estarkey7

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

On 3/15/2018 at 9:00 PM, Jonesy Jones said:

The good news is that the cream always rises to the top. 

Like you I am surprised by the lack of fanfare for this camera. When I look up GH5s on Vimeo there are hardly any videos. I don't think they did a good job with the release and I don't think it should have been related to the GH5. They should have given it it's own name. People were bummed by the lack of IBIS and same AF performance. Maybe calling it an EVA mini would have been better.

The image from this camera is gorgeous. Give it some time. Someone important will realize its value and the minions will follow. I hope.

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 move forward. I still have one miserable project that I ultimately need to finish. Even though I really screwed up in my second attempt at a longish short, it was 10x better than my first. I just need to shoot these last two scenes and move on. 

On 1/4/2017 at 4:24 AM, jcs said:

How about a Samsung 960 Pro?

It's one of the best. Even better if you can get it in M2 format.

11 minutes ago, jcs said:

Normally I'd agree regarding external USB drives, however USB 3 is really fast, and the WD Ultra 2TB drives are rated at 110MB/s read (and get about that for real: https://www.youtube.com/watch?v=z8p03IjCclA ). 4K C300 II files are around 440Mbps or ~55MB/s which gives us around 2x overhead which matches my experience as well. 1DX II 4K60p is ~800Mbps or 100MB/s and those work as well too. Transitions might cause a burst slowdown, however since reading is faster than the file bitrate the system can catch up in most cases (my real world experience). For something more complex, sure, an SSD or HD RAID 0 is needed. Our 4K complexity comes from green screen, compositing, visual effects, large images, etc. (large images can also choke/expose PP CC bugs). I would expect the 3.5GB/s (3.5 GIGABYTE per sec!) NVMe PCIe drive to blow away just about any multidrive solution except perhaps 2 NVMe drives in RAID 0 ;). There is no seek overhead, it's RAM and PCIe is faster than SATA (latency), and it's going to be faster than multiple spinning disks with seek latency (when total bandwidth is the same or more). Loading apps in a blink is pretty cool (and does save time- it adds up), and with 2T there's enough room for editing a full project 100% on the drive (our episodes are less than 30 minutes finished). Once released the project can be moved to a 3.5 HD archive (4 drive dockers are handy- can fill drives and put in a case then take offline and store). 4 Samsung 850 Pro would be ~2.2GB/s  RAID 0, still getting smoked by the single 960 Pro at 3.5GB/s (except in total storage).

 

It depends on the 4K material: GH4 tends to be easier, A7S2 harder, and C300 II and 1DX II 60p the hardest. Perhaps also consider trying more RAM (e.g. 64GB) before getting a new machine. WD Black is plenty fast unless you're compositing a bunch of 4K videos in the same frame (transitions will be fine).

 

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.

5 hours ago, Chris Oh said:

would you say it's an improvement over GX85?

It is a definite improvement over the GH4, like 3x better.

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.

3 minutes ago, jonpais said:

Not according to the test charts over at LensTip, it isn't.

Maybe because I have the 20mm f/1.7 II?

5 minutes ago, jonpais said:

GH4 Autofocus - doggy poo

Call it what it is. 4K autofocus is shit!

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 Sony A6500 like video autofocus, the 20mm would not cut it. 

I've used the Sigma 18-35 speedbooster combo, and I simply love it for shots on sticks or a slider. But when used as a shoulder mount, that rig weight makes a long day indeed.

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.

13 minutes ago, Matthew19 said:

interesting,  I wonder how the HDR in video works. 

 

That's actually pretty sweet. Don't need Log gamma with performance like this?

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? If so, you should be using ND filters, so your resulting film doesn't look jerky from the non-standard 

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!

Half Life Video Game

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?

​Now, I'm drooling !!!

New script is almost done, so how much should I push back my shooting schedule?

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. 

​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. ).

​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 complaints.

Yeah, someone shot a feature with an iPhone. But to answer your question depends on a few things:

1. What is your budget!?!
2. Does the script have night scenes or low light scenes?
3. What lenses do you have available?
4. 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 three GH3s and greatly speed up shooting? You wanna know a dirty little budget filmakers secret? Grainy video can be forgiven, but bad audio, that is a cardinal SIN!!! Although your budget is tight, under no circumstances should you skimp on audio. Buy a 4 channel Zoom H4n or Tascam 60D (I own one and it's decent for the price) and a bare bones XLR shotgun mike to go with it, and used properly,  it will greatly increase the production value of your film.

2. If you have night scenes and you don't have the budget for lighting you may want a camera that is good at high ISO (A7S, Canon Mark III w/Magic Lantern), but beware of the focus hurdles a full frame camera imposes on you, as they can be significant. Also a Canon Rebel T3i or 60D is decent in low light, but the video quality is not that great.

3. Do you have your shooting script written? If so, what lenses do you need and do you own any? This is where something like a GH3/GH4 or other M43 or mirrorless mount cameras can be helpful as you can mount damn near any glass with cheap adapters.

4. If you are shooting for the web, you have many choices. If you are shooting for Blu-Ray or 1080p then you need a better camera. If you want to master in 4K then well, you are either using one of Panasonics GH4 or LX100. I wouldn't recommend the FZ1000 as it doesn't do DCI 4K (4096x2160) only UHD (3840x2160) and has slower glass than the LX100. If you want 4K and have low light shots to make, I suggest renting/buying the Sigma 18-35 f/1.8. You can go really far with that lens!

Good Luck!

​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 massively important. MASSIVELY IMPORTANT! This is time just before she transforms from a single lady to a married woman. More than likely, her mother is there along with her closest, most dearest friends helping her. You must find a way to capture these intimate moments as they are so important to the mother of the bride and the bride herself. The same goes for the groom, but to a lesser extent as weddings are all about the bride! So put this task to the second photographer. You do have a second photographer right? 

When one of the groomsmen/groom was taking a drink of water, or the priest scratching his nose, do you think that was flattering to them? Did it add to the fantasy you should be creating?

I know you got some due criticism for not being quicker on the edit jump cuts, but this video almost have me motion sickness ! The brain needs time to understand what you are seeing, and I was still processing the previous cut when another jumped in, and another, and another, etc.  It was more of a slide show than a video. Also, here is a tip: Edit on beat with the music, sometimes on time, sometimes half time, sometimes double time.

Here is an exercise for you. Write  down all the words you think of that are the essence of a wedding and a perfect marriage. Then think of shots that will evoke these feelings and use that to create the fantasy.

When I did wedding photography, I hated it! Hardest work I've ever done, and I'm a software engineer by day! The amount of work and study necessary to capture footage that you are not in control of, yet tasked to capture seamlessly is no small task. There are no do overs in wedding photography/videography.

I hope this helps you, cause it's easier said than done. Good luck!

P.S.

I forgot to mention about your music. Even though this is a wedding video just for the couple and their family, I hope you are using licensed music. There are some great sites that let you use music for free, like http://freemusicarchive.org/ which is an excellent resource.

^^ What he said! 

​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.

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!.

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. 

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.