Andy Zou

I'm not super familiar with the conflict; what exactly did RED patent about raw compression that's so unassailable by other IP lawyers?

I got a GH4 when it came out and was pretty enamored with it; thought when it came time to upgrade I'd go with the EVA1. Never got around to it, and it seems like not many others did either. Did it just not compete well with the FS5s of the time? So many cameras are out right now, it's been years since I've had to think about buying one. In-between C200s and FS52s and FX6s... does Panasonic have something in that price range that's new?

I can't search without just getting endless calculators asking me for personal info, so I guess I wanted to poll the sort of rates people got.

Rolling Shutter?

I don't know what sort of metrics one can use to tell similarly spec'd batteries apart, but I hate that on-brand camera batteries are the only ones worth their weight. Why is that? Shouldn't a mAh be the same regardless if they are quoted as such? Are some just lying? Is there some sort of communication between battery and camera that makes the proprietary ones better?

I have a PIX-E5 (My tears when they discontinued the line...) but it comes with SDI. Checking the B&H Site, it looks like its only video outputs are SDI tho. Could do 4K Prores I suppose. New pricing brings it competitive with the EVA1...not sure I could justify the weight and gear-bloat, I like to keep things light...

This is better than using V-Log-L?

So the downsampling on the GH5 from that sensor must be pretty alright then?

So, what was the consensus here re: GH5S? Worth it over the GH5? Owned Gh4 since launch, the focus button at this point has had all its ink rubbed off, and the micro-HDMI port has taken a few tugs... but it's still going strong! I could probably get rid of it for ~4-500, used GH5 on ebay is around 1100. GH5S are 1700ish. Often record Prores to external PIX-E5. Mostly do web content, but wondering if jumping up to EVA1 or that bracket is worthwhile as well...

They note the sensor as being a 14-bit sensor; was the GH5 sensor not?

Huh! Fascinating. So I'd need to get another camera. I assumed that the optics between the front element and the iris would've thrown off this measurement. I think I read somewhere here or otherwise that the distance between the rear element of the anamorphic adapter and the entrance pupil is inversely correlated with the quality of the pairing.

I recall somewhere reading that the distance from the adapter to the entrance pupil affects the quality of the combo. How does one measure the entrance pupil? Is this only visible in a lens' cross-section breakdown?

What would you consider reasonable for the Isco? The same user has two more red Isco's for about 420 each, is that odd?

Is this overpriced? http://www.ebay.com/itm/Isco-Anamorphic-Ultra-Star-Red-Plus-2-1-2x-Cinemascope-TESTD-MFT-Full-Frame-5200-/111980460386?hash=item1a128e3962:g:nGQAAOSwCQNWdwmP Is this suspiciously cheap? http://www.ebay.com/itm/Isco-Optics-Anamorphic-Lens-for-DSLR-GH4-Canon-Black-Magic-Red-TACK-SHARP-f-1-4-/282032228268?hash=item41aa6e47ac:g:F08AAOSwKfVXKVBr

Skin tones under orange lighting. Too much red!

I have a 2TB RAID0 array for active project data, a 1TB for archive, a 100gbSSD for scratch/cache, anotehr 100GB SSD for OS/Programs, an old dying HD for torrenting and temp files. The RAID0 array reads and writes faster than the single hard drive, but at the cost of doubling the catastrophic failure chance. This can easily be measured with benchmark tests, I can't remember what I use but it literally measures the Mb/s of transferring a test file. That being said, it'll only help if your editing is being bottlenecked by the HDDs. What's the bitrate of your footage? Are you multi-camming? How much data does the system need to be able to randomly access? And what bitrates are you writing? You should have it reading from one drive and writing to another to keep those lanes open, so to say.

I recall reading somewhere that anamorphics work best the closer they are to the entrance pupil of the lens. Is there any easy resource to research good candidates for taking lenses?

It's a 5" HD screen, which I find just fine for focusing. It comes with peaking which can be dialed in percentagewise 0-100% (i.e. contrast sensitivity), but I don't really use the peaking. I instead use the touchscreen tapZoom functionality, meaning I can tap and instantly be 2x or 4x where I tapped, while also being able to drag the zoomed area around. Depends on how fast you like to work.

SoundDevices, and consequently VideoDevices, are built so rugged they'll last you a long time. Also plenty of hard buttons and functions. SmallHD makes nice looking products, but they aren't as durable. Also recording functions, etc. I own a PIX-E5.

I was onsite for NoFilmSchool and actually talked to the SoundDevices guy about this specifically! I asked him whether he felt threatened by the development of a sub1k 4k monitor-recorder, since they have the Pix-E series, which I own. He says no, because he was wondering about the feasability of Prores 4K being recorded to SD cards reliably. Also, the PIX-E is fully kitted out with scopes et al and is super rugged.

How many bit values do you need? Assuming 12 stops... 8bits: (2^8)/12 = 21.3 values per stop. RGB is then 64 shades per stop. 10bits: (2^10)/12 = 85.3 values per stop. RGB is then 256 shades per stop. 12bits: (2^12)/12 = 341.3 values per stop RGB is then 1024 shades per stop. I mean, ARRIRAW is 12 bits. If it's good enough for them, probably good enough for the rest of us, but I don't do enough grading to know what will band and when. Don't know off the top of my head what video does more; I think 5D Magic lantern allows 14-bit raw.

I've been thinking about this as well since the lens stacking makes it rather inconvenient. Obviously it depends on focal length, you're just going to have more trouble with wider lenses. But you could also try stacking threaded filters BEFORE the rangefinder somewhere. Obviously a nightmare to swap out, but if you are desperate to avoid vignetting on certain shots it may be your only option short of enormous square filters or 82mm filters.

I shoot 16:9 4k. Gh4 anamorphic 4:3 cannot be transmitted over HDMI while recording, meaning you can only record the 4:3 internally. The h264 4:2:0 100mbps may be a dealbreaker for some. But, it outputs the 16:9 4k over hdmi while recording just fine. So with a monitor that has desqueeze built in, you can just crop off the sides and get usable external recordings of anamorphic footage. Not sure what sort of workaround you would have around desqueezing besides using a monitor or a desqueeze diopter, which I don't think they'd even build as a loupe for the GH4.

Any updates on good pairings with the 2x anamorphot? I'm using it with the 50mm Zeiss 1.4 right now and I'm ambivalent about it...using it with the rangefinder as well! Thinking maybe the 40mm 2.8 might be good!

Really? I got the 2x anamorphic on their early bird sale because of the bonus diopter, I'll be quite annoyed if they decide to update it so soon...