Grimor

Congratulation!!!

Hi,
Wanted to make something new so I worked on this video for several month.
 
Most of the tilt-shift effect is simulated in post (masking in AE), it's not as good as the real out of focus blur created by TL lenses but much more practical than having a huge drone carrying a DSLR camera. I also modded a GoPro lens that was mounted on a custom made drone (TBS Discovery with Pixhawk FC) to get the "native" effect. The inspiration for this project came from Keith Loutit, the god of tilt-shift timelpase.

The lens has very pronounced CA on edges of image due to no blackening on large front optic edge and very thin element and coating. The focusing mechanism is (at least on my copy) a very simplistic locking screw that meant that the body separates the two halves and user can twist, extend or contract the lens for focus, then the locking screw is tightened to keep that distance set. It was never meant for constant adjustment - rather for 'setup and leave' on a projector. The large front element size of the Magnum prohibits its use with current vari-diopter offerings, so is not a very practical lens for filming with...saying that, it could be made to work as a focus-through type lens on a smaller sensor that could have large diopters attached for closeup subjects.
The lens is basically a scaled up version of the 'Palamorphot' or 'Zenascope' type that I think we're all made for or sold by the Widescreen Center London. All share same simplistic focusing method and general image quality. 
Streak flare is a very nice light blue colour, but the mechanical simplistic focus adjustment/ medium to poor image quality (CA on edges) and large size front optic don't really make it practical for filmmaking use IMHO. 

Here is maybe a better view. You can see that over 8 frames there is little to no difference in distance between frames.
You can also see that the blur on the knob on the fence thingie is very charp, way less than 180* of movement you would expect from 1/50ss.

Dirty and not very scientific test.
4k 24fps and 1/50ss. Lens is Leica 12-60mm. With and without Dual Ibis 2.(e-stabilization not used in this test)
Sandisk Extreme Pro 95MB/s.
Almost repeating same movement with the Bescor Pan/tilt head.
Jitter is very noticeable at longer focals lenght.
Now i think IBIS is really awesome with erractic movements, and little shakes (like handheld walking shoot) but not for slow and linear moves like pans.
Probably jitter when panning is due sensor moving in the same direction to the camera pan, trying to compensate, then can´t go further and came to the center, and then to the same direction again and back to the center again. several times per second, and making a worse image.
Hope it help.

How are you viewing these files? While Jon's video is not terribly smooth, it has zero jitter. Can you take a file to another computer? (preferably swapping pc to mac or vice versa and swapping playback resolution and player). Also, try recording at 50p/60p in HD and then conform to half speed. Smooth playback means the original must be smooth too. Also, try play back on a TV with 100Hz+ refresh. 

Wow, this is awesome! EOSHD community supporting one another! Slow pan and quick one, one on fore,-middle- and one on background!
Now I am getting greedy. With IBIS, with DualIS, one without. Hot darn, Grimor, you must be very brave to offer this!:)
Anyhow, would be great as you like. Awesome. Thanks!

Rolling shutter will be vertical.

If you're in a green screen studio, it's perfectly fine. On green screen shoots whatever isn't the person you're filming is cut out anyway, so as long as you put the footage in a 16x9 sequence not a 9x16 you're golden. Only you will know how it was filmed vertical. I'd say go for it, you'll have more flexibility in post too 

This was asked about in another thread but might get lost within it so I'm putting it here in case anyone else needs a solution.
The issue that was asked about is that when these cameras (might affect GH5 too but I don't have one) are under wifi control, the rear screen switches off after about 5 minutes and is there a workaround for it.
Now that I've stepped away from the tapas and had a look at it, the answer is yes there is.
Or, in point of fact, yes there are as there are 2 ways to address it.
1) If you are near the camera, put your thumb over the EVF momentarily (providing you have the correct auto sense LVF mode set) and this will bring the rear display back.
2) Any command it receives over wifi will also wake it up again so press something benign on the main screen of the app like the peaking function etc and this will wake it up.
For a non-intervention method, you'll have to wait for the now almost mythical controller I keep threatening to foist upon you which will have a similarly benign command sent to be used as a keep alive function every 120 seconds or so to stop it going to sleep in the first place.
But until then, 1 or 2 will work for you.

Hey guys,
I've got the opportunity to buy a Ninja Assassin for a crazy price (less than €400 with sunhood), and so I thought borrowing a friends VA would give me good enough files to test with and see if it's worth it. I had it set to ProRes HQ - why not test at maximum ability - and from what I can tell, the VA image looks almost exactly the same as the internal h264 recordings, but is just a little greener. Even with a bit of grading, I can't see any noticeable change. Am I missing something here? I was expecting to see a huge improvement. 
Annoyingly, the LS300 can't record internal 4K 422 AND output 4K through the HDMI - so in a way, I'm stepping down a level right? I understand all the numbers look to be an improvement, but is all that only handy for a heavy grade? If there's not a big difference, isn't it better to record 4K 422 internally, and then get a 1080p proxy form the VA/Ninja to edit with?
One thing I can see the Assassin having over the VA is the ability to record with LUTs baked in, so you have a nice quick turn around, but also have the log footage for later if need be... Anyway, I'm temped to buy it just for that, and it'll be a nice monitor with peaking/histogram etc. etc. but I was really hoping for something a bit more.
Also, I plugged it into my GX80, and again, there's nothing mind blowing about it.
You can check out some raw files here, and let me know if I'm just overlooking something.
https://www.dropbox.com/sh/0yd1ketyuru9jzn/AADSX49l8mwjrzmUhFZlMKj2a?dl=0 (files may still be uploading)
 

I'm currently NOT eating paella 
I'm eating tapas
It does the same on the G7 so I'll look at it when I resume work on Monday
I have an idea that will probably work 

We need more news from @BTM_Pix .
Probably he is eating a "paella" at the beach somewhere on the Spanish Coast

Hey guys,
I just finished coding my new Software to get a preview of all your LUTs on your footage.
It features a still preview, as well as multiple simultaneous video previews, if you wish.
You can try it now over on:
http://www.fatpigtures.com/lutastic.html
The first three guys to contact me via email at info@fatpigtures.com with the subject "EOSHD LUTastic" will get a free full license.
 

Leica 12-60 has a new firmware with improved stabilization and focus. (maybe less jitter?)
http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html
I can do slow pan test with G85 if needed.

Hey, Mat33. Thanks for the post. And yeah I know I am definitely a victim of GAS and I need help. Ha. But seriously, this was the point in getting the GH2. I'll never be a one camera person. There are just too many options. The 5D3 and ML Raw has made me happier than any other purchase I ever made. My first short film is turning out great, I couldn't be happier. In fact, I had a shoot today and got another scene in the can. 
But being a backyard, no budget, hobbyist filmmaker, for me, means a lot of sacrifices. I can't always schedule the actors when it is conventient because they are donating their time, so a couple weeks may go by between shooting days. I am very lucky to have a good paying job with a flexible schedule. So, I have a lot of down time. In that down time is when I get itchy to test another camera and start smaller scaled projects... and that was the point of the GH2. I was looking for a 2nd camera, but everything I've tested since I started using the 5D3 didn't look good to me. So finally I decided that at least I like the stuff I've seen from the GH2. And I wanted the challenge to go back to basics. This stuff is entirely a hobby for me. I'd love to make a short film and get interest from a producer who wants to turn it into a feature, but I'm not 20 years old and I realize that will most likely not happen. So the GH2 will be the hobby camera to my 5D3 hobby. 
But if you want to start a challenge, I'm in. How about a 5 minute short by the end of the year? I'll use the GH2, and you use the GH3. And if anyone else wants to jump in with an equally old, lower specced camera, then they are welcome to.
Oh yeah, and I pledge not to buy another camera until next year... or never.

Try Natural profile and manual White Balance on both cameras. Not identical but nearest images (at less what i'm doing with G85 & GH4).
 

Hey meanwhile,
 
Glad you're interested in getting started with video. Reading this thread I see you're finding about everything at once, and there sure are a multitude of facets when it comes to shooting and editing motion pictures of any kind. And each facet goes deep. My 2 cents: You have to learn some real basics first and reading is only gonna take you so far. Doing is the only way. And to "Do" you need to build yourself some structure into this learning experience. I would stop worrying about cinelikeD and picture profiles and color. That's chapter 6 and you're still on the introduction. You have a camera and you have a computer with some editing software. You need to shoot something, edit it, and show it to an audience. These steps will always be part of the process and trust me you're gonna look back on your first stuff later and have a good laugh so it doesn't mean shit what picture profile you shot it in. 
So what to shoot? Pick anything but having a clear goal will help you get it done and the first rule of filmmaking is "Always finish the film." Traveling somewhere? Make a 3 min film about a place you go. Or better yet, make a 3 min short about your hometown. If you have an interesting shop in town, ask the owner if you can make a video about the shop. 5 min max. Then shoot it and edit it. And post it. Then do it again. A good resource I love: the Vimeo Weekend Challenge group. Every 2 weeks Vimeo staff post a challenge prompt for you to complete over the weekend. Simple stuff, like "Film your Dream from last night" "Make a video consisting of 5 clips of 5 seconds each" These are exercises with defined objectives and are great at building skill. The short time limits are a blessing too because they take less editing time and less shooting space. I see a lot of first time filmmakers start a documentary that ends up being 20 mins long and they get burnt out. No need to do that yet, just start making stuff. As you go you'll realize your sound isn't what you want. And then you move on to tackling sound. Once picture and sound are looking and sounding good you can start tweaking your picture profiles and really getting the look you want. Another easy project can just be a montage of footage to music. You have a lot of grey skies so maybe make a little moody short with grey landscapes and some music you find intriguing. Each project will contain technical lessons to learn, and it'll be easier than trying to learn about all of it theoretically without ever even starting. 
 
So there's how I would start. Looking forward to seeing what you create. 

arriscope are movie lens
iscorama is not
arriflex  and zeiss where pretty crap at anamorphics  for years zeiss  used moller for making anamorphic projection optics
 arrii used a famous super talented designer from denmark jan jacobson for ultrascope system using fast zeiss optics ultrascope where designed as  movie optics
later arri used a couple of folks from zeiss and isco for the arriscope
arri is a massive rental house and maker of millions of metal  parts plus thousands of cameras  they had to work faster than say leica or zeiss.
a movie might be starting in 6 months 10 months sometimes 3 months
so they had to cut corners because of  time issues
isco understand bent glass many issues where engineering related
but like the todays crummy iomo systems modern rebuilds can transform everything
the arri isco  glass is  designed movie glass vintage used on many cinema releases
iscorama maybe amazing and unmatched even today in the sub 10 thousand dollar realm but is was never designed as a  proper movie lens.
it was used on movies like the battle of britain for crash cams and aerial work but kowa 8z was used on crash cameras on many movies in the 1980s even movies like rambo  where he takes on the russians. better blowing up a kowa than a panavision,jdc or technovision 40 thousand dollar optic.
 
iscorama was not used or improved for movie  productions because the movie industry is a tight nit thing probably isco did not think to bribe the correct rabbi in hollyweird at this stage panavision dominated
arriscope ultascope have expensive 1.4 or 1.7 movie optics inside which are worth money alone.
you could use a proskar on a movie today it would not make it a movie lens.
 iscorama is such an abused term now every turd is iscorama
 
vintage anamorphics suffer from imperfect engineering assemblies and even more so, bad strip down and reassembly over the years
arri isco and zeiss the weak link will be arri engineering  instead of leaving that to moller or isco arri built  assembled themselves.
arri camera engineering is superb but you cannot rush  without losing something
as i said arri had very little experience in anamorphot area even though they made test  lens with zeiss isco in the 1950s  always sub contract
arriscope is rare ish as is ultrascope
isco getting a little with all the hipsters dropping them on the floor
 
some of the arriscope ended up in india then faded away rarely rebuilt  the glass is good that is what matters.
a man wanting an easy life will look for an iscorama or the cheaper options
a man with spunk will grab some movie arri optics
 
the new zeiss anamorphics are probably the bigeest leap forward in design since chretien as close to state of the art as it gets  today
vantage hawk are hiring out sets of fake vintage optics which is the opposite of what zeiss is doing hawk are building in the error from the past and charging serious big bucks for a rental
 
 
 
zeiss
arriscope is worth a lot  more than iscorama
i would think a little finger for iscorama
a kidney for the arri
 
 

Schneider ES Cinelux 2x (Custom single focus) | Carl Zeiss Jena Pancolar 50mm F:1.8 | Sony a6300
Some shots with varyND. Early test, needed to learh how to achieve best result with this setup
 
 
DIY-body...
 
 
 

and few stills at Helios 44-2 F:2 and...
 

 
...Carl Zeiss Jena Pancolar 50mm F:1.8


 

I can confirm that EC is the Spanish G80.
Probably @BTM_Pix is the one who can explain what the "service mode" does.

It is basically some additional setup that can be done when the camera is sent in for repair.
The primary useful function for end users is for PAL users to get the additional frame rates by changing the region code.
As far as I understood, the Australian version of the GX80 did not have the record time limit but there doesn't seem to be a way to get to setting up a European GX80 for example to be Australian from the region change so the best you can achieve from using the service mode (and its not a bad trick) is to get the extra frame rates.
There are also some additional diagnostic functions for errors which may be useful if you're suffering from card errors and want to determine yourself if its the cards or the camera before you send it in for repair.
It also lets you save and load ROM stuff but that is for saving and restoring user settings prior to and post repair as far as I can tell.
Here is the GX80 service manual if you want to explore it yourself.
All the Lumix cameras have the same service mode so its applicable for everyone
https://www.apotelyt.com/doc-pdf/panasonic-gx85-service-manual.pdf

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive):
Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!)
Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist)
Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later...  you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price)
Zoom F4 / Zoom F8  / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level)
Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this)
And if you considering ones priced above those last three....  you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well!
Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. 
Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right".
For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. 
Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier.
 
http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

Disappointed at the moment. When I feed it a 4:3 signal from the GH5 and activate 2x desqueeze it cuts off about 30% of the image on the sides. It's like it won't scale the image down enough to fit on the screen.

I think that's the best all round option as well to be honest.