Matt Holder

50 minutes ago, jase said:

In my opinion, the Noktons are far away of being too hard to use, see for example this project, which I shot 100% with the Nokton 25 (although not wide open, mostly arround f2-f4):

Would I do this trip again in the same constellation? Nope, I would rely more on AF for those spotaneous situation, where time does matter.

 

The 25 / .095 is my favourite lens - although for practicality I almost always have the 12-35 and 35-100 lenses on my GH4. Every time i use the 25 i just want to lick the screen - it looks so good - and i could recognise the look in your excellent little video.

Using 1 focal length and lens delvers a really nice consistent look. 

You did a great job of keeping the jitters out of a lot of shots -considering how hard this lens is to use handheld - i always have at least a monopod on mine- the pana 12-35 works great handheld though

Funnily enough the voigt focuses backwards compared to my panas. I usually stop it down to at least 1.2 unless i am in a desperate low light situation. 

Weirdly enough i find it easier to get focus below f2 on this lens as the extra depth of field blur allows me to locate my sharps / focal plane more easily. Its ironic actually... i have got into trouble shooting at f5 on my 7-14 Oly because its hard to pick if you have just missed critical focus slightly.  

The Voigt 25/ .095 lens is going to SHINE on my GH5 though, and see a  lot more use- the IBIS is going to be a godsend! 

14 minutes ago, Fritz Pierre said:

OK...let me create a shitstorm...all this crap about color science is fucking exhausting...so I'll say....in a camera choice, for me, I prefer Panasonic as more color accurate...I don't want a camera or a computer or a fucking iPhone to create colors that are NOT in front of me and make me think what an incredible photographer I am...it's an easy cheat IMO...I prefer to start with an accurate WB and have a colorist do what I need....in post....to suit the storyline or the mood I'm attempting to create...that's all I want from a camera...an unvarnished image of what is in front of me...for me, the rest comes from post....very little is really ever created by zooming in 400% on still image on a desktop and finding flaws in images.... on the other hand a lot of beautiful work is created by people with imagination on deeply flawed cameras...and reading between the lines, I love this camera....warts and all....

THANK GOD SOMEBODY SAID IT!  I have been using my GH4 commercially since it came out - it is one of the pillars of my business.  I can tell you for a fact that paying clients

notice (in approximateorder of importance)

- engaging content, good sound , lighting,dynamic range  , saturation and contrast pop, resolution/ definition (often they want less if its a more mature female talking head) and then waaaay down the list is accurate skin tones

I actually SLIGHTLY prefer the Canon look over panasonic but have been more than happy with Panasonic's colors.

You can waste a lot of productive time grading - my advice to being productive is to get a nice look in camera and get on with the process of refining your story - do a basic cut and paste grade at the end if you REALLY think its necessary. Deliver the project to your client and get on with your next project.

I am not as strict on color accuracy and don't mind a look - mostly because it is part of our job to take viewers on a journey. 

Does ANYBODY have a proper comparison video up yet?

What about a direct split screen comparison between the 10bit and 8bit mode? And does 10bit make a difference in the grade?

Aside from Neumann all the coverage this time has been total lightweight fluff. Really lazy. Quickly punted out, to collect hits. I honestly don't think any of the testers have put more than 5 minutes of work per video into what they have done. Can't find anything comprehensive at all.

They really should have given me a camera, the retards 

I have to agree with your sentiments here - however Griffin Hammond's work was fantastic  - it was great to see a complete production done in low light with such a great look.

I reckon your gh3 and Gh4 guides helped sell a lot of ghs in the past- I am really surprised you didn't get a GH5 - much  of the GH5 content posted has certainly been very amateurish.

Shallow depth of field was a winner with 96fps on the GH4 -

it seems like the lack of required sharp detail encoding allowed the sub optimal bit rate to be good enough - plus its softness was good for skin / faces. I used this all the time for handheld dollies / close up product detail shots at 12mm / f2.8 Panny is 25-35  or  25/ F .095 and never got called out for image softness by any of my clients.

Philip Bloom had a great shot in slomo of a young girls face close up with the GH4 / 25 voigtlander combo  that he used in his CNN series. Its one of my favourite shots of his ever.

I suspect the same approach will work wonders with the 180 fps mode.

A tip of the Hat to you Andrew!

I am a professional video producer and have historically found my business benefits most from focus on story - grading / color has been down on my list of priorities in terms of what my clients notice and pay me for. I have seen a lot of my colleagues get bogged down in grading to the detriment of their delivery schedules.

However This workflow is so easy and fast and the results so powerful that I simply cant ignore it.

Indeed I am noticing dramatic results using the LUTS. Especially highlight roll off and color pop - I have always been a fan of those deluxe reds and blues from Canon and now I have them. Those popping colours are a matter of taste - i like candy colors so I am stoked. but one can always dial them down to taste.  (Of course I am bracing for the usual online slamming about how my colours are all wrong...) 

I put together a quick and dirty before (in camera using recommended settings) / after  (LUT applied) edit so you can intuitively feel the difference this LUT workflow makes - In my case on GH4 footage - with an Oly 7-14 at f7.1 - shutter speed way up as i don't have a vari ND set up for this lens yet.

Dont discount setting idynamic range to high if you are in a challenging dynamic range situation - i put an example of this at the end of the video. 

export the master file in pro res and tell them you shot it on whatever their favourite camera is. 

If the image is broadcast legal, in focus and has minimal noise you should be fine. i suspect you probably lens your work nicely- which is where so much of the look comes from.

As a Gh4 user i can strongly reccomend going with that and speed boosters for your current lenses.

Being able to script / storyboard a concept - then shoot using beautiful lensing and sound capture - and follow up with editing where you move the viewer through the story in the 4 dimensions of time and space NEVER gets old.  Getting paid to do what you love totally rocks. Its money AND love as far as i am concerned. 

The trick is to have control over the whole process - If you just shoot and hand off your shots then it can be hard to maintain the love. I know a lot of jaded "camera operators" who clock on and clock off with little job ownership.

2 hours ago, MattH said:

Dont expect free speech from Dpreview. I was temporarily banned from posting in the forum. No reasoning given. Presumably because I posted a comment that insulted the week mind of one of the mods.

You mean "weak" mind

1 hour ago, Andrew Reid said:

I am just a guy with an independent voice in the world of camera reviews without cozy ties to PR people from the manufacturers, without ads splattered all over the screen, without sponsors on my every video, yet still I find EOSHD mired in a world of cut throat rivalry. Only very occasionally like in the beginning with DPReview have I been given a leg up in this industry and even then it only takes one person like Barney to massacre that relationship too. The other blogs like NoFilmSchool, Cinema5D and NewsShooter spend 10's maybe even 100's of thousands of dollars trying to punt my homebrew EOSHD site into oblivion and I just find the whole thing utterly distasteful. Rather than offering a new talent an opportunity they instead I am treated like just another commercial rival to be beaten.

In the end it is up to you guys to choose what you want. The managed platform of platitudes and advertorial, or the honest opinions and educational books of an artist/filmmaker.

May the best guy win.

There is so much advertorial especially on nofilmschool and cinema5d. As a working professional keeping my eye on the horizon I find eoshd to be refreshingly original. The pixel peeping in the forums is something I choose to avoid but I do enjoy your  article writing and perspective- and the minimal rig phobic approach.

i have suggested it before-perhaps v logs using your lensing would be a quicker and more impactful vehicle for eoshd?

After all we are all passionate about imaging and sound- perhaps that should be our main form of communication- video production! If you get everything in camera you can turn content around Fast!

Some food for thought?

at the same time we would weed out the pixel peepers who never actually produce any content other than whinge about getting an extra third of  a stop of dynamic range or endless pointless speculation about what features the next model should have.

Sign me up for the Gh5 even if  IBIS is all they bring to the table.

Right now with my current gear  - Gh4 and Olympus 7-14, Panasonic 12-35 and 35 - 100 - and the venerable Voigtlander 25  - Sliders, steadicams, panasonic's AMAZING native codec (it really is under rated) and the turbo editing speed of FCPX ..

-I reckon i could be QUICKLY creating great content for the next 5 years without any need of an update. 

Its nice to have too many stories to tell, a ton of forward bookings from clients and no new gear acquisition syndrome! 

12 hours ago, Michael Coffee said:

Hey 4kfan - great looking video - nice sound - not sure about the slo mo in the middle

I reckon it looks great for sure! Well done!

Image quality and IBIS looks good from the camera for that Belt video

The audio was pretty off except for  some of the ambient / tool noises

With a piece like this the audio drives the piece and brings the viewer in - for your next video try and get a lav or a shotgun in close to really get the timbre  and bass of your subject's voice - it will be a pain to sync up (or not if you dont button off during the interview)  - but that's why we pay extra for Gh4 4s with audio inputs (works great with the Rode Film maker wireless mic system)  - or have a sound guy (my budgets usually dont allow for this luxury but its so good when the budget is there)

There is some good free production  music you can download on youtube  -the background soundtrack was pretty jarring in parts...

 I made ALL these mistakes (and more)  too back in the day - if you can learn from each video you do you will get to where you want to be much more rapidly.

if you want to save some money and have a more versatile set up - a simple monopod is your solution -( you are welcome!)

try using correct shutter speeds which allow motion blur to smooth the transition from each frame.  You should stick to the 180 degree rule or shutter speed = double your frame rate. Shooting at 75fps / 1/320 is not going to help you. 

I like the fact that we are here to support each other but sometimes I wonder how so many "film makers"  have invested in all the gear but not understand the fundamental underlying basics of film / video.

if your camera is really moving around  and you want to smooth out the motion you can go to shutter speed = frame rate  - a neat trick that really helps smooth out video - but gives you some excessive motion blur. 

My Imac FCPX  edits GH4 4k like its 1080p - natively and like butter.  

I put some A7s II 4k footage in there and it was stall city - no creative flow on the timeline - i hated it! Seriously bad implications for workflow, productivity and client turn around.

Tip of the hat to Panasonic for an awesome easy to edit 4k codec.

i am sure transcoding would sort the A7s footage out but its a pain...

First up I HATE Jitters - I have seen demos from operators who call themselves "Cinematographers" that are filled with lazy handheld jitter shots (usually wide open on a 25 - 50mm lens)  - So anything to get ride of them is good.

Secondly I really dislike unmotivated camera movement - slides just because you can etc etc I understand how handheld has a limited place because you are going for a "being there" dramatic feeling or a POV look.

Handheld in Run and Gun docos is OK where you are in an uncontrolled environment - The monopod gives you the handheld look without the jitters - I can go monopod free as I use an IS 12-35mm set up - but the monopod keeps the framing more considered and accurate. 

Each to their own i suppose - personally i found the shoulder rigs limited my style as they are terrible once you start walking - they transfer motion from shoulders (and your hips going with the tripod waist mount set up) - I have had so much footage from "traditional camera operators" who think its ok to walk with a camera on their shoulders - it totally ruins the shot. With the monopod i can use it as a semi steadicam and get a floaty shot if i have to start taking steps (in the absence of a controlled steadicam shot - which I will use if there is some control over the shooting situation (i usually have a separate dedicated gh3/ steadicam ready to go for these shots leaning up on a wall nearby)

Also Not a huge fan of gimbals as they tend to have robotic corrections in the movement - Surely I am not the only person to notice this? 

A balanced small steadicam  has a much more organic movement and is much easier on the body to operate. 

So i guess i am just warning some operators looking to find a functional solution that shoulder rigs aren't necessarily the answer to everything - and in many cases are more limited that they are promoted to be. The monopod has proven itself to pack a real punch in the simplicity / productivity stakes.

Looks and presentation on set will become increasingly important as clients  become more "executive"- (this is a natural part of your evolution as a video producer and business operator)  I dearly love my GH4  (especially the liberating small footprint) and have rigged it up a little bit  - more for client impression than functional reasons ( The basic matte box / flag / rails  trick works wonders) - Most clients just dont understand how sweet the little GH4 with good lenses performs and will judge the size of the camera. With the matte box on there I don't get asked why I am not shooting on a proper video camera !

I do respect that this may not be the case on narrative shoots or low budget production when you just need to achieve the result you need with limited resources. Sorry about the disrespectful "looks ridiculous" comment! 

Why not just use a monopod? Easy, cheap, low profile, effective, doesn't look ridiculous. 

The voigtlanders really do transform M43 to deliver a dreamy look - especially the 25 / .095

here are my shots with a GH4.  

The GX80 would be a mean low light low profile combo with this lens - I tried the combo in store (i didnt purchase a gX80 as I am waiting on the GH5) and THE IBIS was awesome with the NON IS VOIGT 25

Thanks Tupp for the tip - I am going to check it out- seems like a pretty low risk order to me!

Here is a suggestion,

I am so sick of seeing long rambling youtube videos that have undisciplined scripting, editing and presentation that take 10 minutes to deliver a 2 minute message.

Often transferring no real info (unboxing videos anyone?) of knowledge

Video is what we are all fluent in - maybe that is the medium that should be pursued

If we claim to be the masters of (or at least pursuing)  the execution of elegantly produced video messages into the minds of viewers

Then

Perhaps

Most of your blog posts should actually be produced videos.

(with a smaller amount of supporting text)

That way you get to do what you love. And make some more abstract as well as factual content.

And we encourage community participation in this format - with the odd video challenge thrown in.

All of my instagram posts are now 90%  videos because I am a video producer and it made sense for me to back myself by working in sound and moving pictures.

I have a gh4 and all my lenses (all native and blessedly compact m43s) have variable NDS that can be easily removed.

I am chasing a simplified mattebox WITHOUT the need to drop in filters / nds etc - effectively just the ability to flag / shade light (especially backlit stuff) and reflections coming into the lens.

While still having easy access to the variable nd rotation

 Does anyone out ther have any experience with a simple solution to this? 

Cheers!

My workflow uses Apple motion, pfmatchit for 3D motion tracking with exports to Apple motion for virtual cameras where I can create 3D lit textured text, mocha and fcpx- I can do everything you do in Adobe in about half the time.

maybe less. 

Interesting to see the tide has shifted in Favour of FCP X - or at least away from the fear mongering that you would hear.

not long ago there would be a massive outcry of FCPX not professional. Its is seriously fast and works in harmony with the Apple hardware (thats half the secret - hardware / software symbiotic design)

I spent years working FAST but having to defend my FCP X choice. FCP X is rock solid stable - i get maybe 1 crash a month and a restart fixes it - I have NEVER lost work due to the constant save function.

On the Gh4 you can use ex tele in 1080p/60. I use it alot in events where i might need the slo mo option but want sound. I use 100mb / 60p and it looks great.

But not in variable frame rate 1080/ 96 p. (which is also silent).

Hi Guys - I have worked with Levi (back when HD was AMAZING) and he is one of the great Athletes in windsurfing.

I know action sports are a little bit generic these days but his latest clip is pretty special  - 

I do see the need to head in different directions for fresh promo material - having said that shooting windsurfing is one of the hardest gigs I have done to stay on top of focus and exposure. A really good showcase for testing the dynamics of a camera.

And you do get exposed to some sensational colors.

Bit of a leak for sure - but the fact that people are interested is a great sign for Canon. I love the full frame look (which I can nearly get anyway on my voigt 25 / GH4 combo)

As a GH4 lover / addict / user  I really wish it was a Panasonic GH5 leak... Panny - time to start leaking!!

Edelkrone camera support gear was pretty amazing!

Not many people will love the gh4 as much as me. But I agree on the sharpness vs skin tones. A slight Gaussian blur filter can sort this out and get that organic soft canon 5d skinn flattering look. Or light a touch more flat. Or use 96 fps 1080 if no dialogue required.