JazzBox

A few folks here have stated that this is a common practice, but that really is not the truth.
 
Think about it:  if productions (large and small) intended to loop dialog, then why would they hire a pro sound mixer (with a cart full of expensive gear) and a pro boom operator and why have the mixer also wire up the actors with lavs?  Check BTS vids/articles of your favorite movie scenes with dialog -- I'll bet there is a pro mixer and boom operator.
 
The only time that I ever was on a set in which the dialog was intentionally looped for the entire project was on an Indian feature back in the film days.  They had to ADR as they commonly used a less expensive MOS camera (in this case Arri IIC that sounded sort of like a rice thresher).
 
Looping is avoided like the plague.

@JazzBox
You seem to be teetering between looping your entire series and recording live sound only on parts of the shoot.  There are good reasons why 99.99% of narrative productions record sound on set, and why ADR is avoided like the plague.
 
One might anticipate that ADR is fun and easy with a Mac and a mic and gizmos, but be assured that any anticipation/novelty regarding overdubbing will wear off rather quickly in the first 30 minutes of the first session.   Looping is plodding, painstaking work.  For example, if you want to avoid wasting time with actors repeatedly missing sync, you need to cue them with three beeps, as demonstrated in this video:
 
You have to do that for each and every line that you loop.  Even with the beep cues, there will be multiple takes.  Imagine doing that for your entire series.
 
It sounds like you have a nice Zoom recorder and also lav mics and a shot gun mic (you can use both at the same time).  By the way, shotgun mics are used successfully outdoors all the time in all kinds of noisy, crowded and windy environments, which is why we have the Chewbacca cock:

 
Again, audio is a full 1/2 of your production.  Don't just hand the boom to your brother-in-law.  If you are not familiar with audio on narrative productions, I implore you to hire/consult an experienced film sound professional.

All my wide moving shots on the Pandora movie I just shot I did with the Panasonic 14mm at f2.5 or the Olympus 17mm at 2.8 I don't do moving shots on longer lenses as the focus can be a nightmare
All those steady cam shots on Birdman were done on 14mm and 18mm lenses

I wrote here, since it is something that could be helpful for 99.9% of the people here: "Dear Andy" is because I think he's the best one to talk about Panasonic cameras and all the users should be happy to read what he has to say about.  
I work with those cameras and I have some great results, but I mostly shot music videos. He use them for features, where the look is less stilized then in a 3 minutes music video.

Maybe his experience and his answers are something everyone could benefit. 

But of course, it is my opinion. And of course, everyone has other answers is more then welcome. No "private chat" here, just the right recognition of authority to the people that boost my way of working. 

Remember that if it not was for him and Andrew I (and all the EOSHD users) would still shot videos with Canon 7D, complaining that Canon should give us a better codec, 4K, slow motion...

I have a couple of SmartLav+ for interview, they sounds okish, not bad for interviews, but not great for narrative... 
I probably have to use some pencils indoor and ADR for outdoor, since I cannot afford to buy more things now, I've just bought a G7 + batteries etc... 

Shotgun outside could be suicidal. Especially in crowded environments. Too many people watching, too much of ambient noise, a Very Attention grabbing piece of equipment, (maybe) not enough background noise isolation, and the whole thing sounds like a disaster just waiting to happen.

Lapel Mics with the Rode InvisiLav sounds like a great idea (within clothing, and little closer than you would usually place them). Do a sound test (technical recee)before you do the final shoot. 

Yeah I guess. Andy has the most hands-on experience with the G7, under various lighting and shooting conditions. So, I guess, it's good for everyone to learn.

My saying that was merely like soliloquy. And, I agree with that bit about recording sound in the field instead of ADR (lapel mics on the talent's chest, inside clothing could be a great idea). You can still get reasonably good sound (though a little cleaning might be required to prevent it sounding like a documentary, due to some background noise the mic with pickup). 

I wrote here, since it is something that could be helpful for 99.9% of the people here: "Dear Andy" is because I think he's the best one to talk about Panasonic cameras and all the users should be happy to read what he has to say about.  
I work with those cameras and I have some great results, but I mostly shot music videos. He use them for features, where the look is less stilized then in a 3 minutes music video.

Maybe his experience and his answers are something everyone could benefit. 

But of course, it is my opinion. And of course, everyone has other answers is more then welcome. No "private chat" here, just the right recognition of authority to the people that boost my way of working. 

Remember that if it not was for him and Andrew I (and all the EOSHD users) would still shot videos with Canon 7D, complaining that Canon should give us a better codec, 4K, slow motion...

I wrote here, since it is something that could be helpful for 99.9% of the people here: "Dear Andy" is because I think he's the best one to talk about Panasonic cameras and all the users should be happy to read what he has to say about.  
I work with those cameras and I have some great results, but I mostly shot music videos. He use them for features, where the look is less stilized then in a 3 minutes music video.

Maybe his experience and his answers are something everyone could benefit. 

But of course, it is my opinion. And of course, everyone has other answers is more then welcome. No "private chat" here, just the right recognition of authority to the people that boost my way of working. 

Remember that if it not was for him and Andrew I (and all the EOSHD users) would still shot videos with Canon 7D, complaining that Canon should give us a better codec, 4K, slow motion...

use the 25 and 28 for your wides 35 for the mids and 70 for the close ups  and if you need to go really wide use the olympus 
lighting is subjective and as im not there to see how you do it I cant really help much , use your eye , dont get bogged down with meters , look at the screen , if it looks good...it is good !! one thing i do alot is take frame grabs from films Ilike on my tab and look at them on set to match the lighting to the frame I like from a movie

Thank you very much for your precious tips!

I have to do that! 30 degrees rule for framing mid and head?
I was worried I had not a Metabones for larger shot (so planning to use the Olympus 12-40 for that kind of work), but a mid at 35 is certainly something I can easily achieve  

How to light the set for f/2? It means having the "right" exposure (white on the histogram) at f/2 and then underexposing 2 or 3 stops?
Sorry for the dumb question, but I always try to shoot at the lowest ISO with 1/50  

Tiffen for ND on the mattebox is ok? 

Huge huge huge thanks Andy!!
We are going to shoot in Naples, a city full of noises. 
I have a little recording studio full of mics, preamps etc... so I can do that at no costs apart my time. I also have a "travel kit" with a Mac, an Apollo Twin soundcard, a nice mic an a reflexion filter, so I can go directly to actor's places to record them after the editing (I live 400 km from Naples).

Of course It could sound "fake"... but I'm scared of recording on the set, because all I have is a Zoom H5 and a couple of cheap pencil microphones. 
The Rode NTG4 (or NTG 2, the two mics I could afford) is ok for outdoor but not for indoor recording. 
The Zoom H5 preamp is quite noisy... so I think I could have a better chance with ADR: all actors are professionals, I think that they could do that.... 
Especially because one of the characters is an "object", not an human, so I have to ADR anyway for this character. 

 

Sorry to butt-in, but looping all of the dialog for your web series might not be such a great idea.   You shouldn't really need to do so, unless there is some constant, uncontrollable, overbearing noise on set.
 
It takes a lot more time and additional resources for all of that overdubbing than it does to merely get the audio right when shooting.  If you are paying your actors, looping your entire show could add 25% in cast expenditure. Add to that the cost of time and kit rental (and recording booth) of the post sound person.  Plus, your director has to work the entire ADR session.
 
Furthermore, there will likely be moments at which the overdub will sound/look fake.
 
With the the many excellent, inexpensive audio recorders out there, one can easily obtain nice, clean, genuine dialog sound on set.    Your BM Video assist might make a nice audio recorder.  In addition, using one of the recent NLE audio sync plug-ins makes it almost effortless to get that separate sound placed precisely on the timeline.
 
Audio is 1/2 of your show.  If you are not knowledgeable and experienced with audio, it might be wise to hire a separate audio professional to handle that department.
 
 

0-255 all my cameras are set to this
I would use both the G7 and GH4 and shoot 2 cameras all the time shoot a mid at 35mm and a tight head shot at 70mm at the same time .

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor .
I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode )
Natural profile saturation -5 contrast -5
dont go over 800 iso
light your sets for about f2.8 or f2 max
G7 focus assis is great it has 2 settings I use H
I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance
yes use the internal camera audio as I guide track and ADR it all in post
All the above is how I shot the feature film Pandora

@mercer Hey man, this is some beautiful footage, great feeling for light and shapes. Loving how you start and end with the tilt. Some great tones, some of the out of focus areas
look like from a painting. Nice concept and effective use of tripod moves. Great job, not easy showing the beauty of foliage and trees. Some parts with the branches look
again like from a painting of one of the greats of landscape painting like C.D.Friedrich.
The girl is a woman and would spank Bobby´s tush if he would say "This is this and that is that".:)
Hey man, I remember your musicvideo you did with FDs. You were another ambassador making me consider the FDs in combination with the G6.
Was a good choice listening to you guys!:)
cheers

Great! I really like your video!
G6 + Canon FD was also my first step in mirrorless world (thanks to Andrew and Andy) and I started to have far better  results than with Canon DSLR.
All the best!

Hallo video afficiandos!
 
I recently read about @Inazuma´s and @John Matthews´ A3G3 for the GX80 and GX7 in the GX80 thread and @jase´ examples as well. I did some
filming with this and another setting about three weeks ago.
I´m kind of a Panny fan and have been enjoying the great value I´m getting out of my G6 I bought about a year ago.
It was my first step into digital.
 
So when I bought my Panny G6 last April due to bushman films and Andy Lee on Andrew´s forum, I had high expectations.
I was exited about the nice HD footage the G6 let me shoot. Bought an editing machine with a 2nd generatoin I7 2600K- great
value for starters one year ago. Now of the sudden I had this digi tech at my hands coming from SVHS-C camcorders
when I was a teen. Just that Panasonic colors didn´t seem that awesome to me, rather just okay.
 
Last fall I got my hands onto Davinci and a GTX970 and got myself started into the joys of messing around with video color.
The G6 held a few surprises for me. I´m surprised by the color "hidden" in that 24mbps 24p codec and even the 28mbps for 50p.
 
A friend of mine wanted me to test some slomo, if codec would hold up for 50p, if she could use Panny Slomo for a kind of a Ballhaus effect for her project.
So there is no plotline here. All handheld, with a 28mm FD, WB at 7000K with A3G3 and some A3M9, harsh sun at 4-6pm.
Some hoolahoop parts are shot in Extele and the closest framing is an additional larger percentage zoomed in with Davinci.
So now I would like to share my share I got out of the Panasonic colors. 
 
 

Im using Gini rigs cages and follow focus         www,ginirigs.net , have a look they make superb parts you can custom make your rig from

Good for you Ebrahim on confessing. I just want to say that since you're part of this community ,if you were in a tough spot and needed some help we would've done whatever possible to help you out. I know that we could've gathered a group to donate. Same goes to anyone in the future. If you can prove the situation to be real.

Hey guys
First of all, really sorry for what has happened here. I'm still catching up on things, as I am literally in the middle of nowhere shooting in Italy.
I am going to investigate at my end and be of any assistance the best I can.
RedUser, DVXUser, perhaps we can all get together and share evidence.
I'll return with a more detailed reply later.
Cheers - Andrew
I have access to Ebrahim's entire forum activity including PM inbox / sent items.

Not to be a debbie downer....but his idea of downsampling pixels at 4k makes no sense.
And also as someone else said....
Ettr only works probably at 12bit 4444 at least
Dont quote me on that
But ettr at 420 8bit h.264 is going to have noisy highlights and shadows
 
This is why i no longer shoot slog2 on a7s and heavan forbide slog3 which is an even more agressive curve.
Take it all w a grain of salt. All of it.
Do your own tests.
All pro dps do tests before they shoot a feature or commercial.
Always have.
We all need to be scientific.
I know we all dont have the money to buy gear but there are professional sites w more scientific tests by working dps as i said.
Cml is your best friend as an inspiring dp

The only problem with lighting is having lights. Well, knowing how to choose 'em and use 'em helps. I see so many posts from newbies trying to figure out which LED to get as their first light, and man... get on eBay and grab a couple used fresnels and a couple used open-faced lights, some bounce and some scrims. If you need daylight, you can usually get about 3x the power from biax flos than the same expense of LED. Look at Roger Deakins' forum - the amount of amazing work he's done with a couple redheads and a fresnel is amazing. And his rigs of porcelain sockets and household light bulbs. Sure, he's done plenty of work with banks of 4K HMIs and generator trucks, but the guy is a master-class in "use what works".

ps I always keep the g7 at 800 iso or under , I shot 80% of the Pandora movie at 800 iso and I went down to 640 for the rest of it , this film is mainly all shot at night there are no day scenes in the movie at all , so the G7 let me shoot in the low light 3 or 4 stops under exposed that I like to work at to get the look I use.
So light your set for 800 iso , if you start going to 3200 etc and higher you will get noise ! thats life!! so use the camera in its sweet spot 800 and under .

You're right!
When I have time to set up the camera I prefer the ProRes 10 bit from the BlackMagic Micro Cinema, I love the BlackMagic codec, but normally for quick gig I use the GH4 that is far more easy for my taste: changing WB, ISO, Shutter Speed etc.. it's super fast, while on the BM it's quite slow.

With GH4 I started with Cine-D, but after some times I went for the Natural profile. I'd like to buy the G7 in order to have a nice little camera that could become the B camera when GH5 will arrive. 

Probably I never noticed that noise because normally I use a lots of light. I'll put more attention to lights next time!
I tried it and I loved it! A friend of mine has it and it is a great camera, even in 1080p!

Exellent statement. I think it is a pity that lighting sometimes is one of the most scaring aspects. It´s not scary at all though, it´s just scaring the heck out of us ambitious video lovers some times for no good reason. But it really is not such a big deal, if one has the chance to rent for little money or even buy or DIY.
Or utilizing natural light. It is really worth it for the fun of creating or sculpting an image with light, enjoying the process of creating and the possiblities of images and expressions.