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Everything posted by estarkey7

  1. I really, really shouldn't have created a completely new topic for this, but I will once again re-post this link to straight out of camera GH5S night footage in V-Log and HLG for anyone choosing to test grade. The footage is very uninteresting, but it's cold as hell in Ohio right now! ISO values range from ISO-1250 to ISO 4000. In video 6 I said the ISO was 400, but it was 4000. https://drive.google.com/folderview?id=1BPHKWVRXA8ynNSQCCBaLuB9hZ4fxgpB8 I got a script cooking right now just to have a platform to show this bad boy off! Just trying to get a budget in line before I mov
  2. It's one of the best. Even better if you can get it in M2 format.
  3. The speed is not relevant here, it's the quantity of request to the drive. USB is not truly designed for this type of access pattern. There are many layers of drivers on top of USB before you get to the Mass Storage profile, and that reduces performance. You'd benefit a whole bunch with internal hard drive.
  4. I own the GH4 and just rented the GX85 to have a B cam for a wedding. I used to love the image the GH4 produced, until I used the GX85!!! It is sooooooo much cleaner, and the IBIS is a lifesaver. Let's put it this way: When I went through the 180GB worth of video for the deliverable, 95% of the content I shipped was recorded with the GX85, as at the high ISO (1600-3200) the GH4 was undeliverable. If the G85 is anything like the GX85, 4K delivery will be awesome.
  5. Maybe because I have the 20mm f/1.7 II?
  6. Call it what it is. 4K autofocus is shit!
  7. I just shot a wedding with the Panasonic 42.5 f/1.7 and the 20mm f/1.7 with a GH4 and a GX85. Let me say a few things about these lenses: The speed saved my life! The electronic focus ruined my life! The weight savings saved my life! If you are going to do narrative work where there is no focus pulling, these lenses are hard to beat. The 20mm f/1.7 is waaaaay sharper than the sharp 42.5 f/1.7. Even if the camera was capable of autofocus worth a damn, you can't do it with the 20mm, the camera simply won't let you use CAF in video or photos. So if the GH5 comes out with Son
  8. Some f/.95 SLR Magic or Voigtlander's might do you a fair it of good with the GH4, or upcoming GH5. If the GH5 has a stop better noise performance, will these ultra fast lens fit the bill for you? I disqualify the Sony A7x options, even though their low light is great, the sensor overheating issues are a dealbreaker. I also disqualify the Canon 5D because of the codec and the C100 because of the price. Now if you were going to drop 5D Mark IV coin, then the Sony F5 is on the table.
  9. That's actually pretty sweet. Don't need Log gamma with performance like this?
  10. No, the GH4 cannot do that. But why don't you just shoot in manual mode? I don't see the benefit of what you are doing. Ideally, you want to shoot at 180 degrees shutter with 24 fps. So just put the camera at 180 degrees and leave it, and adjust the aperture for your DOF and exposure. Then use your histogram and zebras to get a rough estimate of your exposure (its, rough, but just as good as the method you were using). Is there some reason you have decided to film in this manner? Do you need different shutter speeds for creative reasons? Are you trying to use shutter speed to handle exposure?
  11. The big deal breaker for me too was no false color, as V-Log really forces you to nail your exposure, so I just ordered one from Amazon and it will be here on Thursday. 10-bit 4:2:2 here I come!
  12. This is really, really nice!! Please oh please post a tutorial on how you were able to achieve this. Did you just skip the de-squeeze step and do a crop?
  13. ​Now, I'm drooling !!! New script is almost done, so how much should I push back my shooting schedule?
  14. Now that I know it's a romance movie, I strongly suggest a two cam setup. It's very hard to catch those intimate moments, especially when the actors aren't die-hard veterans. Most times you will only get a few takes before things may start to get uncomfortable. So having that alternate angle camera can really be a life-saver. It also adds to the intimacy of a shoot when you do one up CL shots of dialog instead of a whole lot of two up MED shots. That way the actors can just ACT their scene and not worry about the CUT so you can change camera angles.
  15. ​The get anything you can throw some legacy glass on (Canon FD, Nikon AIS, Minolta) and that will give your images more character (and flare, ghost, etc. ).
  16. ​I think everyone is forgetting some important points with economies of scale and electronic production. For the price they have settled on with this model, they should add a couple hundred bucks and and all the video features and not come out with a new model. It is very expensive to have new tooling, inventories, production schedules, testing, marketing, to just deviate from a particular model just a bit. For those users that hate video features, they should rework their menu system based on if the user prefers a video perspective or a stills photo perspective. That would hush 85% of the co
  17. Yeah, someone shot a feature with an iPhone. But to answer your question depends on a few things: What is your budget!?!Does the script have night scenes or low light scenes?What lenses do you have available?What is the end delivery medium?1. Low budget movies have to prioritize where the money will be spent, but money is not the only thing you will spend. Time has a value that is very hard to predict, but is the only resource you can't get back! With that in mind, do you go and get that A7S you been dying to get, and have a horrific shoot because you don't have a B cam; or do you get two or t
  18. ​When you watch a movie, there is an arc in the story. Most arcs ascend, but a few descend. This video has no arc, it's a straight line. Even though you are documenting and event, it's up to you to craft a story! That's right, you have to craft it, create a fascinating interpretation of what actually happened. Your job is to create the fantasy, not document reality. This is the hardest part of wedding video without a doubt. So here are my criticisms. Don't worry, we all started somewhere . When I did wedding photography, a full third of my shots were of the bride getting ready. This time is ma
  19. ​I bet! I hate to say it, as I'm an OpenCL advocate, but it's either a problem with the OpenCL driver (which would fall on the GPU manufacturers) or its Adobe's implementation of the OpenCL API in premiere that's causing the issue.
  20. Just turn off GPU acceleration, and all your troubles will disappear! I had a similar issue using Adobe Lightroom, and for the life of me I couldn't find what was the issue with all this banding while pushing around my RAW files around a stop. After much trial and error, the GPU acceleration was the issue. I'm sure Adobe may be using lower precision primitives when running through the OpenCL render path and after awhile all those little bits start to add up!.
  21. After doing a little more research, I have discovered that the issue that you see is not because of C4K or UHD, but it is becasue the unit at 24p. No matter if you are in C4K/UHD or 1080p the refresh rate is lower at 24p as opposed to 30 and 60hz. I must admit I have not spent much time with my camera out of 24p creative movie mode :), so I really never paid much attention to the refresh rate of the monitor/EVF as it was fine.
  22. There are settings that allow you to view effects of shutter speed in the EVF and touchscreen. Turn it off and your problem should go away.
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