Zak Forsman

skipping ahead to version 14?... like how some buildings don't have a 13th floor?

I might pick up a GH5, but definitely waiting for NAB to see what camera bodies are announced. A new A7s or something killer from Fuji would be intriguing. And I'd love to see more compact designs from Blackmagic. A Pocket-Micro revision or an Ursa Micro with a 2.3K slice of the 4.6K sensor would be kinda dope. I'd scoop that up in a heartbeat.

here's a shot of Kholi's GH5 paired with one of his CineAltas. 

you can join the GH5 facebook group and follow his tests like the one above.

https://www.facebook.com/groups/pansonicgh5/permalink/1686809901618711/

from Kholi Hicks...

"GH5 w V-Log
UHD out to BMD 4K ASSIST/ProRes HQ (Does not take the DCI 4K signal)
V-Log to Comet Color LUT (early early stages, converted from my B-Side LUT for Blackmagic's Ursa Mini 4.6K/Pro)
Sony Cinealta 4K 35 and 25mm (In that order) w/HotRod Cameras PL mount 
NiSi IR ND 1.8

Early thoughts: Reminds me of the A7SII, honestly. Not that far off, nearly same color and aesthetic, less rolling shutter of course. Pana may beat out the A7SII for base color, though.

Tell your favorite LUT builder to jump on building some, not a huge fan of what comes out of the camera stock. Alexa to Rec709 doesn't look bad as a starting point, still needs a fair amount of massaging IMO.

Don't have much time with it, going to mess with CineV and acquire some more V-Log footage to tune the Comet Color port."

i'm not sure whats happening here. but does this help? you can compare FOV between Super 35 film and a full frame sensor.

https://www.abelcine.com/fov/

Looking forward seeing more clips, still cautiously optimistic. But going to wait to see how the anamorphic mode pans out (and also to see what NAB has to offer) before ordering one.

4 hours ago, Chrad said:

The GH5 being used to shoot 'serious movies' isn't so inconceivable to me. The 10 bit 4:2:2 4K make it a good option for very low budget films that are hoping to eventually get picked up by platforms that are seeking out or require 4K content. Yeah, it's no Alexa, but it's $2000. 

On that note, if you know what you're doing, pretty much any recent camera can be used to make decent theatrical content these days. This was shot on two GH4s: 

 

 

 

Hey, my production company made this! Thanks for posting.  The movie will be released this year on VOD. 

It is only 720p, but the 7" SmallHD 701 Lite is available at B&H for the next 21 hours for $399.

https://www.bhphotovideo.com/c/product/1224295-REG/smallhd_mon_701_lite_701_lite_7_hdmi.html

I've got the 502 and 702 Bright and love the functionality.

What movies have you seen with microjittery handheld camerawork?

"What rolling shutter?" - Chantal Akerman

2 minutes ago, dhessel said:

Not behind, neglected.

 

okay, amigo.

No, that's for the URSA (not-so-mini) owners to make up for the 4.6K turrets being way behind.

4 hours ago, Fritz Pierre said:

I must have been lucky with my GH4's...still very happy with the cameras...though I don't do the stress tests that you do...I'm simply more than happy with the image and what it takes to operate the camera!...Looking forward to the GH5 also!....Saw some lovely footage from you on the BMMCC though....did'nt you have to come up with a major workaround to make that camera work for you?

And for those waiting for their GH5s...some anamorphic footage shot on GH4 I just saw today!....

 

 

1

yeah, the BMMCC has faint vertical lines in the shadows that I figured out how to remove in post. So I just keep it as a preset and throw it on anything I shoot with it now. I wish I had been able to clean up the GH4's smudgy blocking problems but nothing I tried worked. And for me, it just became one of those things that once I was aware of it, I could see it in everything. And truthfully, I kinda enjoy the challenge of figuring out ways to fix a camera's issues in post. I've got presets to remove purple fringing, chromatic aberration from my Kowa anamorphic lens, etc. As long as I can fix it, it's not really an issue for me, you know?

49 minutes ago, Emanuel said:

Actually, high ISOs ain't nothing recommendable at all on GH series, even sensor size apart... BTW, neither Blackmagics.

This wasn't an issue exclusive to high ISOs. GH4 was plagued by this issue at any ISO. 

3 hours ago, PannySVHS said:

Hallo Zak,

Martin shot and shoots nice videos on the Lumix range of cameras I think.

For this one he used  CineLike V 0/-5/-5/-5/0, Master Pedestal +10, Luminance Level 0-255 (copy and paste from his description)

As experience has shown, one should not mess with master pedestal. Also, h264 Inter Frame is not a beautiful thing on even surfaces, additionally

very low light didnt help the 150mbit codec neither.

By the way I really liked your CineV and VLog footage, even if it was a GH4  

 

1

Thanks! I would love, love, love to be wrong, but this cyan/magenta blocking was present in everything from the GH4. It was even noticeable (albeit tighter) when I would capture in 10 bit externally on my Odyssey 7Q+. internal compression made it look worse, definitely. but I'm pretty confident there was a fundamental issue at work that the GH5 likely shares. Which really bums me out. I was inches from pre-ordering one.

Really had my fingers firmly crossed for this, but I'm seeing the same cyan/magenta blocking in this video that lead me to sell my GH4. Guess, I will stick with my Blackmagics until something better comes along.

We shoot a lot of 360 video on movie sets now, to capture behind the scenes. Our workhorse is the Nikon KeyMission 360. it's two 4K cameras. the overlap isn't that great so stitchig them together can be imperfect. but it's a good simple solution. Next step up is the Nokia Ozo ($45k). And most of what's in between are custom built rigs. But stitching those cameras together can be a big pain in the ass -- at the same time, having more overlap let's you hide things like the camera operator, etc.

VHX.com is what I use to sell our films direct to fans. you can sell from their site or use their service through your own site. for example, at http://artisentertainment.com the links labeled "powered by VHX".

for $59, you could outfit it with this top handle from SmallRig.

4 minutes ago, Geoff CB said:

Please give me a BMMCC with a 2.5K or 3K sensor. I don't need 4K, just more than 2K for some slight post work.

same. I'd love this.

yes, likely streak filters. but not just some shots. nearly every shot in JW2 exhibited split oval bokeh.

for xmas my wife bought me the DJI Osmo Mobile and a Moondog Labs anamorphic lens. I shot a ton of footage with my iphone 7 at the womens march in los angeles. I don't think i'd shoot anything other than travel/personal videos with this combo, but it *is* a lot of fun. here's a sample ungraded clip. if you watch closely, you'll spot zach woods from the show, silicon valley.

BMMCC, speedbooster, voigtlander 40mm, kowa b&h, rectilux.

I use the EF version with my Kowa B&H housed in a Rectilux. performs well and keeps my anamorphic rig from looking like a bazooka.

5 hours ago, HelsinkiZim said:

Zak, how did you balance the tokina and micro?

I tried and failed... 

Its logical that it should work, but it is too front heavy atm.

 

 

 

two scenarios. with freshly charged batteries, it can hold this front heavy setup for about an hour. then it starts to fail. but i've since added weight to the back to balance it for real so that it will last for the hours.

On 1/6/2017 at 4:51 PM, Neumann Films said:

Uploading 5 or 6 more tonight.  Lowlight stuff mostly.

did these go up? not trying to put on any pressure, just curious if i missed them.