Fredrik Lyhne

You're welcome. Actually I totally agree, It would be hard to commercialize this kind of shooting due to the time it takes. I'll have to charge a lot of money for a very short sequence. But it's ok because I'm just an amateur. I don't do photography and video professionally, it's only a hobby for me. Just for for fun when I have time.
That being said, I think that I've now reached the level of "advanced amateur"

Lumix GX80 + a vintage lens. Highly cropped photo. No sharpness in post. Press on the photo to see true colors and detail.

I second that the mini Panny zooms are great for the price and size. Havent tested them on my GX85 yet, but here is a couple of shots with the GM1 and the 35-100mm.
 

I second that the mini Panny zooms are great for the price and size. Havent tested them on my GX85 yet, but here is a couple of shots with the GM1 and the 35-100mm.
 

Ming Thein was impressed with it, which is saying something.

A test 4K video using the tiny 35-100 f4-5.6 zoom. Shot in Standard, -2 NR only, to see what the camera puts out. Also tests the audio, as there is a jazz group playing unamplified. All handheld.
 

Finally, It was long and painful but I made it after 2 years of work. Here is my Miami video. Enjoy


Unlike cities such as New York, Paris or Dubai, no one ever did a real hyperlapse video of Miami so I had to fix this.

I started this project 2 years ago with hyperlapse experimentation. My first attempts were very bad and most sequence went to the trash bin. It took me a while to capture the hyperlapse sequence correctly (must be very very accurate) and then do the post-stabiliation frame by frame.
Hyperlapse is very time consuming. In average, one second of video takes 1 or 2 hours of work and I don't even count the failed attempts (either I fucked up, light was wrong or something/someone messed with my sequence on site).


Techniques:

The video is 75% hyperlapse, 5% timelapse and 20% drone and aerial (rented plane and helicopter). I had a massive volume of video and photo (RAW of course) and I only used the tip of the iceberg.
I failed many times during my learning process but I now master the most complex type of sequence such as HDR Hyperlapse of Holy Grail Hyperlapse.


Gears and software:

Here is what I used:

► Hardware:
- DJI Phantom 3 Pro with Mars Lite & Mayday Board
- TBS Discovery Pro with custom GoPro 4 lens
- Polar Pro Filters
- Dynamic Perception Stage One & Stage R with NMX controller
- Panasonic GH4, Lumix 12-35 f/2.8, Canon FD 50mm f/1.4 and custom made gimbal (Alexmos)
- Canon 6D, Samyang 14mm f/2.8, Sigma 24 & 35mm f/1.4 Art, Canon EF 50 f/1.4, Canon EF 24-105mm f/4L,
- Cessna 172 & Bell-206

► Software:
- Adobe Premiere & After Effects
- Adobe Lightroom
- LRTimelapse 4
- SNS-HDR Pro


How many pictures ?

Honestly I have no idea of the number of pictures taken and I find this point completely irrelevant. The number of shots and TB of hard drive is not a good metric and does not give any indication regarding the quality of the final video.
What I can tell is that I finally achieved a good ratio of shooting attempts / keeper sequence. When I started hyperlapse I had to discard 80% of my sequence, now I can keep 70-80% of my clips.
I also have a lot of unused sequence that I shot but didn't make it to the final video. I prefer to squeeze the best out of my project and not fall into the trap of "clips stacking" for the sake of it. This video is already long with its 4 minutes duration.


Aerial Shots & Safety

I used a DJI Phantom 3 Pro for the aerial shots along with a TBS Discovery Pro fitted with a GoPro 4 black. I modded the lens in order to get a longer focal. Some shots were taken from airplane (C-172) and I also rented a Helicopter (Bell-206).
In terms of safety, the drone shots were line of sight only and below 400 feet following the AMA & FAA guidlines. 90% of the drone flight occurred over the water even if it's not visible because of the framing. For the remaining 10%, I flew over parks and empty area with the Phantom. I follow a precise scouting of the place before each flight and perform a thorough checklist.
And because shit happens, I also installed a Mars Lite parachute with a North UAV Mayday board (special thanks to Kyle) on the Phantom in order to prevent any damage/injury is something goes wrong.
Last, I had to notify the airport manager in some places before my flights and I stayed away from Class B airspace of Miami (I couldn't get clearance despite my request).

Special Thanks and Credits:

► Intro & Opening tittle by michaelcparadise.com/

► Music: Daft Punk - Derezzed (The Glitch Mob Remix)
theglitchmob.com/
facebook.com/theglitchmobmusic
instagram.com/theglitchmob/
twitter.com/theglitchmob
soundcloud.com/theglitchmob

► Special thanks:
It would be hard to detail the list of all the people involved in this video but here are the main one who inspired or helped me to make this project: Artem Pryadko / Zweizwei, Aaron Priest, Dimid, Gunther creator of LRTimelapse, Jeff Colhoun, Jay Burlage & Dynamic Perception, Marco from Timelapse Network, Team BlackSheep, Aufmschlau, b-zOOmi, Keith Loutit, Dustin Farrell, Rob Whitworth, Dominic Boudreault, Michelle, Guille, Mariana, etc.

You can also follow me at:
facebook.com/Oliver-KMIA-1622032868057530
instagram.com/oliverkmia/
twitter.com/OliverKMIA
Some behind the scene photo




 

YouTube uses ffmpeg- this looks like an ffmpeg bug for videos > 1080p. Something related to bt601 / bt709 / rec2020 etc. I've also noticed this issue- too much saturation and red. The workaround has been to pull saturation and red, re-render, upload and check the results, repeating until it's OK. It might be possible to use ffmpeg locally to rewrap without transcoding and changing the color info (colormatrix etc.). See the options here: http://video.stackexchange.com/questions/16840/ffmpeg-explicitly-tag-h-264-as-bt-601-rather-than-leaving-unspecified. Flags to rewrap audio and video without transcoding: -c:a copy -c:v copy. 

^ doubt it's a regional thing.. for example the Full Sail University (FL) tech package consists of an FS5. if you're producing 4K (which most TV productions aren't) then FS5/FS7 really is the only place to go within the under $8K run&gun/doc/ENG cameras. they're definitely out in the wild, NYC homie shot this on a FS7 couple weeks ago:
 

That would have to be altered in FCPX, but I'm not familiar with it.  With a 4K timeline you should be able export a short clip in Rec.2020 to test on Youtube.

If I was to hazard a guess, I'd think you've got a colour space conflict.  Youtube might be expecting that 4K uploads are in Rec.2020, but I don't know.  I couldn't find any recommendations about that.

check your operating system for any ICC/ICM profiles and completely remove them all, reexport and reupload.

Interesting discovery!
What I notice is the colour in the back ground. Checking the colours in a photo editor, I see the following values:
top left photo: topside back ground: R 176 - G 180 - B 176 lower side back ground: R 188 - G 198 - B 198
top right photo: topside back ground: R 177 - G 183 - B 177 lower side back ground: R 196 - G 204 - B 204
lower left photo: topside back ground: R 165 - G 166 - B 169 lower side back ground: R 186 - G 192 - B 203
lower right photo: topside back ground: R 175 - G 175 - B 177 lower side back ground: R 192 - G 198 - B 208
If I imagine a flat white back ground, I like the top skin colours a bit too green and warm, and the lower ones much too purple.
When I adjust the white balance for the top left face, I can get a very pleasing result.
Adjusting the WB on the others I can have good result too.
Maybe, to make things comparable, record using the same manual WB settings?
Maybe let the talent hold a colour checker, to measure the differences in the colour profiles, and see what has shifted where?

Some of you saw my skin tone comparison with the GX85 and GH4 that I uploaded last week and most people seem to prefer the ungraded image from the GX85 . That's fine with me as both grades were a little off. But I obviously had to take a closer look to see if I agreed. I suspected that youtube is doing something with the colors when I upload in 4K and it seems I was right. I uploaded a 1080p version and made a side by side comparison. For some reason youtube seems to add magenta when uploading in 4K. The result is that the ungraded footage of GX85 looks better and the graded image (which was a little too much in the first place) looks a lot worse. 
Has anyone else noticed this and is there a way to avoid it? 
4K is on the left and 1080p on the right. 

@Greg Block Thanks for sharing the image of your rig! 
I'm thinking about getting a 5" or 7" monitor myself. I'm having a hard time deciding between VS-2 Fine HD, Ikan DH5e or DH7... I didn't think of the HDMI cable positioning as a problem as it's on the left side on my GH4. Here's how my rig could look when I decide which monitor to get. That's a 5" smartphone on top mounted with Shoulder Pod S1 and a ballhead screwed on to a SmallRig handle. I need the handle on the GX85 because of the HDMI is on the left but on the GH4 I won't need it so it can actually be an even smaller setup. 

Here's a Quick review from someone that owns a GX7, EM5II, GX85 and likes to shoot with manual lenses.  The GX85 has great IQ.  Love the 4k and the colors are an improvement.  Ergos stink.  The EVF is a mess and, for lack of a better word, "terrible."  I would have thought it couldn't be any worse than the GX7, and I was right.  Unfortunately, it's the same.  Yikes.  On the EM5II, the EVF is so clear and clean that a user can actually use it to find manual focus.  It's not viable on my LUMIX cams, and to step backwards from that luxury is a shame.
The body grip of the GX85 is not comfortable (or reassuring in one's hand) and it's actually worse than the GX7 in that regard.
However, exposure controls are easily accessed and exposure monitoring is impressive.
This end-user ergos might not matter to you if you're not shooting a ton of footage, but once you try to get through full day shoots while handholding the GX85, it's something to seriously consider.  For now, the GX85 IQ is so superior to a camera like the EM5II, that it's a worthwhile tradeoff.
But, since the egos are so much better and nicer in the EM5II, at this point I would not hesitate to return to an Olympus camera once they finally adopt 4K.
*sigh* it's never perfect, eh?

Review with test shots - looks nice, would like to see more... be aware the presenter is being filmed on a FS5 with Sigma lenses (and a speedbooster)
 

Did a sky shot yesterday evening as was recommended by fuzzy
Internal Vector (Contrast pushed up)

 
External Vector (Contrast pushed up)

 
Internal Screenshot

 
External Screenshot

Much much more difficult and much more advanced, and F1.4 will give a completely different look & feel to an F2.8 on full frame, plus it's 2 stops brighter.
It's not right to go around multiplying apertures by crop factor.
An F1.4 on Micro Four Thirds is as a big a hole as an F1.4 on full frame.
If this lens is as stunning as the Leica 42.5mm F1.2, I will be buying one.
Plus... it IS a Leica you know!? It isn't a Zeiss. It's not a Panasonic. It's not a Canon. Leica designed optics cost a lot of money for a reason.
No you can't dude.
First of all an image is a combination of camera and lens. Tell me about that full frame sensor camera that shoots 4K for less than $1200. It doesn't exist yet. Then add the cost of the 24mm for full frame. Forget about that mythical full frame 24mm F2.8 you seem to be in awe of... the premium, sharp, low distortion optics are the Zeiss Batis 25mm F2, the Sigma 20mm F1.4 and if you can forgive the lesser sharpness and more distortion, the Canon 24mm F1.4 - all of those push you quite far past 'affordable' when paired with even the cheapest GH4-standard full frame 4K video mirrorless body or DSLR, namely the A7S II or 1D C.
The GH5 paired with just two lenses, the Leica 42.5 F1.2 and Leica 12 F1.4 will have astounding image quality, likely bettering the A7S II or A7R II with the Batis 25 and 85 for FAR less money. Nobody complains about the Batis 25mm F2.0 price being $1200-ish and that is the nearest modern competitor to the Leica 12mm F1.4 in terms of image quality and modern build standards & AF.
All I ever hear is full frame this, full frame that, it's like people are blinded by the pure simplification of all the arguments regarding image quality down to one spec.
Not to mention the fact that if the GH5 has the GX85's in-body 5 axis IBIS, it will be stronger than a full frame camera in that respect too... And if it is Super 35mm you want, put a Speed Booster on it.
You could say that for $999 you can get an A6300 but the rolling shutter and overheating really kills it compared to what the impending GH5 will likely be capable of in terms of reliability and rolling shutter less than half of what kind of skew the A6300 produces. Then add to that $999 the cost of a 16mm F1.4 E-mount lens... oh there isn't one... ok the cost of a Speed Booster and full frame Canon 24mm F1.4L, and already you are past the $2000 point... Easily.
And that is why Bro... You don't knock this Leica 12.

@Fredrik, I didn't realise it's you in the video. The wall has some very strange colour. Als, the GH4 has a very strong orange tint. The GX85 also has a tint, but not sure what colour it is. If you have nay other camera (canon or nikon), maybe you could what colour they get the wall. It's like the dark horse for DSLR/ Mirrorless colour science. 
 
Panasonic increased the contact points on their hotshoe, which I am guessing could be used for audio too (if the software and hardware allow it). I also realised, that if Andrew (Reid) says that he gets an audio signal via the HDMI port, through the HDMI out, along with video (like on the G7, though along with monitoring in-camera), then there may be a way to (possibly) work around that too. Though, not sure the audio and video signals could be split.
 

Here's a video I made comparing the GX85 in Natural vs the GH4 with Cinelike D + Leeming LUT which is my favourite GH4 image. I'm by no means a colorist, but I think the results are ok. May need some additional tweaking here and there. What do you think?
For some reason when I upload videos in 4K instead of 1080p the video get's more orange. Anyone else noticed that?
 

I agree, GH4 is better but it's a little orange. Thanks for your feedback!

@John Matthews I'll try the standard and compare it to natural next week. I was expecting the magenta comment  I know I should just start the grade from scratch but I wanted to see what you thought about it first. Grading skin tones is really difficult!
WB is tricky and needs more testing, but I agree that sunny is a good starting point in the summer. 
Which image did you like the best, GH4 or GX85?

Here's a video I made comparing the GX85 in Natural vs the GH4 with Cinelike D + Leeming LUT which is my favourite GH4 image. I'm by no means a colorist, but I think the results are ok. May need some additional tweaking here and there. What do you think?
For some reason when I upload videos in 4K instead of 1080p the video get's more orange. Anyone else noticed that?