mercer

Somehow, or another, my YT feed ended up with some F3 videos on it and I was surprised to see how well the F3 uprezzes to 4K. This is the camera that just keeps on giving.

2 hours ago, PannySVHS said:

Holy crap. Vimeo starts to become unpleasant to use. I dislike to have to log in to watch certain so called unrated videos. Staff picks don´t fit my bill neither with their hipster oriented nowness videos. Social struggles don´t come in pretty corporate colours.

Yeah the site is annoying now, but the videos still look better than YouTube. FYI, you can refresh the screen instead of logging in and it will allow you to watch them. What annoys me the most is when you look at a users videos, they don't list them from newest to oldest and they don't tell you the upload date unless you click on it.

3 hours ago, Mmmbeats said:

I'm the complete opposite.  I wasn't really that excited for the release and had no real intention of updating. 

I wasn't really either. I'm excited they're including ProRes, but I'm not an early adopter. Originally, I really liked the ProRes footage in that "The Storm" video but after a second watch on Vimeo, I must say I was a bit discouraged by the texture of the skin. It looks very plastic, which leads me to believe that Panasonic is doing more internal processing to the files than I would have liked. But it's way too early to tell.

To be honest, I may be a never adopter. Something like the Sigma FP suits me better, and I still dislike a Micro 4/3 camera that costs more than $2000... in fact I don't really like one that costs more than $1500. But that is what it is, I suppose. 

3 hours ago, Mmmbeats said:

I assumed that Panny would go for some kind of headline-grabbing big feature, but instead they seem to have really gotten to the DNA of what makes the line so appealing - great useability, powerful processing, features for real-world filmmaking.  I have to say I'm impressed - and sold!

I think that ProRes is that headline grabbing feature. This is a professional acquisition codec used in Hollywood films/TV. This is a big deal. I understand that people on this site are often swayed by maths and that when you crunch the numbers, other codecs seem more or just as efficient, but I think there are other aspects, like motion cadence, image thickness, etc... that isn't being considered.

3 hours ago, Mmmbeats said:

A stop of dynamic range is actually a huge deal.  If you're trying to bring a window into some kind of exposure range, that's half the amount of light you have to deal with.  That's like pulling a couple of big fixtures onto set.

Sure, a stop of dynamic range can be a big deal, once you get over 12+ stops. Without significantly lighting your interiors, or blocking scenes near the window, you won't get an "evenly" exposed interior shot with 11.5 stops. But I understand what you're saying.

3 hours ago, Mmmbeats said:

There's really no point comparing the GHx to the BMPCC in my opinion because they are completely different tools.  No way you can engineer what BM made with full IBIS, mechanical shutter, weather sealing, etc.  They are just great at doing very different things.

I suppose, but I'm still a little suspect, especially since they're using full vLog now.

27 minutes ago, webrunner5 said:

Well Glenn that 13 stops was only in CinemaDNG so that was a pretty big help, but yeah, we have not made too much of a gain over all those years it seems. 

Not too sure what ProRes was stops wise. Probably around 11?? But yeah Canon DSLRs were about 7 or 8 at the time.  The early Blackmagic stuff really lived up to its name. Magic no doubt. I just love my OG BMPCC.

Could be wrong, but I thought the DR was the same between Raw and ProRes... of course the 12bit raw gives the perception of more DR with the added color depth. Either way, it was impressive what they did. Even the ProResHQ looked amazing. You could set your WB to 4400 and still fix it in post without any issues.

No disrespect to anyone on the forum... but I don't understand people's disregard for ProRes as an acquisition codec.

But I think mjpeg looks better than h.264... so what do I know. 

The dynamic range boost mode is ISO 800+ in CineLikeD, right?

5 hours ago, Mmmbeats said:

Not sure if you're being serious?

4K 60p 10-bit (the thing I most lament on an almost daily basis) 
Increased dynamic range (the GH5's biggest weakness)
High resolution mode stills (for landscapes, architectural, etc.)
4 channel audio recording....

I guess that depends...

If the GH6 didn't have ProRes, I would yawn at this release. But I acknowledge that some of the updates could be useful to some people.

But without a doubt, the ProRes propels the GH6 into next level territory... especially with the updated IBIS.

I'm hoping the future ProRes updates will offer the 48p/60p in 1080p/4K but since I don't really shoot too much slow motion, it's not that big of a deal.

The bump in dynamic range is minimal... what... about a stop and it's still under 12 stops. I'll take any extra they want to give, but that's not so great to go crazy over.

Actually, I know there are limitations to what m4/3 can do, but how did BM get 13 stops on the OG Pocket, 9 years ago, but Panasonic can't seem to break 11.5 stops, even with the Go-Go-Gadget-Boost mode and full vLog?

Obviously this conversation was born from the GH6 release and its inclusion of ProRes. Well, I think it's quite simple. If you have no plans to use ProRes, there is no real need to upgrade from a GH5.

7 hours ago, noone said:

I think with the prices of the FD 20-35 3.5 L for about the same or maybe less, can get the later EF 20-35 2.8 L and while I am a fan of FD L lenses in particular, and I am not a huge fan of zooms, there is just something about the old EF 20-35 2.8 L that i hang onto mine (the alternative is throw it in the trash since it is very battered and the MF/AF switch cover is gone and I use a piece of coloured electrical tape in its place).

Yeah that was a misread on my part. I'm looking for the EF L version. Samples on Flickr look really nice and seem to have a similarity to my FD 50mm 1.2 L.

It could be a Fairchild sensor. 

3 hours ago, PannySVHS said:

The Canon L 20-35 F3.5 should be a hell of a lens by your account. It´s one I have had my eyes on for a while.

I've had my eyes on this lens as well. Since it's closer in age to my FD 50mm 1.2 L, I thought it could be a good carry around lens to match. 

32 minutes ago, PannySVHS said:

Mechanically it is rather unthrilling. I also have the beautiful Canon FD 35-70 F4 because off your advice. It has a rattling lens element but still manages to focus and perform flawlessly. The 35-105 feels even more plasticy than the 35-70.

Both have the classy classic FD look, creamy but with nice resolving power for motion picture images, nice contrast and great colour. Ergonomically and size wise they are both perfect in handy. Focus through on the 35- 105 is very long though. Unfortunately not only the 35- 70 but also the 35- 105 suffer from dissolved rubber material of the bearings after a period of time.

Handling wise it would be much more comfortable than the impressive mechanical marvel which the Konica 35- 100 F2.8 is. The Konica is as varifocal as it was constructed to be. The focus plane changes by a huge amount when focal length changes. So a slight change in focal lenght has a much more effect on the focus plan than on the Canon. The Konica does not seem like a run and gun lens. Testing the handling before a filmshoot is highly recommended.

The f/4 was a nice lens, although I haven't used it in a long time.

Sadly, a lot of these lenses are becoming more and more disposable with every passing year, and other than a few gems, from the golden days, a lot are often interchangeable, or indistinguishable, on a modern camera... especially on video at higher resolutions.

I understand why people consistently build Zeiss or Leica sets. If I knew then what I know now, I would probably build a small set of Contax Zeiss or Nikkors and be done with it.

With that said, there really are some gems from every manufacturer and I find myself using single primes more than building sets of lenses because I'm rarely straying from a specific focal range.

12 hours ago, PannySVHS said:

Darn. Bought a Canon FD 35 to 105m F3.5. Lens is very light and tiny compared to the Konica 35-100 2.8, even compared to my Soligor 35-70 f2.5-3.5 it is tiny. It feels and is very plasticy.

My sample unfortunately does not focus beyond 9feet when at 35mm. At 105mm it misses infinty and focuses up to around 30m, 100feet when at f11. My adapter is top notch but lens is not alligned. So i will resell it.

That's a great lens. It's rumored that Canon was so impressed by it that it had been considered to receive the L moniker.

7 hours ago, Zero Landscape said:

Thank you so much, mercer! That is really great to hear! 🙂

Actually, I purchased a Alexa XT for a feature I am going to make. I still love the 5D and its capabilities. The ease of changing iso, low light, very light camera. It's wonderful, also for macro. The Alexa is way more heavier, and needs a lot of light. Beautiful image, but so is the 5D. Most likely, I will use them both in the future 🙂

 

Cheers

Thank you for sharing it!

Well, you're obviously very talented, so using an Alexa is the natural progression in my opinion. On this site, we often discuss the 4K+ world we live in, but after shooting on my 5D3 for the past 5 years, I don't know a camera, other than an Alexa or a Red that could quench my thirst for pure image quality.

Good luck with your feature. If your Hitman film is any indication, I'm sure it will be excellent. Please keep us updated on the progress of your feature!

glenn

11 hours ago, Zero Landscape said:

Just released my short film Felix' Summer Box. Please enjoy, and let me know your thoughts.

 

 

Beautiful film. I still shoot with my 5Diii and Magic Lantern Raw and I'm so happy to see I am not the only one!

I'm a big fan of your work. 

18 minutes ago, Video Hummus said:

M1, M1 Pro, and M1 Max will eat H265 all day everyday. It's basically a non-issue for those computers. Just get as much RAM as you can afford.

Thanks, I'm hoping it can handle a 1hr. 20min. 1080p ProRes4444 timeline? Would 16gb RAM be enough?

33 minutes ago, billdoubleu said:

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though.

I haven't had the pleasure to use bRaw, but it seems like a nice codec to work with, especially if you primarily use Resolve. I'm an FCPX user, so ProRes appeals to me on that level as well.

34 minutes ago, billdoubleu said:

I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible.

My only experience with h.265 is from an old NX500 I had and the codec was torturous on my computer. I had to convert the footage to ProRes, which is fine, I've always done that anyway, but it took forever to convert. I can convert twice as much ML Raw footage to from the native MLV files to cdng to ProRes a lot quicker than I could go from h.265 to ProRes. One of my next purchases is an M1 Mac... I cannot wait. Do you have a MacBook Pro?

38 minutes ago, billdoubleu said:

Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

Haha, I hear ya. I think I already may have mine. I don't produce enough material as it is, so I really don't need another camera. Of course, I can't stop eyeballing the dropping prices of the FP, so I may have to take one for a test drive.

The GH6 looks amazing, but I couldn't justify anything over $2000 right now... or for the foreseeable future. Plus, I really like full frame.

I've actually been processing a lot of footage as B&W lately. Here's a frame from the other day that turned out pretty good...

On 2/19/2022 at 1:07 AM, Matt Kieley said:

I coincidentally just bought one today for dirt cheap. I wanted one about 5 years ago but it was still a little pricey for me at that time. I'm excited to playa round with it, especially in Monochrome. 

I think you'll really appreciate it. With sLog2 or Cine2, and Monochrome color, the camera feels like a S16 film camcorder. The zoom lens is amazing and it has a rocker. The internal ND helps with the need to overexpose sLog2. Even the preamps are pretty good, and you can even get an XLR attachment for it. A really fun camera. If I ever find now for the right price... I may pick up another one because there isn't a camera like it... well the FZ2500 is pretty great too actually. With the instant slow motion button while recording offers some pretty unique opportunities for stylized slow motion shots.

On 2/19/2022 at 2:31 AM, Django said:

Its great GH6 has ProRes but its basically to be expected. I also think they should have RAW internal by now.

And that has been my point all along. The manufacturers spent a ton of time and money pushing resolution in lieu of features that will push IQ.

Look at the "The Storm" video from the GH6. By all accounts it looks great, but the 24p ProRes footage looks way better than the slow motion.

On 2/19/2022 at 1:41 AM, billdoubleu said:

Here we are in 2022 and there is a growing list of RAW/ RAW(ish) codecs that didn't exist five years ago. ProresRAW, BlackmagicRAW, TICO-RAW are innovations sprung from the limitations imposed by RED's patents. These are all available internally in one or more cameras. Along with uncompressed RAW in the Sigma fp. So, while Prores is a welcome addition, no one should be impressed by it. Panasonic should either have developed a RAW technology by now or be licencing one.

It was inevitable, I think, for Panasonic to be the first major manufacturer to offer internal ProRes, but you're right, it should've happened sooner. it doesn't mean it's any less impressive. I don't know the exact numbers, but I believe at least 75% of Hollywood productions are shot in ProRes. Sure some BM cameras have included it for years, at this or a lower price point, but not with 7+ stops of IBIS.

With that said, like with raw video, 90% of the members of this site, do not need ProRes.

Cool camera. Finally a m4/3 response to the P4K from a major manufacturer that makes shooting simpler. Sure I wish it was a little cheaper... I'm a cheapskate. But it's better than the rumored price... so that's something.

If Micro 4/3 is dead... then MAN... this is an honorable way to pass.

Thanks @PannySVHS I really enjoyed shooting B&W with that camera. Changing the color to monochrome in the sLog settings seemed to help give the highlights a filmic look due to the higher dynamic range. And as I mentioned earlier, it negated the dreadful sky banding. Before I changed the setting to monochrome in camera, I tested the theory on color footage and as I brought the saturation down, I could see the banding disappear.

I like the MonochromeL profile on the GX85 as well. I've been considering buying a camera that I only use for B&W. I suppose the Fuji X-S10 would be kinda perfect for that. Acros Film simulation, or fLog, Super 35, IBIS, high bitrate 2K and 4K.

There was something very cool about the RX10ii, though. It felt like some kind of cine-camcorder.

For years, people complained that they couldn't get internal raw video on their cameras and now Panasonic is releasing a camera with internal ProRes (the next best thing to raw) and people aren't impressed?

ProRes is a professional codec.

With that said, is $2500 too expensive for a GH camera... YUP!

Can you imagine what the S2H will cost? $5000? Way too much for that camera too... even with ProRes.

I'm curious why more of the pros, on this site, aren't buying a Komodo or C300 Mark III?

So... back to Portra 400. I've been shooting some film lately and although I haven't shot any Portra yet, I've been looking at hundreds/thousands of photos on Flickr and it looks pretty close to me. I like how your LUTS are handling different types of skintones, which is evident in the Caucasian male image and the Asian male and female.

If only you made a set for ML Raw. 

With a name like OM-1, which is recycled from their 35mm SLR days, you'd think they'd follow their own company's history and produce the smallest full frame camera.

And with the 12bit raw rumor, I was hoping for an internal version, or internal ProRes.

If these specs are accurate, this isn't how you make a splash. I mean, no 4K all-i?!