DevonChris

I think there are valuable lessons that have been learnt in this thread and that it should not be deleted when the items have been refunded.
ES deserves for his name to be immortalised as a scammer because it is very likely that he will find other ways to scam people in the future and hopefully the presence of this thread in the search engines may protect his potential victims in the future.

Which will likely never happen. Thus the thread should remain. 

And as many people have pointed out, it is best to keep the thread up to help prevent future such scams from occurring. 

I think there are valuable lessons that have been learnt in this thread and that it should not be deleted when the items have been refunded.
ES deserves for his name to be immortalised as a scammer because it is very likely that he will find other ways to scam people in the future and hopefully the presence of this thread in the search engines may protect his potential victims in the future.

I think there are valuable lessons that have been learnt in this thread and that it should not be deleted when the items have been refunded.
ES deserves for his name to be immortalised as a scammer because it is very likely that he will find other ways to scam people in the future and hopefully the presence of this thread in the search engines may protect his potential victims in the future.

@kidzrevil I have the 50mm 1.7 and love it. I also heard it was sharper than the 1.4, which is why I got it. (It was also cheaper!) It's one of my favorite lenses for stills. I use it for video quite often too, but here's a couple stills I've taken that I think really show off the lovely rendering of this fine piece of glass:

@kidzrevil Yep. I shot this with a Contax Zeiss 50mm f/1.7 using an adaptor (not SB) on my GX8
 

@kidzrevil Yep. I shot this with a Contax Zeiss 50mm f/1.7 using an adaptor (not SB) on my GX8
 

after running around with the GX80 and the voigtländer 25, i have collected so much material i will be busy with editing it for weeks  In my opinion, the GX80 is not too small for it, at least for me. The more I shoot with this combo, the less I get why I ever abandoned it...

Std -5/-5/-5/-5 with WB cloudy preset (A3G3) & Tiffen Ultra Contrast. ooc.

Kudos to @Inazuma for suggesting the wb adjustment with A3G3 and to @John Matthews for using cloudy and tungsten preset - really works nice for run&gun since it is easy and good!
all still ooc since i am not home yet.

thats why I got hired for the movie!!
  I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was  a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights 
yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue.
Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

On my GX8 I continually forget to turn off OIS/IBIS when on a tripod and have never had a problem.
Are you sure that you can't do that on the GX80? I do this regularly on my GX8.

The OP was asking about the G7, however the GX8 manual also states that you cannot use LIve view at the same time as recording to an external recorder via HDMI, however I was surprised to find that LV does in fact work when recording out through the HDMI. There is no simultaneous recording internally though.
Maybe this is a beneficial bug so don't tell Panasonic!
I was also suprised to find that the Atomos recorder recorded the manual focus assist screen so if you magnify the image in the LV to focus accurately by double clicking the MF PIP box, the Atomos records the magnified image too. This is fantastic as you can zoom in and out just by enabling/disabling MF assist (by tapping) on the live view screen - instant close ups.

Wow. Powerful film.
Just shows that the GH2 is still a great camera in the right hands.

Thanks for the input Michael. I would seriously doubt if a 50d or 5D III would knock the socks off a GX80 in terms of anything, when talking about the final product of a print or "getting the shot" experience. Not saying they would do poorly either. Photography tech is at a point today (even 5 years ago) at which the "problem" is no longer the camera. Medium-sized wall prints can be had with amazing quality and ease- probably rating up with the medium format cameras of yesteryear. Back then, if just one part of the process went sour, your print would suffer. Now, the process has been perfected. It would be crazy to say MFT can't take an exposition quality photo; hell, if a phone can do it, why couldn't MFT?  

In my experience with the gf1 and gx7 on the stills side, I like the results with vintage lenses, and they have bags of character, and a "snap shot" smaller film format feel.. a real still guy could probably get amazing results, but when I had even a aspc Canon 50d for a while, even with a crappy old canon kit zoom and on full auto, the pics coming out of that thing blew away anything I have been able to get with the Panasonics! Again, I'm no stills expert, but it seems you have to be a pretty serious photo guy to pull amazing images out of the Panasonics.. love them for video, apart from the motion.. can work around the colour.. but for stills - I would almost reach for my el cheapo $100 Samsung Galaxy J1 phone! MFT stills always just seem congested within the frame somehow for me.. the can't touch even the aspc Canon's for my tastes! I love the look of medium format stills even more
Tons of options for stills, built in intevalvometer.. good burst rates etc - all the stills features, but no where near the Canon's etc for me!
Sure the Panasonic can take ok photos, but all the photo's that make me say wow, and look like you could reach into the frame have usually been on a 5d or medium format cam.. never really seen an MFT still that really wowed me! Again, I am not a huge stills shooter in any way, just my two cents worth

GX7 with Minolta 28mm

GF1 with Olympus 25 2.8 4/3

 
Samsung Galaxy J1 smartphone

I have a GX8, not a GX85, and the sensors are different of course, but I found that when I moved from a Nikon D810 and two D5200's my photography keeper rate improved dramatically. This is because the stabilisation of the GX8 body and OIS lenses is so good, camera shake at low shutter speeds became a thing of the past.
Also the Panny autofocus and face tracking is so good that it helped improve keeper rate too. I do photojournalism so having good AF really helps in catching the image quickly and accurately. When I realised that no-one wanted the huge images that the 810 delivers, it was time to switch to the Panny.
Although OIS lenses with AF are great, I prefer the more "organic" approach to photography with manual lenses (when time allows) so my go to lens is now the Voit 25mm f/0.95. The inbody stabilisation of the GX8 really helps when using the Voit. I am sure that the GX85 with vintage lenses would be just as good, if not better.

I have a GX8, not a GX85, and the sensors are different of course, but I found that when I moved from a Nikon D810 and two D5200's my photography keeper rate improved dramatically. This is because the stabilisation of the GX8 body and OIS lenses is so good, camera shake at low shutter speeds became a thing of the past.
Also the Panny autofocus and face tracking is so good that it helped improve keeper rate too. I do photojournalism so having good AF really helps in catching the image quickly and accurately. When I realised that no-one wanted the huge images that the 810 delivers, it was time to switch to the Panny.
Although OIS lenses with AF are great, I prefer the more "organic" approach to photography with manual lenses (when time allows) so my go to lens is now the Voit 25mm f/0.95. The inbody stabilisation of the GX8 really helps when using the Voit. I am sure that the GX85 with vintage lenses would be just as good, if not better.

Finally, It was long and painful but I made it after 2 years of work. Here is my Miami video. Enjoy


Unlike cities such as New York, Paris or Dubai, no one ever did a real hyperlapse video of Miami so I had to fix this.

I started this project 2 years ago with hyperlapse experimentation. My first attempts were very bad and most sequence went to the trash bin. It took me a while to capture the hyperlapse sequence correctly (must be very very accurate) and then do the post-stabiliation frame by frame.
Hyperlapse is very time consuming. In average, one second of video takes 1 or 2 hours of work and I don't even count the failed attempts (either I fucked up, light was wrong or something/someone messed with my sequence on site).


Techniques:

The video is 75% hyperlapse, 5% timelapse and 20% drone and aerial (rented plane and helicopter). I had a massive volume of video and photo (RAW of course) and I only used the tip of the iceberg.
I failed many times during my learning process but I now master the most complex type of sequence such as HDR Hyperlapse of Holy Grail Hyperlapse.


Gears and software:

Here is what I used:

► Hardware:
- DJI Phantom 3 Pro with Mars Lite & Mayday Board
- TBS Discovery Pro with custom GoPro 4 lens
- Polar Pro Filters
- Dynamic Perception Stage One & Stage R with NMX controller
- Panasonic GH4, Lumix 12-35 f/2.8, Canon FD 50mm f/1.4 and custom made gimbal (Alexmos)
- Canon 6D, Samyang 14mm f/2.8, Sigma 24 & 35mm f/1.4 Art, Canon EF 50 f/1.4, Canon EF 24-105mm f/4L,
- Cessna 172 & Bell-206

► Software:
- Adobe Premiere & After Effects
- Adobe Lightroom
- LRTimelapse 4
- SNS-HDR Pro


How many pictures ?

Honestly I have no idea of the number of pictures taken and I find this point completely irrelevant. The number of shots and TB of hard drive is not a good metric and does not give any indication regarding the quality of the final video.
What I can tell is that I finally achieved a good ratio of shooting attempts / keeper sequence. When I started hyperlapse I had to discard 80% of my sequence, now I can keep 70-80% of my clips.
I also have a lot of unused sequence that I shot but didn't make it to the final video. I prefer to squeeze the best out of my project and not fall into the trap of "clips stacking" for the sake of it. This video is already long with its 4 minutes duration.


Aerial Shots & Safety

I used a DJI Phantom 3 Pro for the aerial shots along with a TBS Discovery Pro fitted with a GoPro 4 black. I modded the lens in order to get a longer focal. Some shots were taken from airplane (C-172) and I also rented a Helicopter (Bell-206).
In terms of safety, the drone shots were line of sight only and below 400 feet following the AMA & FAA guidlines. 90% of the drone flight occurred over the water even if it's not visible because of the framing. For the remaining 10%, I flew over parks and empty area with the Phantom. I follow a precise scouting of the place before each flight and perform a thorough checklist.
And because shit happens, I also installed a Mars Lite parachute with a North UAV Mayday board (special thanks to Kyle) on the Phantom in order to prevent any damage/injury is something goes wrong.
Last, I had to notify the airport manager in some places before my flights and I stayed away from Class B airspace of Miami (I couldn't get clearance despite my request).

Special Thanks and Credits:

► Intro & Opening tittle by michaelcparadise.com/

► Music: Daft Punk - Derezzed (The Glitch Mob Remix)
theglitchmob.com/
facebook.com/theglitchmobmusic
instagram.com/theglitchmob/
twitter.com/theglitchmob
soundcloud.com/theglitchmob

► Special thanks:
It would be hard to detail the list of all the people involved in this video but here are the main one who inspired or helped me to make this project: Artem Pryadko / Zweizwei, Aaron Priest, Dimid, Gunther creator of LRTimelapse, Jeff Colhoun, Jay Burlage & Dynamic Perception, Marco from Timelapse Network, Team BlackSheep, Aufmschlau, b-zOOmi, Keith Loutit, Dustin Farrell, Rob Whitworth, Dominic Boudreault, Michelle, Guille, Mariana, etc.

You can also follow me at:
facebook.com/Oliver-KMIA-1622032868057530
instagram.com/oliverkmia/
twitter.com/OliverKMIA
Some behind the scene photo




 

Any camera, really.

Ran across this beaut shot on the gh2 just a few months ago. I was reeally surprised to hear it was after I watched it

Wow. Powerful film.
Just shows that the GH2 is still a great camera in the right hands.

Yeah man, I was really loving the the dailies that I was seeing. Can't wait to get into grading them. I wish the mark ii was cheaper but having a NX1 for slow mo I think I could be fine with a C100.

I use a GX8 daily for commercial photography and video and have never once encountered shutter shock.
In fact I cannot remember taking a photo with camera shake or that is out of focus when using the 12-35 f/2.8.
I now use a Voigt 25mm f/0.95 as my main lens so that takes more care (I much prefer manual lenses and love this Voigt), but I remain hugely impressed by this camera (I dumped my Nikon D810 and pro glass for it).
The two factors that have elevated it for me are :
Using the Voigt lens for photography. The still images are very close to Leica quality. Using a Ninja Star for video. the images look awesome and are very gradeable.

Haven't shot colour charts yet.. might start.. probably a good idea to start doing this - always nice to have great colour straight out of the cam though - my idea of the perfect grade is the one that you barely have to touch, ha!
 

I have a tiny personal anecdote about the importance of 4K. I do a lot of food cinematography for a company that does video recipes, cookbooks etc. Their output is mainly online, on social media and the home pages of food companies.
We've been shooting 90% on BMCC in prores 1080p. On one production we had to knock out a large amount of videos in a short time, so I rigged an RX10 MK2 to the ceiling of the studio to get us an overhead look of the process, giving me two angles simultaneously. I suggested the producer I'd shoot in 4k to give him room to crop the image in post. He laughed and told me even 1080p gives plenty leeway for what they do - they delivered in 720p, and in the case of instagram, 640xsomething.
I've yet to have a client ask for 4K. I figure it'll be at least a few years before it'll be the norm or a requirement.
And if you're talking about a fixed price point, the choice often comes between 4K or other attributes like raw/Dynamic range. I'll take the raw and DR over 4K anytime.