austinchimp got a reaction from webrunner5 in Panasonic seems to be announcing something "BIG" on December 15
I honestly believe we'll see cameras like this on the market in the next 5-10 years, and by then everyone will not only take it for granted but still be moaning over perceived shortcomings, pixel peeping into imperceptible problems with the 6k 120fps Raw, and wishing for smaller/larger/more ergonomic/more feature packed/more minimalist form factors at lower prices.
And instead of 'everyone in the world' queuing up to buy it, it will still only be a relatively small amount of people on these forums who actually care that much.
austinchimp got a reaction from seku in Panasonic seems to be announcing something "BIG" on December 15
Having used the C200 for several long run and gun days, I would not call it lightweight! The form factor is nice, but if you're used to DSLR cameras it's significantly heavier, with all the advantages and disadvantages that brings. For me personally, though I love the quality and look of a larger heavier camera, smaller lighter cameras have proven better with my way of working. For that reason I stopped using a Ursa 4.6k and moved to the GH5 as my main camera.
Still miss the Blackmagic image, but the GH5 can get surprisingly close after grading, and I don't miss the pain in my arms, back and wrists!
My dream camera is one the size and weight of the GH5 with the image of the Blackmagic Ursa Mini 4.6k. Here's hoping for Raw in the GH5s...
austinchimp got a reaction from maxmizer in “The Middle Path”: A Lumix GH5s Short
If the EVA1 sensor thing is true, or if the camera is significantly upgraded from the GH5 it will feel like a bit of a kick in the teeth after spending a significant amount on the GH5 recently.
I'm all for putting the best tech possible out there, but unlike Sony there was no indication Panasonic would release another model so soon after the GH5. I'm hoping for a firmware update but... Maybe it's time to stop visiting these forums and just be happy with what I've got..
austinchimp got a reaction from anonim in GH5 to Alexa Conversion
This looks great and your demo footage is beautiful. I would be sending you my money right now but it's WAAAAAYYY too expensive for a lut.
I think many of us have been burned before with Luts promising to transform this, or fix this, or make our lives easier, and the truth is I've never found any of them to completely live up to their promise, so it's hard to splurge this much money. If it were 50% cheaper I would try it out and reward you for what has obviously been a lot of work, but this is just too much right now without any way to test it myself on any footage.
If there were more demonstrations on other people's footage in a variety of different circumstances then I might be persuaded.
Your results do look fantastic though.
austinchimp reacted to ssrdd in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO
Isnt too old anaolgy to sell camera for this generation.
[Here's the thing: A builder needs drills and saws and hammers. A painter needs a canvas and paint brushes and paints and paint tools. A cameraman (usually) needs a camera. If it's a hobby for you, you use what you can afford. The expensive cameras on the market are not aimed at hobbyists for the exact reason that hobbyists cannot afford $10k for a camera body.]
Since internet and blogs like this made easy to understand who ripping your money more esily than other. An ameture becomes a pro in a day[may be somebody shuld write thread about pro].
To me Eva1 is a looser. lets see what they have next.
I am sure magiclanthern will enable middle codec everybody disappointed, very soon.
austinchimp reacted to PannySVHS in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO
I am sure you are sure of many things. You cited newsshooter completly in the falsest possible manner. I am sure that makes your recent comments even less convincing.
austinchimp got a reaction from Emanuel in GH5 all-i 400Mbs vs ipb 150Mbs frames comparison:
Thanks, I've been waiting for some tests like this. I can actually see quite a clear difference with some compression artifacts in the ipb.
Having recently gone back to some of my old BMPCC footage I'm still amazed by the fidelity and weight of those prores images compared to anything coming out of the GH5 regardless of data rate. I'm not sure what the difference is. Perhaps the GH5 internal processing gives it that slightly brittle feeling?
austinchimp reacted to Bizz in The most unwanted picture style / grading look / LUT...
WOW! I did not know this! This is epic!!
PS: Your opinion is epic too...but not as much
austinchimp reacted to iaremrsir in Are S-LOGS More Destructive Than They're Worth?
Hi, I'm Eddie. I designed the Bolex Log color specification and the image processing pipeline for Digital Bolex towards the end of its production run. Also wrote the plugin that lets people process CineForm Raw color in Davinci Resolve as if it were DNG. And I'm not saying this to get into a pissing contest. I'm saying this as someone who is on the manufacturer side of things and has to know the ins and outs of the product and how it's used with other tools.
Shoot 8-bit H.264 from a Canon C100 or any of their DSLRs for that matter, then compare it to ProRes recorded over HDMI to an external device. You'll often seen that the ProRes has more noise and fine details/texture. This is because H.264 smooths out the noise in camera and HDMI outputs uncompressed data. You're speaking as if the main reason detail is lost in 8-bit is that it's the log curve, when in reality, the main loss of detail has been heavy compression. I already agreed that using a log curve in 8-bit will redistribute code values so that more space is given to the mids and shadows, meaning less codes per stop when storing HDR data. We're not debating sensor data, otherwise we'd be talking analog stages, 16-bit, 14-bit, uncompressed. So, in this case, compression has everything to do with the image data.
If you apply a logarithmic gain at the analog stage (ignoring the electron multiplying case), noise would be much higher than if you applied the log curve after digitization. It's not pretty. Definitely not philosophical in any measure. And these log curves can't pull data that isn't there. It's well known that using a log curve will boost the appearance of recorded noise in any bit depth, color space, etc. I'm not arguing that log fixes noisy data. I'm arguing that recording log allows you to record data in a way that keeps more detail across the range and expose in such a way that allows you to better minimize the appearance of noise in post (ETTR). Trust me, I let out a heavy sigh any time I try to see someone compensating for low light scene or poor scene lighting by recording log.
I didn't say you said they don't. But you said professionals are lighting within 6-stop ranges. They have millions to pour into set design, lighting, and wardrobe. I was just pointing out the fact, that in spite of them lighting like that, they still shoot log or raw (which is later interpreted as log in the grading tool). Also, they're gonna be shooting 10-bit, 12-bit, and 16-bit more often than not, so they aren't worried about losing code words per stop, which takes away the main argument of using a standard profile.
I didn't say you did. But it isn't nonsensical. Canon raw has C-Log applied to it before being sent over SDI to external recorders for being saved as rmf. ARRI, BMD, CineForm, all write their raw formats with log as part of the specification. While it's not the Cineon-type log they use, it's log nonetheless.
But you can grade in a log color space. Hence Davinci Resolve Color Managed timeline and ACEScc/ACEScct. Whenever you grade on top of log image data, your working/"timeline" color space is log.
This is where we get out of the realm of objectivity. Because there are technical trade-offs for both sides, it's up to who's shooting as to which is preferable. There is no clearly defined technical mathematical winner in this case (which is one of the reasons I'm happy I don't have to deal with H.264 compressed, 8-bit recorded data anymore). And I'm not saying there is one that checks all the boxes in this case.
When I say "retain detail through compression" I'm talking about codec compression. Like I stated earlier, a standard profile combined with high levels of compression will reduce texture in the low mids and lows. It reduces flexibility and the overall naturalness of the image.
That is an issue of grading, not the source material. When I grade log material, I have no issue getting thick colors from it.
Again, log doesn't add noise. It just increases the appearance. Once the image is graded, the appearance of the noise will look similar to that of the standard profile, but the texture of the shadows will look more natural, especially in motion.
But you didn't grade to match which means the higher contrast and extra sharpness of the standard profile will have increased perceived detail of the aliasing and text. And in spite of that, we can see that the aliasing that you point out in the standard profile is present in the log image! When graded down to match, you'll get similar, if not exact sharpness from the log image. The difference between the two being flexibility. I took the log one you posted and graded it down more closely to what your standard profile looked like without the boost in saturation and you can see the apparent sharpness is similar and the noise isn't as much as you were making it out to be.
austinchimp reacted to pablogrollan in Swapping the FS5 for a........ GH5?
Looking at your setup I seriously doubt a GH5 would boost your creativity... In some cases it is true that a better/more ergonomic/more versatile camera could enable you to do things you can't do with your current gear, but having an a6500 and an FS5... Come on! Both cameras are light, small and very capable -with some shortcomings, like every camera-.
I use the FS7 and the FS5 for paid work and frankly, if I don't enjoy as much as using a stripped small cam it is because I am WORKING. Even if your job is your passion, there's a tiny bit of pressure when there is a client, pressure to not screw up, to not miss any shots, to go on schedule and even pressure to "get it right" -sometimes you shoot and edit exactly what was agreed and scripted and the client doesn't like the final film and wants to re-shoot, re-edit or start from scracth-. There's also the fact that you are many times not shooting what you really want but what serves the client's purpose.
No matter what camera you use, nothing will compare to the joy of shooting with your small cam on vacation or shooting an improvised goofy short with friends. You'll always find more joy when you can experiment with lighting, camera angles, lens choices -or lack of, using just one- having the luxury to get it wrong or "not perfect". All that "dedicated video cameras kill creativity vs mirrorless open up new worlds" is the enthusiast/purist/idealistic/childish filmmaker in all of us talking. We've all felt a little bit that way some time or another, but deep down we know it's not true. It's the kind of BS that crumbles down the moment you are faced with the reality of the industry, its tight deadlines, its constant need for quick technical problem-solving, for formats that meet the detailed requirements, for footage that is easily cut with the rushes someone else has shot who knows where, for files that are platform and NLE agnostic...
Your tools are just that, and fatigue may set in no matter which tools you use. Take some time off, maybe? Try different projects? I, too run a production company and know more often than not this is not possible. If you find there's some limitation that really affects your work -what clients expect of you- such as 200p @ 8K then sure, look for a new tool that'll serve you. The FS5+RAW is a real workhorse, uncomfortable at times for sure, but it's a professional tool that gets the job done. The a6500 not so much -was never intended to- nor the GH5 nor any other camera that is not meant for that use, even if we all use them sometimes with mostly acceptable results.
I've been in your place more than once and what I learnt was to stop, leave emotions aside for a moment and objectively evaluate if the change is really going to have a meaningful positive impact in my workflow or what I offer to the client. Will it make you faster, more efficient or allow you to offer something clients might want that you can't give them now? If I were you I know I'd end up missing having proper internal ND filters, proper audio connections (even though I have a soundman recording externally) and the rest of the "little things" a dedicated video/cinema camera provides... even if the GH5 is a true accomplished camera.
Sure, like the F5, F55, FS7, FS5... if you use a prosumer stills camera with hybrid/video features, even if the specs are impressive and may deliver stunning results, do not be surprised if those things happen. I seriously doubt the casual street photographer shooting RAW stills is ever going to experience those problems.
In a shooting there are things far more "impressive" than a rigged camera: large lights, grips running around, lots of stands with flags, cables, trucks, an old DP with his light meter... The rigged GH5 might be cumbersome and uncomfortable compared to an FS5, so the advantage of "going light and free" is lost. Even in a small shooting with few people, If my livelihood is at stake I'd always choose convenience/usefulness over looking cool... I'd probably choose a C300 or C100 over the GH5 provided the requirements of the project are covered with the C100 -even if it's not the best iq available-.
austinchimp reacted to Zak Forsman in How do you afford your gear?
full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy.
the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.
austinchimp reacted to Jimmy in Pro camcorders? They're pointless creatively.
How do you define creativity though?
Yes, if you film street photography style footage, a GH5 will offer more creative freedom than a fully rigged Arri.
If you are filming from a camera mount on a snowboard, then the GoPro will offer more creative freedom than a GH5
If you are filming fast moving skaters, then a DJI Osmo will offer more creative freedom than a GoPro
If you are filming the aurora, then a Sony a7s ii will offer more creative freedom than an DJI Osmo
If you are filming music video, a C200 will offer more creative freedom than an A7s ii
and on and on..... There is no one camera that offers more creativity for every type of filming.
austinchimp reacted to aldolega in Pro camcorders? They're pointless creatively.
People can't be creative while they're working? Or efficient when they're not?
Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities.
There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to.
I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too.
The lack of IBIS in pro bodies is also definitely adding to the blur.
austinchimp reacted to Kubrickian in Inspired or insane? Switching from the A7S II to the A99 II
Maybe you should just be happy with one camera Andrew
austinchimp reacted to hyalinejim in Improving GH5 colour - comparison with 5D3 RAW
No, but if you own the VSCO film 04 pack you can try to convert the Provia 400x for Canon profile to a lut. Then add it after my GH5 to ML lut, add curves and saturation and you should get a very similar look.
You can convert ACR or Lightroom presets to luts by using the awesome IWLTBAP lut generator. Open a HALD in ACR or LR, apply a preset. Convert to PNG and bring in to IWLTBAP.
austinchimp reacted to hyalinejim in Improving GH5 colour - comparison with 5D3 RAW
Yes, the GH5 is second.
For sure, the 5D files have much more malleability than 10bit VLog. You can really go to town on Magic Lantern RAW - it's a much thicker file. It's almost pristine (except for ugly shadow noise).
But I think that it is actually a testament to the GH5 that I can do that. And what I've presented here is only the realisation of my preferences. The point that I want to make is that the 10bit 422 files are robust enough to undergo a fair bit of colour correction / grading. To me, the VLog coming from the camera is a "raw" material with massive potential, as the (properly) RAW footage from the 5D3 is a beginning, and not an end in itself. In the main GH5 thread you mentioned that there was a range of quality in the posted videos for the GH5, from video-ish to something more satisfactory. Believe me, if Magic Lantern RAW was accessible to the same kinds of users - and in the same numbers - as the GH5, you'd see a hell of a lot of bad 5D3 ML videos.
Exactly. You need 12 nodes or 20 minutes work to match this with that. But when the groundwork is done, you're in business. Today I made a nice lut that combines the Canon-like colour with a Lightroom film emulation preset. I loaded this into the camera as a monitoring lut and exposed until it looked good in the viewfinder. Came back and slapped the lut on and each shot was perfect. It took as long as it does to Ctrl+C and Ctrl+V.... with maybe a small WB and curves adjustment beforehand This is the look that I'm into at the moment. In a year's time I might be into something different.
austinchimp reacted to Fritz Pierre in Panasonic GH5 - all is revealed!
+100...before I became interested in the GH5 I did not even know what a Vlogger was?...but is it sensible to buy a complex camera that one knows anything about and after 2 or 3 days rushing a review of a feature good or bad out there, because you're trying to get your piece of bullshit out there, before the next guy's...did this even exist 4 or 5 years ago....and how does it help the film making community....what it will do though, is make money for one guy ( who's business it is to attract more followers, be it blasting a product that they had no business making a public statement about in the first place) and for the people who actually want to create something (not sell their under informed opinions)....what it does for them?...It will stifle innovation on the part of companies like Panasonic, because why should you put professional features in a camera at great cost to your company, only for it to land up in the hands of a bunch of whiners....no wonder a Andrew is getting sick of this...I'm personally mystified that he's had the discipline to last as long as he has....
austinchimp reacted to Stab in Panasonic GH5 - all is revealed!
Funny to see a 100 pages discussion from which is 80% about Autofocus. At the same time, hundreds of video's are posted but none of them contain any production value. 90% is just baby- / cat- / house- / foreground flowers in focus / neighberhood video's.
Also telling is that nowadays many vloggers buying a GH5 for their work. It's funny and weird to see how the video market has changed from a majority of professional camera users, to 90% hobbyists, vloggers and rich people buying this cam to play with for a while before never touching it again.
Sorry, but i can't help the feeling of feeling slightly bad for all these spoiled little brats. If you can't or won't produce anything of visual value with this camera, then please don't judge it for it's AF capabilities. I have never used AF for video nor while I ever, and I'm not saying nobody may not or shouldn't, I am just pointing out what a bunch of whiners film makers have become.
We used to use gear which was highly impractical and inefficient and made the best out of it to satisfy our clients. Now we're shooting 4k in slow motion footage of our cat which moves away from us all the time or towards us, and complain that this stupid 2000 euro camera can't even hold the damn cat in focus.
This is not a complaint about EOSHD, where the percentage of sensible professionals is still pretty high, but about all the stuff I've seen lately on Youtube, Facebook and forums about this AF-talk combined with their cat- and garden video's.
As soon as I will finish some professional shoots with the GH5, I will report back here. Until then, I'm gonna leave the discussions up to you. Happy shooting.
austinchimp got a reaction from Mattias Burling in Why film?
Seems like we're both on a similar career path. Interesting to hear your thoughts on photography. It's something i do professionally more these days while my personal projects have dropped off. I can see photography offering me more personal enjoyment outside of work than video making for sure.
When you make videos every day for a living it sure can wear you down and take the fun out of it.