Matt Holder

Very true, actually, when you think about it, unless you are watching camera reviews, or sample gimbal and drone footage, the average viewer could easily never encounter the speed ramp effect. Even the real estate videographers in my area aren't really doing them.  I've gotten countless new clients for big real estate projects that say they want a video just like I did for xyz customer and almost 9/10 times speed ramping was involved.
I do think camera reviewers tend to overuse it but I also think real estate is one of those types of projects that its perfect for. No one wants to see 15s of you walking down a long hallway, or 2min for a drone to dolly into the target property, speed ramping is an elegant way to still show a particular direction without wasting the viewer's time and is less jarring than a jump cut

Its funny because its true.
 
B roll on youtube has become the tail wagging the dog. 
 
Solid acting on that piece by the way.

Its funny because its true.
 
B roll on youtube has become the tail wagging the dog. 
 
Solid acting on that piece by the way.

Did someone take these guys dogs as hostages and force them to do this?
 
They look terrified and awkward.  I love panasonic and shoot gh5 daily - but this as a marketing effort is a bit tone deaf. 
 
 
 
 

My first full run on the gimbal
 
 - yes it is hard to hold focus when moving on an anamorphic adapter! 
 

My first full run on the gimbal
 
 - yes it is hard to hold focus when moving on an anamorphic adapter! 
 

A bit of run and gun at f2 and f2.8 at around 5 ft from the camera (mostly on Near setting) 
 
 

Panasonic NATIVE LENSES MAKE ALL THE DIFFERENCE!!! - The Panasonic 12-35, 12-60 and 35-100 have worked  really nicely with AF since the previous firmware update - I use them on paid shoots in AF when i have a tricky focus (like a slider / dolly push into an object) - it looks like the latest update is even better.  
I have the Oly 7-14 (I love it's field of view for real estate) and DO NOT use the AF with that (luckily its not a fly by wire focus system) as OLYMPUS and Pana firmware dont seem to communicate that well. Its AF is dodgy as - so I would strongly recommend you try this test with a panasonic lens - I think you will be impressed. 

I have looked at the sample videos - and Casey's stuff. IN NO WAY DOES THIS COME CLOSE TO THE RESULTS FROM A GIMBAL!!!  It is pretty impressive stabilisation for sure.
 
But to say it replaces a gimbal is very misleading - the stability approaches perhaps 60% of what a gimbal gives you. (which is impressive - but they are over stating the results)
 
Having said all of that-  I am tempted to get one.

I have looked at the sample videos - and Casey's stuff. IN NO WAY DOES THIS COME CLOSE TO THE RESULTS FROM A GIMBAL!!!  It is pretty impressive stabilisation for sure.
 
But to say it replaces a gimbal is very misleading - the stability approaches perhaps 60% of what a gimbal gives you. (which is impressive - but they are over stating the results)
 
Having said all of that-  I am tempted to get one.

Now THAT was a smoking reel! I felt transported to another place - great art direction, variety and dynamic pacing in the edit.  
 
A tip of the hat to you sir. 
 
Cameras be damned! That could have been shot on anything half decent (except maybe the super slow motion)  - the lighting and concept design trumped everything else. As it always does.
 
 

Now THAT was a smoking reel! I felt transported to another place - great art direction, variety and dynamic pacing in the edit.  
 
A tip of the hat to you sir. 
 
Cameras be damned! That could have been shot on anything half decent (except maybe the super slow motion)  - the lighting and concept design trumped everything else. As it always does.
 
 

Drones are becoming like tripods - its expected that you have one.
 
However...
 
when everyone is doing something its important to pivot. For example - Gimbals - got one, love it - but 90 % of the time my edelkrone slide has more impact and use in the edit. Its more precise but also has a different look to what everyone else is doing. Same with Drones - apart from my industrial progress shoot clients I generally only use them as a real quick intro and outro shot - and the shot has lost so much of its impact due to oversaturation of drone footage from everywhere. 
 
Maybe its time to go back to static shots?  The great news in all of this gear chasing - STORY and engagement are King (as they have always been) - dont expect clients or audiences to be wowwed by your drone footage anymore (like they were back in 2014)  - its just another angle now and the edit had better have a reason to use it.
 
Having said all of that - motion is great for creating 3 dimensionality in shots - and there are great opportunitites to use this for 3d motion capture to embed shots into your flying camera footage.
 
 

im interested in the voigtlander 10.5 too (which gets even wider on the gh5s with the reduced crop factor) - its a lens that is surprisingly un loved on line though. Right now I use the Olympus 7-14 and its great - but it has to be locked down - even on the gh5 / Gx85 the IS does not play well with the super wide angle - i think IBIS and super wide angles dont play well as the lenses are actually really sensitive to making small moves look big (i know its counter intuitive) - the sweet spot for wides on IBIS seems to be around 12-15 mm

Nominated 14 times - finally got one in the bag!
 
Congrats Rog! (not that you needed this kind of validation - your  and your crews work speaks for itself)

Nominated 14 times - finally got one in the bag!
 
Congrats Rog! (not that you needed this kind of validation - your  and your crews work speaks for itself)

Nominated 14 times - finally got one in the bag!
 
Congrats Rog! (not that you needed this kind of validation - your  and your crews work speaks for itself)

Here is some insight to 30% of what I do - event coverage.  
 
 
I also shoot corporates, real estate and weddings (I strictly limit myself to 3 or 4 a year) 
 
 
 

On this one I'm kind of making fun of Instagram. It went crazy viral.
Otherwise, I love doing hyperlapse and drone stuff
 

Coming from the corporate production world - here in Australia - There is a lot more to production crafft than pretty pictures - it is still rare to see producers who can create a tight story that is on brand for clients. Your high maintenance small business operators will go for things like Freelanced at a cheap rate -which is good because it weeds out the "scratchers" from the industry - you know the ones that think their amazing corporate event , product launch video should be shot and edited for $30. 
 
  Those that take pride in their brands are immediately suspicious of cheap quotes - in fact the cheap operators put them off.  Once they have experienced missed coverage, delayed turn arounds, low production value,dodgy sound and inflexible non client centric service the lesson is reinforced. 
 
There are plenty of businesses that have a real communication need and are willing to pay for a fast responsive  operator that anticipates their needs and exceed their expectations. 

use the 12-60 alot - i have the 12-35 too.  
 
The 12-60 is a great event lens where you don't have time to change lenses. The 12-35 is great in the studio or in controlled shooting environments. The voigtlander 25 gives you proper depth of field focus fall off if you need it
 
The reach is great - with etc in 1080p you can get to 240 ff equiv at the snap of a button. SUPER HANDY (dont use etc at high iso thoug or you will be reaching for neat noise reduction)
 
None of these lenses should be used for anything other than a snap zoom. Weird things happen mid zoom Reframe and then hit record - if you need a zoom lens then look at something with a servo on it. 

its pretty hard for me to dislike my Gh5- i mostly use the old 12-35, 35-100 and voigtlander 25. i shoot wide open most of the time with the 12-35 and 35-100. Results are great.
 
High contrast shot- click into vlog, slo mo- one click and your there. need more reach- click on the etc mode. 
 
IS is pretty good on native lenses and ok on non native- handheld work is pretty damn good.
 
i shoot a lot of corporates, CEO s , council mayors, finished building projects, health department comms, a few weddings, sports events. But also shoot for love- pick up and play on GH5 is so easy.
 
Downsides- its small so i have to rig it with a mattebox and top handle/ cage for high end corporates to keep the suits happy.
battery life is a lot shorter than gh4.
all up its an epic offering

its pretty hard for me to dislike my Gh5- i mostly use the old 12-35, 35-100 and voigtlander 25. i shoot wide open most of the time with the 12-35 and 35-100. Results are great.
 
High contrast shot- click into vlog, slo mo- one click and your there. need more reach- click on the etc mode. 
 
IS is pretty good on native lenses and ok on non native- handheld work is pretty damn good.
 
i shoot a lot of corporates, CEO s , council mayors, finished building projects, health department comms, a few weddings, sports events. But also shoot for love- pick up and play on GH5 is so easy.
 
Downsides- its small so i have to rig it with a mattebox and top handle/ cage for high end corporates to keep the suits happy.
battery life is a lot shorter than gh4.
all up its an epic offering

My GH 4 spoiled me with battery run time- looks like the battery grip is a must have. On the upside- The extra mass should polish handheld work even more.

Can anyone give me a tip as to why are we waiting up to a month in Australia  for delivery when the camera has launched in the rest of the world ? (I'm a tad over excited to receive my preorder)