mercer

Obviously, the GH2 has a little bit of a head start but yes, there seems to be a different level of filmmaking that occurred 4-5 years ago compared to today. I think it’s a combination of beliefs and methods that forced people to be creative with what they had, the limitations created aesthetic opportunities, but these limitations also kept the membership much smaller... Now with the advancements, a lot more people have decided to give it a try. On eBay alone I have seen about 6 GH5s up for sale in the past month where the seller said they bought it because they decided they wanted to make music videos or short films but have since moved on to other interests. When the tech becomes more important than the content, there will be an influx of mediocrity. With that being said, I have seen a ton of nice GH5 work, but I’ve also seen a ton of nice t2i work and with all of the tech and visual enhancements of new cameras, I cannot say that the GH5 videos are better than the t2i or the GH1 videos I’ve seen. Hell, look at Kendy Ty... his films have gotten worse since he moved on from the t2i. Other’s films have gotten better. Interesting post.

I haven’t a hundred percent decided to sell it yet, so every tip helps. And yeah I remember your awesome dog out the window shot taken with the RX10ii.

Thanks Max, I appreciate the reply... honestly some of it went over my head but what I did understand makes sense. But I was out this weekend shooting a scene for my film and after using the 5D3 again, I will probably end up selling the RX10ii... even with the B&W Log, smaller file sizes and 120p... it just doesn’t measure up to FF Raw.

So I did a quick test of B&W with the 5D3 and my Edelkrone slider... I've never used a slider before... so I need a little practice... I love B&W with the 5D3 but Vimeo really mangled the compression... or FCPX did when I uploaded directly from there. I have seen a lot of people use Parallel Uploader (or whatever it's called) has anyone ever used that and does it make any difference with quality?

A 30-40 minute film is a risk but sure there are exceptions to the rule... so the question becomes... do you think your script and film will be that exception? I guess if you’ve already attempted to tighten the script as much as possible or to lengthen the film by exploring subplots but you’re still passionate about the script, then go for it... who knows. But to address your original comment... if you set out to write a feature and end up with a 30-40 minute script then there is something wrong with the story, or the idea isn’t conducive for a feature. Personally, I think 70-75 minutes is the sweet spot for a no budget, indie film. At 30 minutes, you are kinda in no man’s land... it’s a lot to cut for a short and a lot to pad for a feature. But even at 30 minutes, if you explore a subplot or two and then when you add B-Roll you may be able to push it over 60 minutes if you let your scenes play... but that main story better be damn good... especially your first 10 minutes.

@maxotics well I guess that’s my question... when shooting in B&W, in either LOG... or processing Raw as B&W in Resolve as BlackMagic Film, does one need to use a Utility LUT to bring the levels into a Rec709 space or does Rec709 only deal with color and not B&W as long as the image is corrected and the luma falls within the 0-100 IRE range? Does that make sense? Honestly, I am in the process of testing B&W sLog2 on the RX10ii vs ML Raw on the 5D3. My interest is in creating a workflow, for a very specific project, from shooting through post that is quick, concise and has a point and shoot nature to the process. Other than the XC10, the RX10ii is the most P&S camera I have ever shot with and believe it is an amazing run and gun consumer cinema camera, where as the 5D3, is a P&S cinema camera like no other camera I have ever used.

Well I believe there used to be a rule with the MPAA regarding motion picture length, for some reason 70 minutes sticks out in my mind, but I could be off. I believe most festivals consider anything over 45 minutes a feature. And I have seen a few features listed on amazon prime at around 60 minutes. So I guess it really depends on what your goal with the screenplay is? If you’re looking to sell the script to a production company, 50 minutes isn’t long enough and any Hollywood producer would tell you, you aren’t writing a feature or you didn’t tell the story properly. If you’re looking to make your own films from your script, then there are self distribution outlets like Amazon Prime that a 50 minute length is acceptable... but I would try to stay at 60 minutes or more. But this is a very interesting topic that I have been thinking a lot about lately, so thanks for posting it.

Are Log to Rec709 utility LUTS necessary with B&W sLog2 or ML Raw footage? I know some people don’t even use them for color, but I’m not a good enough colorist for that. But I thought that as long as I correct the B&W properly, that I may not need to use a utility LUT?

True, but I must admit that after watching Casey Neistat and Peter McKinnon’s videos with it, I was pretty impressed. When it hit $1249 for a refurbished model on the Canon store, it’s not a horrible choice with the better high iso performance it has over the 80D and SL2. Full frame with DPAF and articulating screen for under $1300 isn’t a bad deal for a hybrid camera... especially if you shoot a lot of photos.

Yeah, it’s rather strange how some camera makers have different quality video with comparable cameras in their product line. I shot the B&W videos in 4K and then downscaled it to 1080p before bringing it into FCPX. I did notice some aliasing and a little moire, but I chose the 4K for the higher bitrate to match the higher bitrate of the 120p... but I think I will try all 1080p on my next test. It’s amazing how much more DR there is with sLog2 compared to Cine2 but since the RX10ii is a 1” sensor, I wonder if I were to use an aps-c DSLR, if the larger sensor would make up for the DR gain in sLog2... in B&W?

I am referring to movies like The Paper Chase, or some Peckinpah like Picnic at Hanging Rock or Let’s Scare Jessica to Death. I even think with ML Raw, higher budgeted films like Jaws or Close Encounters is a look that could be emulated fairly well.

Well some people like the look of real life. With some 4K cameras, on the market, the image is clearer and sharper than my eye would normally adjust to on a regular basis. I prefer a softer, filmic look. I think that a lot of videographers are trying to emulate modern, high end video with these consumer cameras, and I think it’s an exercise in futility. No consumer camera, on the market, will look as good as an Alexa... even when shooting at higher resolutions than even the Alexa shoots at. But I think even the lower end consumer cameras can emulate the “look” of 70s and 80s film... which is my favorite era of films. When you take that goal and mix it with a camera like the 5D3 with ML Raw, that goal is more easily obtainable and can closely resemble the properties of film. And that’s the look I’m going for.

Congratulations @hyalinejim I just watched it on your Vimeo page after watching your GH5 wedding video. It looks beautiful and thoughtful. Good luck with it.

That was shot on a GH4?

Well there are the photos of the new body. But I think, in a sense, you may be right. Even though the rumors, which are usually correct, point to a 12mp GH5, I think it could possibly be a new body for $2499 with some new features, and then a paid FW upgrade for existing GH5 owners. We’ll know soon enough.

Well, if you can find a GH4 for the right price, you can’t go wrong with that either... but of course I know what you mean... use what you have and let your creativity move you forward.

How is it not another camera? That’s the only thing we’re sure of.

More fast lens options. Also the 80D uses a higher bitrate 1080p.

Huh?

In one sense, yes who cares what camera Casey Neistat uses, camera choice comes down to preference based on a multitude of variables. If he ditched the GH5, he did it for his reasons, it doesn’t make the GH5 any less of a camera and it doesn’t make him wrong for ditching it... everybody has different needs... and if AF and an easy color solution is high on that list, Casey made a smart move going back to Canon... for his needs. Honestly, the GH5 was a weird choice of camera for him to begin with.

I wanted to get one but in the end, without focus peaking... it wasn’t worth the price to me.

Damn Marty, this looks amazing... great find. I can’t believe this is 720p from the GH1. Do you know if it was shot from a hacked GH1? I am surprised more people don’t shoot in black and white... I really think the 4 luma values takes footage from low end cameras to a higher level and instantly makes them look more cinematic. I’d love to see some B&W from the G6, if you get a chance.

Yeah, I agree... I’m going out today to do some comparison shots between 5D3 Raw and RX10ii sLog2 B&W. I’m pretty sure I already know the results but I’m still curious to see how the two will compare. Btw, love your B&W shots on instagram. I always try to guess which camera you used. I remember that video, and man it still holds up so nicely. If you get some time, I’d love to see a clip from the GH5 and the MonochromeL profile. The RX10 is such a fun little camera when I don’t have to try and figure out the color special sauce.

Jay, nice test! This briefly shows exactly why the Pocket cam is so special. Beautiful color!!!

I can’t unsee that.