PannySVHS

On 12.5.2017 at 2:41 AM, Lewis Hart said:

 

If I shot for example in CINE1 and used my shogun, it seems to be recording fine? But am i loosing out on something and not getting 10 bit or higher? Im a tad lost on the matter. 
 

Hey, Do you have the paid Sony software update? Otherwise the FS700 is outputting 8bit only instead of possible 10 and12bit.

Hey guys,

I´m a great fan of classic Andrew Reid stuff like this one telling about Richard Gales Nex5 mod.

Are there any other cool mods going on by Richard or others? I just think this looks so pretty:)

Here is this super cool article by Andrew:

http://www.eoshd.com/2012/07/mystery-camera-revealed-sony-nex-5n-in-cine-housing-with-cooling-mod/

Loved many of Andrews articles, like that one about Top Gear and his Digital Bolex material, also his older articles are treasures.

If you google eoshd and cmount or Pentax 28mm or even GH2 you´ll find tons of awesome stuff to read from him or forum members.

Often this site and forum give great topics for further online research. So, it´s a great thing to express your appreciation, @HelsinkiZim!

30 minutes ago, pablogrollan said:

Have you considered not using Slog2? Slog3 and 2 are not recommended in low light, and even less in slow motion. Try using a different profile and you'll probably get a much cleaner image that you can still grade (not so much in terms of contrast).

i second that. slog is a nono for super lowlight! better shoot a cine profile. your posted footage is super low light, if you consider you had to go iso4000 AND f1.8 for that small

illumination you were able to capture. iso 4000 with moderate lowlight is no problem. i imagine if you shoot 15k iso with your a7s and slog in that little light you´ve shot this,

you will see h264 artefacts on a big screen.

6 hours ago, Lewis Hart said:

Hi guys,

Recent convert from a 7S2 to a FS700, but Im having some regrets...

hey lewis, how much did you pay? wanna sell it to me for a price adequate to your disappointment?:)

On 6.5.2017 at 8:26 PM, ripper2020 said:

I did some very basic test footage of my son.  Strangely, to me, the unbalanced setup with the crane seemed more stable than the perfectly balanced setup (same exact setup) with the crane m.

Here is footage from the perfectly balanced setup on crane m: https://youtu.be/e6B3bsB8njQ

Here is the non balanced footage from full size crane: https://youtu.be/X1II_b7E7wY

When I say not balanced, basically the tilt and roll axis roll back to level shooting position instead of staying put.  I may just keep the full size crane and keep working to get it balanced...or just use unbalanced.  

 

 

 

 

 

Hey, color looks awesome, movement on the unbalanced big crane too. What profile settings did you use? Did you do the firmware update for the 50mbit mode? cheers

11 hours ago, mercer said:

Really nice work here. It has that classic Panny look... the good look. Which lens(es) did you use and what picture profile?

I also thought, that is some seriously beautiful looking color. You put that in perfect words: the CLASSY Panny look. A great unique

Panny color signature. Stab used CineD 8bit and Leeming Lut. His other videos show, that 8bit Pannys can look really great in natural and tungsten

light, but not so awesome in fluorscent light. Other posters have said that before, think JCS was one of them.

3 hours ago, Don Kotlos said:

Yep they need to disable the temporal noise reduction. Even though it generally looks alright there are cases that it creates strange artifacts (and no his leg was not wiggling around  , EDIT but now that I think about it might might be due to shooting at higher frame-rate and then exporting at 24p but there are other examples as well) : 

 

 

They shot this on Firmware 1.0. Last firmware is supposed to switch temporal noise reduction off in VLOG.

Also, in your posted video one can see this: with ultra wide lenses the effect on perspective and z axis is strong when changing crop.

Cha Cha Cha! 11500USD

http://www.ebay.ie/itm/Arri-Alexa-Classic-EV-Camera-/152523488533?hash=item23831bbd15:g:ivsAAOSw4CFYqK~y

3 hours ago, webrunner5 said:

Hell , Maybe you are a odd duck LoL. Just kidding. OK it is interesting how about that! I guess we need to see the "Moving Pictures" as they say to pass judgement.  I, well, I think it is too soft for my liking. Looks a bit like, the old put Vaseline on the lens trick, back in the day. Women's Nylon Stockings work well also.

Softness is from the HD processing of the GX85, which is not close to Lumix G6 HD quality, which was pretty awesome

31 minutes ago, Eduardo Granadsztejn said:

Only few can make this with a GHx from what I've seen (and knowing a lot of color grading) , there are other cameras that can reach easily for me ( i don`t know much color grading) the "mojo" that i want like Blackmagic, canon and even sony. That´s my point.

Why people always complain about the video ish look of the GHx?

Wouldn´t guess, people sayin that about the GH cameras. People have always been exited about the image quality. Some like Panasonic the best, some Sony,

a lot of them like Canon, at least for the colors:). Different tastes. But there are hundred times more people liking GHs and G7,8,85 for what they are, low price

cams with some of the best image quality of its range. Too bad, Panasonic has lost love for HD quality in their GX85 and possibly G85 cameras.

Here are two examples what a GH3 was and still is capable of. For the Mekka music video, I don´t dig the prologue with the icecream shop, but the rest looking awesome.

14 hours ago, webrunner5 said:

That is a odd looking Duck on it's output LoL. Can you return yet?

I like the output:)

10 hours ago, mercer said:

I like Indie Film Academy

Hmm, gonna check that one out. Seems like no one has other favorites than us and is already satisfied with Tony Zhou and co:)

Cinematography Database is also interesting or masterclass:

Hallo,

I think there are a lot of great people out there producing fun and engaging content. There are the usual suspects of course, but

then also some of the more interesting kind. So who are your favorite people where you can stop by and have a great

and relaxing or engaging tech or cinephile watch? I start with Tony Zhou, Sareesh Sudhakaran from wolfcrow and this kid:)

16 hours ago, webrunner5 said:

What F stop were these shot at, all the same?? And it is the Only lens that does it??

Hallo, F stop was 2.8, all shots at the same Fstop. My sample might be faulty in the regard of the lightness in the middle of the frame. It´s a fun and beautiful lens for

s35 crop video. Also got a Tamron 20-40 waiting for its EF to Fmount adapter to put on my EF china booster:) And waiting for a Tokina 25-50 F4 and a Sigma 35 70 2.8-4

to arrive! I´m becoming a sucker for these small zooms. And I bought a beautiful Kiron 28 f2.0 in Contax mount, my 28mm F2.0 Zeiss substitute  

7 hours ago, AaronChicago said:

I am this weekend in fact. Shooting a music video with both. It's mostly anamorphic, but I'm going to shoot a couple of takes with our actress using the Sigma 18-35 on both the GH5 and UM46K.

Exellent!:)

Samples from my Tokina 24-48mm 2.8. I think it has a little optical flaw, like there was a light leak in the middle of the lens. This only shows, when contrast is hightened in post.

Otherwise, beautiful lens, for which I would estimate a TStop of around 3.3-3.8 across the zoom range. Measured it against an Oly XZ10 with its fixed lens starting at

f1.8. With focal reducer the Tokina becomes another stop brighter fortunately.

Screenshots from gx80 in 1080p 24p with IBIS + electronic stabi. GX80 in HD seems not up to the nice HD resolution of the older m43 Lumix cams like GH2,3,4 and G6.

Maybe it is caused by the additional electronic stabilization.

On 25.4.2017 at 0:13 AM, AaronChicago said:

I've actually been using the Ursa Mini 4.6K for about a year now. I love it. I did trade my GH4 for GH5 as a B Cam.

Oh, I thought you also bought a FS700 plus Odyssey and was looking forward to hear your thoughts about that combo. So, looking forward to your GH5 footage then, if

its as awesome as your c100 and GH4 Vlog footage. Maybe you´re in the market for a real Varicam camera too, that brandnew beautiful Varicam mini for 4999USD

Well, thought the lower 12 megapixel count and some clever processing would make it more sensitive than an G6 or GH4 sensor, maybe not the newer ones in the G7 and such.

Thus making it about 1stop more sensitive than a GH4, being that, iso 1600 and f5.6 looking the same as iso 800 and F4 on mft. The sensor and processing in the

c100 and c300 line have always been punching above its weight, being two stops more sensitive than the s35 sensors from the FS700 and FS7.

5 hours ago, jgharding said:

I've sort of gone off these 1:1 modes after using red... the noise become massive, as each pixel is taking up more of the frame but yeah they can be useful in a pinch

Right! Just since the 1:1 HD crop in ETC mode has been around since GH2, why not make it stepless? Liking the possiblity of a 1.4 crop in 4k for the GH5, making it

an awesome tool for super16 glass. Guess a good estimate of loss in light sensitivity for this s16 mode could be exactly the factor of 1.4.

That would mean IS0 350 in crop looking like ISO 500 in full mft sensor coverage or 1400 like 2500 on full mft sensor. So ISO 1600 in 1.4 crop should still look good, just

like Black Magic Pocket but with much higher resolution.

2 hours ago, hyalinejim said:

I took my XC10 on hols with me to Bali and took it out for an hour or so on a few different occasions. Here's the first of those:

 

I shot in EOS Standard for all of the usual reasons and graded it with a custom LUT designed to simulate Ektar 100 film. Stuck a bit of grain on there as well, which kind of survived the vimeo compression but not quite. This was HD - I'm impressed again by the files in terms of their gradeability... as long as the ISO is low, which it was here. I have another video coming up with some nasty high ISO stuff!

 

 

Hey Mike, looking great! So EOS Standard is just Canons out of the box ENG style profile? Regarding High ISO, would you say it can compete with G6 or later GH4 or G7, say

ISO 1600 at F5.6 equalling ISO 800 and F4 for Micro Four Thirds, or even 3200 iso and f5.6 eq ISO 800 and F2.8 for mft?

Hallo @Andrew Reid! I just checked this video of yours, shot with a FS100 and a SLR Magic Anamorphot. The colors look awesome! Can you recall any bit

of how you achieved that, choice of profile, special tricks with curves? Some of the best 8bit color on vimeo! Oh, new site looking cool, very inviting! cheers

25 minutes ago, Davey said:

What to expect? Autofocus as good as this will be nice:

 

Couldnt it have been called preview? Amazing AF is already nice for a headline. But gonna watch it anyhow. Thanks, Max!

Edit: Well, just watched it. Great preview or review. AF is impressive in video and photo!

22 hours ago, mkabi said:

May be I'm the only one... but I want 5K up to 100fps - and various resolutions up to 5K & frame rates up to 300fps

12 to 16 bit - compressed RAW?

I mean RED is doing it... of course they are already at 8K - fix the damned heating issues and give us more!

 

Seems like you´re having a love for HFR just like Peter Jackson! Imagine real and clean 2K without artefacts in up to 240fps in 10bit, now

wouldnt that be plenty for a DSLM?

2 hours ago, Phil A said:

Sorry for the late reply, I was on a business trip and didn't want to post from my phone.
I think a big advantage of the A7s II / A6300 / A6500 over the older cameras is S-Gamut3.Cine for shooting in S-Log2/3, it's not as easy to botch the colors (which are a bitch to get back in the 8bit material) as in the older S-Gamut which seems to be super sensitive to the ISO/WhiteBalance. Another reason as I understand S-Log2/S-Gamut often looks so bad is because people try to "bend" it back to Rec709 by incorrectly adjusting saturation and contrast instead of using a technical lut for the transformation.

I like things that just look good, I'm perfectly fine with stylistic grades. So, some stuff I subjectively think looks quite great is a combination of the actual color with the cinematographic choices of the shooter, lenses used, etc and I realize that other people maybe think it looks bad. But here we go, in general I think people who nicely show what the Sonys can do are:

@Naive Studio   https://vimeo.com/naivestudio

Pono Grace   https://vimeo.com/ponograce  (but I'm not even sure, I think he still shoots with the A7s)

Ricardo Fasoli   https://vimeo.com/riccardofasoli

Tu Nguyen   https://vimeo.com/tunguyenwedding

Guess I'm a bit torn to that stylized wedding look haha (will never voluntarily shoot a wedding in my life, not video nor photography)

Like discussed so much, I think the good results are because of the whole package and not because of the camera and in the end it doesn't matter what you shoot with as long as it enables you to create what you envisioned and doesn't fight you doing it. I'm convinced I'd love what these people shoot as much if it was on a GH5, 5D IV or BMCC. I'm also seeing a lot of A7sII, GH5 and BMPCC footage that does nothing for me.

Hey Phil, thank you for you answer and examples. I feel the color palette of three of his pieces I checked from Pono Grace is very muted,

but  with a lack of tonality.

There are great examples of pastellic, less saturated color palettes in cinema. This A7s grading seem to try to mimic that,

also so color falseness and odd videoish tones can be hidden, like mimicing the great looks of film, but in Sony8bitColor instead

of Fujicolor or Kodakcolor:) Ricardo Fasoli and Tu Nguyen have some nice color moments, but still there is something to that Sony color akwardness,

but great examples nonetheless and great examples of wedding cinematography! It is looking pretty in its own right!

But with a GH5 it would have had even better color, by a mile, I think. Bet these guys will jump on the Panny waggon soon:)

1 hour ago, webrunner5 said:

But the $64,000.00 question is, is the GH5 the vehicle to do it with?? I guess the jury is out yet on that question. Too soon to know. But overall I don't see how it can be beat for the money. It has some serious stuff in it. I don't think we are Ever going to get a Arri output for 2000 bucks LoL. Well maybe the 5D mkIII, hmm.

It will be, I am sure. I am astonished by the color I am getting out of my GX85 in natural ooc, linear rec that is.

Not Arri, it will have its own look(s) and signature(s).

Some of the best consumer 8bit color I have seen was graded material from the GH line.

Ungraded material often looks so lala. Canon always had great color ooc,

but that we know already, as it has become a part of DSLR folklore already:)

You´re right, GH5 won´t hold a candle to Canon Raw colorwise just like an apple

will not to a melon size wise, but oh what a delicious apple it still is in its own right. Also colorwise!