TrueIndigo

My GX85 cost me about 30% of what my GH5 cost, but the more I use it the more impressed I am by it.  If I didn't have a GH5 for some reason, I could get by with just this camera, and would enjoy the process too.

The more I use the GX85, the more I like it.  I've taken it out with the 12-35/2.8 a couple of times now, including a street festival on the weekend where I got a bunch of shots of a friends kids running around non-stop, and the camera and lens kept up, even at F2.8 the whole time.
Some beach visit sample images from the 12-35mm F2.8 (probably wide open)..


and the festival outing, also 12-35mm f2.8 wide open, but this includes some shots using the 2X zoom mode too..




and a couple from an outing with the Cosmicar 12.5mm F1.9 wide open (and cropping into the image)...


The 12-35mm images are almost SOOC using the Natural profile (I hadn't put Cine-D on yet), just with some slight tweaks in post, but the Cosmicar ones above have been graded under a Kodak 250D / 2393 emulation process, which did surprisingly little to the colour actually.
The more I use the 12-35mm the more I appreciate a zoom lens for just getting shot after shot in fast situations, which is pretty much the key to having lots of options in the edit and keeping an edit fresh with lots of different types and compositions of shots.
I'd really like a longer lens as I got quite a few shots at 35mm with the 2X engaged, so I'm contemplating the 12-60mm F2.8-4 which seems to be a good match from the reviews I've seen.  Curious to hear others thoughts on this.
I found the Cosmicar a little challenging to work with as I composed for the screen and was then surprised in post with how much crop I needed to apply, so had a few shots where I was chopping peoples heads off etc.  I've ordered a cheap 28mm F2.8 m42 lens to go with my m42 speed booster, which will give a 43mm FOV, which is a little tighter than the 12.5mm Cosmicar which gives about a 35mm FOV once you crop into the image circle.  
I'll have to see how I go with it.  I'll need a 22mm lens on the SB to give a 35mm FOV and those aren't super common in m42 mount!  The alternative is my 17.5mm Voigtlander which is 38mm on the GX85 but isn't exactly vintage, so I'd have to look more seriously into filters to get similar flare characteristics (which is the part I love about vintage lenses).
The stabilisation is really good, and in combination with the 12-35 is just spectacular, and my regular camera is a GH5 so I'm guessing I'm not easily impressed.  It really makes me feel like shooting.  Great stuff!

This thread has inspired me to process some footage as B&W. Here's one that turned pretty good, I think...

First light, and thought I'd go old-school:

I've managed to set it up relatively similarly to my GH5, which is awesome.
Two questions:
Is there any way to set the shutter button to record video instead of take a still while in C mode? I've set the rear dial to be exposure compensation, which only works while not recording - any way around this? Initial impressions are actually pretty awesome.  Obviously it's not a GH5, but it still feels very capable, and the IBIS is quite impressive.
A couple of 4K frame grabs from the Cosmicar (wide open):

and flaring:

Obviously I'll have to crop into the image a bit in post, but totally fine for a 1080p timeline (and would be fine for a 4K timeline too - just add a touch of sharpening).
......and then the Helios with Speedbooster:

Screen grabs (also wide open):

Flaring:

Its more or less Dogme 95 without the tapes.
Maybe time to update the manifesto and create Dogme 21

Looks like they are using the same raw codec for both stills and video mode then?
6:1 and 12:1 compression modes
500Mbit in 1 bit per pixel 12:1 compression for DCI 4K 60p. Which could mean 4K/24p cinema at under 250Mbit!!
1000Mbit in the 6:1 mode (4K/60)
8K is up to 4000Mbit in the highest quality mode.
Not sure which of these Intopix configs they have actually implemented on camera so if anyone finds some more info from Nikon or a good source do let me know

New gear is great but if you have nothing to shoot what is the point? I think that sums up the sentiment we've all been through this past year and a half. It's been brutal for a lot of us independent pros. I sold a lot of cine gear and lost a lot of money in the process. Seriously considered leaving the industry as well. Fortunately for me, business has picked up again and that's really all it takes to get excited about shooting. Because for me its really all about shooting, gear is just means to an end. Too much gear can also be a buzzkill. I saw a great video the other day shot with just a G7 and a macro lens. I'm a strong believer in limitations spark creativity. Not just in filmmaking but all creative areas. Its a hard motto to live by these days within a gear-driven industry. Speaking of apple and tech GAS, I had to resist the urge for the third year in a row to get the "pro" model. My phone died so I did cop the iPhone 13 but went with the mini. Love the form factor and my phone will remain just that a phone. Photos & videos shot with it will remain on social media. No ProRes on smartphone for me, oh well. Also thinking about getting the iPad mini, it feels like a Moleskin notebook. I hate big tablets, might as well just use a notebook at that point (also just got the M1 MBA). Just waiting to see how the A15 compares to M1 as I would like to do some basic editing on it and need HEVC support. 
Anyways I'd be sad to see this place disappear. I haven't been around since the start but it's been an incredible resource and community, even with all the riffraff and drama. I think we all owe Andrew a big thanks no matter the outcome. I don't always agree with his views but at least he has a freaking opinion unlike 99% of the internet shills. As a primarily Canon shooter I also thank him for being so outspoken on the overheat-gate issue that got us solutions and even got Canon to somewhat address the situation. Who will have the clout & balls to do so if this independent voice disappears? Keep going Andrew, your doing the community/industry a great service by being vocal on matters that matter!

Yep, it's not EOSHD that's the problem it's me! I need to get my enthusiasm back. It's been a tough time.
Thanks for the comments guys, it is helping me figure things out a lot.

Thanks for all the comments guys.
Just the motivation I need to try and turn the ship around.
I can't promise much at the moment. Hopefully I find the energy to do that. Would not like this place just whittle away to obscurity after 11 years so if I do need to change what I do in life, I would look at selling EOSHD and would never just hit a button to take it offline. The original purpose and spirit of picking up a small mirrorless camera and making films is still there today and we need to help one another on that mission.

Dear Andrew,
this site has been very dear to me and still is to this day. Thank you for realising such a great project.
I second @Marcio Kabke Pinheiro s statement, the joy of creating and the joy of learning techniques are exiting to experience. When I started reading around 2012 and became a member 2015, this site was full of energy and optimism. Maybe so, because you were too, Andrew. Pretty sure. It is an achievement of large scale what you have achieved.
I think, people are a bit busy right now with hardships of life. But why not give this exiting blog and forum the time to recreate and rest. No need to close doors. Let us all just regain powers and then get involved into discussion again, exchange and support for one and another.
I would have loved to post more the last months. I am just too exhausted with life right now and I know I´m not alone. The last two years have been a rough time to many of us. Just need a bit of rest to contribute more. I have plenty cool stuff to share. Sony F3 will be used for a shorty this November, also some cool behind the scene photos from a horror short film, for which I was DIT this summer. Fun stories and happy lensing with @mercers 12.5mm Fujinon lens legend and an Angenieux 75mm S16 lens.
We all might need a bit of rest I think. No generic spec list posts of Canon R3 or Sony will change that.
A bit of a nap and a bit of a real life happy chat will bring us all back on track, after a while. That´s an alliteration just for you, dear Andrew and forum readers.:)
I would love EOSHD to maintain. My gratitude, to you, dear Andrew. Best wishes and a digital hug, Marty

It's a good question. I remember looking into this a while ago because I didn't know much about small external recorders, and was surprised there weren't many products to choose from and somewhat mystified that the Ninja Star had not been updated. I think there's a use value for these if the price is right.

My take is that I'm basically at the onset of forced retirement.  
The gigs that were my level of production are basically gone, replaced by selfie vids.  And why not?  They work just as well as something a real estate agent would pay 2K for a decade ago.  If it looks "worse" than if I did it, big deal.  A former client's self-made vids do the job.
That segment of my career is over.  Obsolete.  Gotta get right with that whether I like it or not.  
So, move on to something else.  It's liberating in a way, but learning a craft to lose the craft kinda stinks.  Imagine being a blacksmith 100 years ago.
In the meantime, motion picture cameras are going to a niche market, so expect a lot of fewer choices in that market in the years to come.

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

Yes he will be missed!
I liked his channel, very much no-nonsense and going about his business with the upmost care.
We've lost an artist and a friend.
Rest in peace David

Since the organic sensor has obviously failed to show up this time, it would be good if they did something extraordinary for sensor dynamic range (precisely because of the smaller sensor size and fast enough readout). For example, pushing the dual ISO technology to instead make two separate (tone mapped) pixel exposures within the same frame as a standout and unique MFT feature. 

Although I wish the BMMCC had a small monitor on the top like the Komodo, I still prefer it over the BMPCC. I usually shoot ProRes, but I like that it has the 3:1 compressed raw and the 60p. The miniature cinema camera form factor also looks kinda cool. My rig is almost complete...

I may eventually buy a BGH1 for a similar reason, especially with the new Tilta rig for it...

I'd lose the baseplate/rods and the top handle and throw a Ninja V on their for some ProRes Raw. This looks pretty good...
But I digress, I kinda like the infuriating form factor of the BMMCC.
 

Many years ago when I used to regularly read the photography magazines, I was reading an article about "Classic cameras" and was surprised to see my own camera (at the time I had two Pentax MX bodies) was included in the article! Having bought them new it made me feel quite old, especially when it said: "These cameras are still capable of serious work" -- I thought: well, I'm still seriously using mine anyway! With digital things get older much quicker, so it's just my 1970's lenses that still shine now. That's progress I suppose.

Yes, I was thinking of the older cameras which only shoot FHD as their native resolution. I remember years ago doing an UHD upscale of some FHD footage from the old Nikon D5200 which looked quite pastel and smooth with some careful noise reduction. I think that camera used a Toshiba sensor and had a nice cyan tint to it which I liked. Later I bought the D5500 to pair with it, but it was quite different from the earlier camera, looked more generic, more modern I suppose.

Yes, I was thinking of the older cameras which only shoot FHD as their native resolution. I remember years ago doing an UHD upscale of some FHD footage from the old Nikon D5200 which looked quite pastel and smooth with some careful noise reduction. I think that camera used a Toshiba sensor and had a nice cyan tint to it which I liked. Later I bought the D5500 to pair with it, but it was quite different from the earlier camera, looked more generic, more modern I suppose.

Merry Christmas everyone, hope you had a good one. Here's hoping for a better New Year -- all the best.

Hallo dear friends,
I wish you all happy holidays! This is a music video from a winter short we did this summer, which I dped with a friend of mine.
A charming journey of roughed up singer Stella who is rushing through the city on Christmas eve, with Schmalz and Pathos of German Schlager music.
I wish you all a peaceful time. It is family and friends we find most comfort in. But also some campy fun and vintage lenses in these harsh times. Lens used with my S1 is a beautiful and cheap Unitor (Soligor, Hanimex) 35-70 2.5-3.5.  C300 performed with conventional Walimex lenses. Love from Germany. Stay save, dear friends! best, Marty
 

Here is a new series on EOSHD...
It's a podcast.
The aim is to put out long 1-2 hour conversations, in the style of Joe Rogen - touching on subjects others dare not, sort of. Oh and some camera nerd talk as well...
https://www.eoshd.com/news/the-eoshd-podcast-episode-1-british-filmmaker-jg-harding/
Hope you enjoy it, and thanks to JG for taking part in this episode.

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 sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions.
Big thanks to Dave for taking the time to let me ramble and for listing to my waffling!
https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/