, not a problem; don't even need to discuss it.  After watching past examples of the job and assuring me he could do it, off he went.
With that narrative set-up you can probably imagine who delivered spot on incredible b-roll shots that were a bit IQ mushy, but captured great scenarios and emotion --and who gave me a pile of shit footage with no cohesiveness or creativity, (plus couldn't even get the horizon level) but sure looked super sharp with great colors.
I don't know if any of this is germane to the thread, but... Here's hoping that niche players like aspiring videographer Phil from North Carolina hang in there...and their camera gear supplier does too.

For me, you buy what you need when you need it.  
For instance, I might buy something like this if I had a particular client on deck that would be put at ease seeing me run around with a "real" camera.  (That's still a thing in the circles I'm in)
Obviously, you need to know if you're served by playing this sort of game.  I've rented camera gear just to impress clients, not for any particular production need. 
If I was in that situation again, heck, might as well buy a package like this for the same cost.  Also, wouldn't be the last time I'd buy gear only to sell it again quickly.  Which is kind of like renting, just with more flexibility.
Once, a few years back for a client, I borrowed a bunch of unnecessary cinema rigging from a friend/colleague and buried my LUMIX camera under it. Looked cool, but was incredibly gratuitious.  All that nonsense just to do a talking head interview.  Whatever, the client enjoyed the spectacle.  Afterwards I bought my buddy a nice 18 year single malt scotch for that one, which we shared.  Win-win-win.

So here's a simple story:  I was in the market to hire a guy about 4 years ago for a video shoot.  A shooter contacted me to inquire about the gig, but had almost no experience with motion pictures.  
He was just getting into video from photography and he asked me if his lowly Pentax, which only did 60p @720 would be okay.  His photos showed that he had a great eye for composition and when we talked about the assignment he explained that he was a video neophyte, but was willing and eager to learn.
Seemed like a bit of a risk to hire this dude. After all here was a guy shooting on a decidedly not video-centric DSLR and admitting that video wasn't his main thing.  After some coaching, both of us reviewing past examples of the job I was hiring him for, and collaborating about what I wanted to see in the footage, we decided to partner up, and off he went.
Meanwhile, I simultaneously hired another guy for the same sort of shoot on the opposite side of the country.  Dude made sure to tell me more than once what his list of gear included (would you also like to know about his C300 and PL mount lenses?  Apparently he was convinced I did) --and how he was a video professional with years of experience.  Sure, he knew what I wanted, not a problem; don't even need to discuss it.  After watching past examples of the job and assuring me he could do it, off he went.
With that narrative set-up you can probably imagine who delivered spot on incredible b-roll shots that were a bit IQ mushy, but captured great scenarios and emotion --and who gave me a pile of shit footage with no cohesiveness or creativity, (plus couldn't even get the horizon level) but sure looked super sharp with great colors.
I don't know if any of this is germane to the thread, but... Here's hoping that niche players like aspiring videographer Phil from North Carolina hang in there...and their camera gear supplier does too.

So here's a simple story:  I was in the market to hire a guy about 4 years ago for a video shoot.  A shooter contacted me to inquire about the gig, but had almost no experience with motion pictures.  
He was just getting into video from photography and he asked me if his lowly Pentax, which only did 60p @720 would be okay.  His photos showed that he had a great eye for composition and when we talked about the assignment he explained that he was a video neophyte, but was willing and eager to learn.
Seemed like a bit of a risk to hire this dude. After all here was a guy shooting on a decidedly not video-centric DSLR and admitting that video wasn't his main thing.  After some coaching, both of us reviewing past examples of the job I was hiring him for, and collaborating about what I wanted to see in the footage, we decided to partner up, and off he went.
Meanwhile, I simultaneously hired another guy for the same sort of shoot on the opposite side of the country.  Dude made sure to tell me more than once what his list of gear included (would you also like to know about his C300 and PL mount lenses?  Apparently he was convinced I did) --and how he was a video professional with years of experience.  Sure, he knew what I wanted, not a problem; don't even need to discuss it.  After watching past examples of the job and assuring me he could do it, off he went.
With that narrative set-up you can probably imagine who delivered spot on incredible b-roll shots that were a bit IQ mushy, but captured great scenarios and emotion --and who gave me a pile of shit footage with no cohesiveness or creativity, (plus couldn't even get the horizon level) but sure looked super sharp with great colors.
I don't know if any of this is germane to the thread, but... Here's hoping that niche players like aspiring videographer Phil from North Carolina hang in there...and their camera gear supplier does too.

I rarely use auto-focus.  I am curious though, for those that seem to prioritize it as a needed spec before buying a camera body, why exactly?  What are you doing so often that it's invaluable to you?  This isn't snark, I just don't shoot in way where I feel I need it, so I'd like to know why it moves the needle for others. 
Is it vlogging?
It's vlogging, isn't it? 

I used to have a 55mm Canon FD f1.2 on a speed booster for my M43 cams... I mean, that's kinda in the ball park.  On M43 that would render DOF shallowness like a f1.8 on FF.  So that narrow focal plane capability was there if I wanted it.
(turns out I really didn't that much)
Also had the Voight 42.5mm f.095.  Which is a 85mm f1.9 FF equivalent on M43.  All decent lens stuff and kinda neat to own.  
And I'll be honest, having the extra bit of "oomph" that FF gives is nice sometimes, not going to deny it.  (I mean, I still have a 5D)  But, in my world it's not worth the trade off of exceptional IBIS and some really crazy compact gear...and the shooting flexibility that offers.  
That small gear flexibility is often overlooked by a lot of videographers, I think.  I love going on shoots with modest stuff;  a single small satchel camera bag and a tiny camera --then knocking out ridiculous handheld shots that look like they rolled off a jib or camera dolly tracks.  I'll take that capability as long as it's available.
Other people like piling on a bunch of outboard stuff so much that even a modest DSLR ends up looking like some Panavision rig on a major studio movie production set.  That's fine if that's what you want, just not my tempo.

I used to have a 55mm Canon FD f1.2 on a speed booster for my M43 cams... I mean, that's kinda in the ball park.  On M43 that would render DOF shallowness like a f1.8 on FF.  So that narrow focal plane capability was there if I wanted it.
(turns out I really didn't that much)
Also had the Voight 42.5mm f.095.  Which is a 85mm f1.9 FF equivalent on M43.  All decent lens stuff and kinda neat to own.  
And I'll be honest, having the extra bit of "oomph" that FF gives is nice sometimes, not going to deny it.  (I mean, I still have a 5D)  But, in my world it's not worth the trade off of exceptional IBIS and some really crazy compact gear...and the shooting flexibility that offers.  
That small gear flexibility is often overlooked by a lot of videographers, I think.  I love going on shoots with modest stuff;  a single small satchel camera bag and a tiny camera --then knocking out ridiculous handheld shots that look like they rolled off a jib or camera dolly tracks.  I'll take that capability as long as it's available.
Other people like piling on a bunch of outboard stuff so much that even a modest DSLR ends up looking like some Panavision rig on a major studio movie production set.  That's fine if that's what you want, just not my tempo.

I used to have a 55mm Canon FD f1.2 on a speed booster for my M43 cams... I mean, that's kinda in the ball park.  On M43 that would render DOF shallowness like a f1.8 on FF.  So that narrow focal plane capability was there if I wanted it.
(turns out I really didn't that much)
Also had the Voight 42.5mm f.095.  Which is a 85mm f1.9 FF equivalent on M43.  All decent lens stuff and kinda neat to own.  
And I'll be honest, having the extra bit of "oomph" that FF gives is nice sometimes, not going to deny it.  (I mean, I still have a 5D)  But, in my world it's not worth the trade off of exceptional IBIS and some really crazy compact gear...and the shooting flexibility that offers.  
That small gear flexibility is often overlooked by a lot of videographers, I think.  I love going on shoots with modest stuff;  a single small satchel camera bag and a tiny camera --then knocking out ridiculous handheld shots that look like they rolled off a jib or camera dolly tracks.  I'll take that capability as long as it's available.
Other people like piling on a bunch of outboard stuff so much that even a modest DSLR ends up looking like some Panavision rig on a major studio movie production set.  That's fine if that's what you want, just not my tempo.

Which is the exact reason I’m on M43. 
M43 video IQ, IBIS and compactness in tandem are a great combo for my work.
I also know what I want in FOV’s so I do the math when I mount a lens.  No biggie. 

Sad day .  To find out I’ve only been using parts of my images for years?  Bummer. 

Sad day .  To find out I’ve only been using parts of my images for years?  Bummer. 

I try to solve this issue by not shooting images that need pushing around too much in post.

Sad day .  To find out I’ve only been using parts of my images for years?  Bummer. 

Sad day .  To find out I’ve only been using parts of my images for years?  Bummer. 

I don’t do auto focusing, so can’t offer an opinion on that. 
As for color profiles I use “natural” as Oly offers it out of the box. 
Tried a few experiments with flattening the image, but didn’t seem worth the effort (for me)
BTW, I prefer the Oly histogram over the GH5 waveform. I’m only ever protecting the highlights anyway, so the Oly histogram is quite useful. (Again, for me)

Sad day .  To find out I’ve only been using parts of my images for years?  Bummer. 

I film my dog and then never edit the footage.

I film my dog and then never edit the footage.

Well, there's you go in regards to Olympus. 
Personally I'm still hoping they're gonna try to do a little Japanese corporate tap dancing and attempt to wiggle out of letting their camera division go...but that still doesn't excuse their numerous mistakes running the company.