fuzzynormal

You can go back read my posts on the camera if you wish; it'll give you insight to my context.  You can see some videos I've done with it too.  Bottom line: I like it just fine.  
If I was shooting ultra wide, not sure what the stabilizing would be practically offering me though?  Ultra wide shooting doesn't really need stabilization.
AS for the EMII, I have two $100-ish speed boosters for it plus a bunch of basic dumb adapters.  It all works good and the old Canon FD and EOS glass looks good.  Nice thing about speedsboosters and dumb adapters, it'll give you 2 focal lengths with one lens.
I'm a firm believer in shooting motion picture with manual focus.  The peaking and EVF is strong enough to allow focusing by eye.  That's really great. 
Anyway, even though I have 4 M4/3 prime lenses, about a dozen other misc primes, and the Oly 12-40 proZoom, I shoot most video stuff with an old 55mm FD lens and the speedbooster.  I like the focal length AND the extra heft that old glass provides.
I do recommend the shooting ergonomics with the extra battery grip, in my opinion.
Shortcomings: with modern glass the image does moire.  Meh.  Not a deal breaker for me.  The older adapted glass reduces the moire, FWIW.

Nice looking images; confirms my experiences with the EM5II.  Out of the box you're not going to get the ideal motion picture images from it, but a little manipulation in cam and in post you can make it look very respectable.
I dunno.  I've found it more than capable.  Others not so much.  
As for the film...I want to know what's in the case.  It's Marsellus Wallace's soul, right? ;-)

Leonardo Dalessandri's work is just a good example of craft.  I know it wouldn't matter what camera you put in my hand, he'd still be able to make a better travel video with a GH3 than I would with an Alexa.  
So, I use that sort of stuff as my personal benchmark.  If I can increase my skill level to exceed the IQ of what he can do, then I'll consider getting a better piece of gear.  'Til then, I'll roll with simple consumer gear too for my own projects.  Hey, if it's good enough for him, right?
I've been lucky enough to travel around the world on assignment over the past decade.  I can watch that video and reflect that my own library has about 80% of the same type of footage.  Is it shot as well?  No.  Is it edited as well?  Oh, god no.
That's my perspective.  Gotta learn technique and craft; get solid there, I'm still lacking.  I ask myself, "You got a paint brush?"  "Yes.  Well, then paint."  Worry about the bristles only when your skill demands it.  I'm not gonna gripe about refinements that I can't even begin to take real advantage of.
...So hard to do when all I want is to acquire and play with a A7s!
More on point to Andrews charting of cameras, ergonomics, etc, I gotta say, the EM5II, after some getting used to, now really agrees with me for some reason.  I just like shooting with it, taking it out of the bag and getting footage.  
Like many machines, some just jibe, others don't.  Don't know how to explain it.  It's like a car or a motorcycle...

Leonardo Dalessandri's work is just a good example of craft.  I know it wouldn't matter what camera you put in my hand, he'd still be able to make a better travel video with a GH3 than I would with an Alexa.  
So, I use that sort of stuff as my personal benchmark.  If I can increase my skill level to exceed the IQ of what he can do, then I'll consider getting a better piece of gear.  'Til then, I'll roll with simple consumer gear too for my own projects.  Hey, if it's good enough for him, right?
I've been lucky enough to travel around the world on assignment over the past decade.  I can watch that video and reflect that my own library has about 80% of the same type of footage.  Is it shot as well?  No.  Is it edited as well?  Oh, god no.
That's my perspective.  Gotta learn technique and craft; get solid there, I'm still lacking.  I ask myself, "You got a paint brush?"  "Yes.  Well, then paint."  Worry about the bristles only when your skill demands it.  I'm not gonna gripe about refinements that I can't even begin to take real advantage of.
...So hard to do when all I want is to acquire and play with a A7s!
More on point to Andrews charting of cameras, ergonomics, etc, I gotta say, the EM5II, after some getting used to, now really agrees with me for some reason.  I just like shooting with it, taking it out of the bag and getting footage.  
Like many machines, some just jibe, others don't.  Don't know how to explain it.  It's like a car or a motorcycle...

Leonardo Dalessandri's work is just a good example of craft.  I know it wouldn't matter what camera you put in my hand, he'd still be able to make a better travel video with a GH3 than I would with an Alexa.  
So, I use that sort of stuff as my personal benchmark.  If I can increase my skill level to exceed the IQ of what he can do, then I'll consider getting a better piece of gear.  'Til then, I'll roll with simple consumer gear too for my own projects.  Hey, if it's good enough for him, right?
I've been lucky enough to travel around the world on assignment over the past decade.  I can watch that video and reflect that my own library has about 80% of the same type of footage.  Is it shot as well?  No.  Is it edited as well?  Oh, god no.
That's my perspective.  Gotta learn technique and craft; get solid there, I'm still lacking.  I ask myself, "You got a paint brush?"  "Yes.  Well, then paint."  Worry about the bristles only when your skill demands it.  I'm not gonna gripe about refinements that I can't even begin to take real advantage of.
...So hard to do when all I want is to acquire and play with a A7s!
More on point to Andrews charting of cameras, ergonomics, etc, I gotta say, the EM5II, after some getting used to, now really agrees with me for some reason.  I just like shooting with it, taking it out of the bag and getting footage.  
Like many machines, some just jibe, others don't.  Don't know how to explain it.  It's like a car or a motorcycle...

Yes.  Why people are chasing this aesthetic is kind of strange.  f5.6/s35mm is what typically works for most films, so to go shallow, I don't get it.  I can see using it for certain scenes if that's the way you want to effect your image to fit a particular narrative, but for overall?  eh...

Yes.  Why people are chasing this aesthetic is kind of strange.  f5.6/s35mm is what typically works for most films, so to go shallow, I don't get it.  I can see using it for certain scenes if that's the way you want to effect your image to fit a particular narrative, but for overall?  eh...

Imagine going into a huge multiplex and seeing all their monitors in the lobby with the "enhanced" frame rate turned on. 
So, big budget cinema in a big cinematic complex on big cinematic screen...looking non-cinematic. 
Good job AMC.  Even the purveyors of cinema are unable to escape their ignorance and will ruin cinematic IQ    
The slow frame rate is NOT a liability. The altered rate of motion pictures that don't match our vision's reality is what heightens the suspension of disbelief.  That's kind of important when your watching a narrative like, I dunno, James Bond, for example.  
Its not because it "looks better" than 60p, it's because it takes the edge off our perception of realism.
Movies are an escape from reality, it's a manufactured narrative. The illusion is diminished by too much visual accuracy.
All that said, the Japanese love high frame rates, and would rationalize FOR it.  
I just can't.  I like the magic of slow.
 
that's a pretty big misunderstanding of how it works. 

Imagine going into a huge multiplex and seeing all their monitors in the lobby with the "enhanced" frame rate turned on. 
So, big budget cinema in a big cinematic complex on big cinematic screen...looking non-cinematic. 
Good job AMC.  Even the purveyors of cinema are unable to escape their ignorance and will ruin cinematic IQ    
The slow frame rate is NOT a liability. The altered rate of motion pictures that don't match our vision's reality is what heightens the suspension of disbelief.  That's kind of important when your watching a narrative like, I dunno, James Bond, for example.  
Its not because it "looks better" than 60p, it's because it takes the edge off our perception of realism.
Movies are an escape from reality, it's a manufactured narrative. The illusion is diminished by too much visual accuracy.
All that said, the Japanese love high frame rates, and would rationalize FOR it.  
I just can't.  I like the magic of slow.
 
that's a pretty big misunderstanding of how it works. 

Nice looking images; confirms my experiences with the EM5II.  Out of the box you're not going to get the ideal motion picture images from it, but a little manipulation in cam and in post you can make it look very respectable.
I dunno.  I've found it more than capable.  Others not so much.  
As for the film...I want to know what's in the case.  It's Marsellus Wallace's soul, right? ;-)

I enjoy this website because I'm a gear oriented guy.  Even better because I'm a CHEAP gear oriented guy.  I like consumer stuff.  But gear is only one aspect of making films.  The slant of user conversations on this site might imply to a neophyte reader that camera gear is the primary consideration of the film making process.  That's not right or wrong, it's just the way it is. 
I certainly think gear should only be a secondary consideration.  I'd even argue that these days it could almost be an afterthought, depending on what one is trying to accomplish.  As in, "Well, we have a t3i already, let's just use that."
But, really, those creatives that are going to be successful at this motion picture stuff will be able to figure that out for themselves.  Those that don't, well, there's a lot of us around to write words on the internet.

It's an embarrassment of riches. And it's great. 
Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 
5-10 years from now?  Whoa.  Its fun to watch it get better and cheaper  
If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details. 

It's an embarrassment of riches. And it's great. 
Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 
5-10 years from now?  Whoa.  Its fun to watch it get better and cheaper  
If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details. 

It's an embarrassment of riches. And it's great. 
Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 
5-10 years from now?  Whoa.  Its fun to watch it get better and cheaper  
If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details. 

I think Nikon and Canon have nailed the raw color science in their stills.
I don't know why a video image is different, but it is.  
I looked at some stuff I shot on the sony ex1 with a lens adapter and a backed-in look and the skin colors were perfect.  
I still think it's the early days of log-shooting by everyone.  RAW has been going around since maybe 2003 or so and tons of people have used it.
Color correction for the masses in video is a relatively new thing I think - ushered by Resolve being made free.  Will take some time to figure out.

Spot on review. 
As a video shooter I'm in the camp of it's "just good enough."
If the IQ was any weaker I'd probably go to another cam... But I do love the 5-axis for what it lets me do handheld.  Since my gigs are for the web, the IQ is perfectly acceptable. 
Also, the colors look good to my eye. 
Btw, the bat grip w/headphones is great. Not only for the audio, but the ergos of it really helps shooting. 

Spot on review. 
As a video shooter I'm in the camp of it's "just good enough."
If the IQ was any weaker I'd probably go to another cam... But I do love the 5-axis for what it lets me do handheld.  Since my gigs are for the web, the IQ is perfectly acceptable. 
Also, the colors look good to my eye. 
Btw, the bat grip w/headphones is great. Not only for the audio, but the ergos of it really helps shooting. 

FWIW, that film looked like absolute crap on IMAX.
I always considered a hipster to be someone ignorant that professes an unearned expertise.  Basically all looks, no substance.  Superficial.  I'd say that Quentin is a legit cinephile that is also somewhat accomplished at this point, yes?

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.