manueldomes

Its to do with the counter balance - (its balanced for a fixed weight of 4 kilos (8.8 lbs) which means its rather jerky for tilts. Its marketed for lightweight cameras like dslrs and small camcorders but its definitely made for larger cameras like a DVX200 or a Sony PXW-Z190 not my A6300/Z90 combo. 

I'd second the Tiffen recommendation. Got it again after breaking one a year ago (and it took a lot of force to break!)
For docu work I can't imagine not having one. If there's color shift, I reckon it's the good kind - I like the skin tones with it.

On most forums and mainstream sites, you aren't even allowed to discuss issues of sex, race and politics so you're lucky I'm chilled out about it.
If things get divisive and out of hand, only then will I stop it.

It depends on the distortion you got but the following video should be a good general guideline. Now I know you don't have audition but you can get a trial version if it is an one time thing  
 

Can't comment on this particular gimbal, but I have resorted to exclusively using my Olympus 12mm on my pistol grip gimbal for the same reasons stated above. Since I shoot on a Gh5 and usually output 1080p, I can always zoom in or crop in the timeline if necessary. No recalibration required and the setup is a lot less tiring for your arm than using a heavy lens.

Taking the liberty to post the trailer for a short film we shot a week ago. 
 

Taking the liberty to post the trailer for a short film we shot a week ago. 
 

I inverted the shutter and aperture dials setting, so that at worst I accidentally change only the aperture (front dial is more unlikely to move unintentionally, at least for me). And since I shoot with a speedboosted sigma 30mm 90% of the time, the back wheel is basically deactivated.

In my experience, set zebra to 80% and expose to the right (i.e. dial down exposure juuust a notch once zebra appears in the brightest part of the frame you are going to shoot). Then pull down in post if your scene is too bright. Quick and easy. 

I bought the GH5 for 10bit 422 and IBIS, which were the only things I reallly missed with the GH4. Having the second memory card slot and LUT preview is fantastic. Couldn't be happier.

Thanks for the great replies guys. The Soviet way prevailed.

Thanks for the great replies guys. The Soviet way prevailed.

I'm guessing that the profile level, keyframe distance, reference frames, etc. aren't matching what the camera records in. I use a program called "videoSpec" on my mac that tells me all this, so use that to figure out exactly the settings to export from compressor (by dropping in a file you shot on the camera), and it should work fine. Just make sure to put it in the right place on the sd card.

There are two ways to do this.
The NASA spending millions on a pen to write in space approach or the Soviet using a pencil approach.  (Yes,yes, I know thats turned out to be an apocryphal story but I like it anyway  )
The NASA way would involve copying and renaming files (there is a catalogue file hidden away in a Panasonic folder on the SD card) and using a hex editor to append chunks from a genuine file and trick it into thinking it came from a Panasonic camera. I've just spent some time doing this and managed to change the error but not much else so you'd need to dig a lot further in. Another NASA approach would be to use a tracker in your NLE to graft the video onto the GH5 screen.
The Soviet way would be to play the file you want on an iPad or some other screen and just film it with the GH5. No hacking, no plugins, no rendering.
Its up to you but I know which route I'd choose, tovarich.

I'm using the Sigma 30mm 1.4 with a speedbooster XL 90% of the time and continue to find it pretty wow

I'm using the Sigma 30mm 1.4 with a speedbooster XL 90% of the time and continue to find it pretty wow

Something I'm working on. Shot on GH4/vlog (with some GH2 shots)
 
 

@Liam! thank you for sharing this
so, first of all, i thought this short piece was pretty good~! therefore let me make it clear that my constructive criticism is just that – youre definitely on to something here, something that needs development and refinement, but thats the life of an artist~! its never ending... and at a certain point you have to put stuff out there, and the people will probably like it more than you do, because theyre way less critical of your work than you yourself will always be! but thats good: when your reach exceeds your grasp, its tough to live, but it means youre growing
my first impression was that i found the way you shot the figures very intriguing, avoiding their heads and faces – not a unique notion, but a seldom used technique. almost reminds me a bit of all the cut aways robert rodriguez was forced to do in el mariachi due to lack of coverage.... which ended up benefitting his production tremendously, and people thought he was a genius for it...and it was in spanish. that helped too. but i digress
anyway, that was cool, and it developed a sense of tension from the very beginning. like, who are these guys, what are they doing? what are they planning? WHY cant i see their faces? there must be something sinister going on~! moreover, that coverage forces the viewer to listen carefully, far more so than they usually would, to get all the information possible out of what the characters are saying. without the infinite subtleties of human facial expressions, we strain to discern that missing information from the dialogue alone, the sound of the voices, the cadence, the emotion or lack thereof. its a fascinating principle
given those points, id suggest a couple things in terms of audio. firstly, it struck me that the voices of the principles are a bit too similar. theyre not identical, but since we dont have faces to associate them with, perhaps pitching one up or down in post could help differentiate the characters on an emotional level, so they seem more like two separate individuals, vs one characters internal dialogue. on the other hand, if youre going for the latter, great, push it that way instead!
additionally, i believe the score would be more effective in this case if the music in the background seemed more like music that the guys are listening to while chatting and drinking some beers, less like dubbed audio. moreover, it could be subtlety manipulated to work better with the conversation – but a random overlay of your music track where youre not ramping it/changing it to coincide with the dialogue could be great too – a bold "element of chance", as duchamp would say, can work wonders
i like the dialogue. i write "uhm"s and "like"s in my screenplays, but i keep it to a minimum, and try to have those pauses and forms of verbal static express a characters difficulty in forming a thought or making a particular point in that moment, describing their emotional state
i like grain/noise for narrative, but in this case i found it a little distracting, notably in the lighter areas of such a dark piece, if the noise was more unified over the entire image that might work better. mind you, its easy to be extra critical of something like that in a piece where we are listening even more than watching, you know what i mean?
last but not least: the content: what is this film about, what happens? like i said, i found the conversation intriguing and interesting from the beginning, but i feel like it needs something of a payoff, a conclusion, a highspot* if you will, something to complete it. i feel like these guys were having an idle discussion which might be leading to some wild action, or at least a resolution to do something extreme – like go on a killing spree. i feel like this is a teaser for something bigger... am i right?
the mention of anxiety and intrusive thoughts is great, subjects that are seldom addressed, americans being on a pharmacy full of [dangerous] drugs is our dirty little secret. id like to see more work that explores those issues – i mean how many people are on SSRIs today, like a billion??
anyway, those are just some of my initial thoughts, im gonna watch it again later tonight. but my biggest point is this: I HAVE SEEN PEOPLE THAT I WOULD CALL TREMENDOUSLY GIFTED FAIL MISERABLY IN MAKING A ~WATCHABLE~ SHORT THAT IS ~AT ALL~ INTERESTING WITH A BUDGET OF $50k OR MORE. Youve already made something that I'd like to see more of, and if this is indeed your first short (!!!), id say youre off to a great start
in conclusion, the salient principle of visual narrative is always paramount: "If its not on the page, its not on the stage"! And there's definitely merit to what youre doing, keep at it!!
Stay strong buddy!!
your pal,
Kaylee ❤️
*pro wrasslin term lol
 

42 pages and this thread is one page 

edit: 43 now
 

All depends as well on the circumstances as on your own mindset and emotional disposition. If to connect to other people's emotions is what you really miss, you will find this easier. Or at least you imagine that it is. And then, no matter whether the empathy was real or not, MDMA is a medicine for you. You will always remember the experience as Love Is All You Need.
 Acting maybe quite accurate. But all just shown from the outside. If that was your goal, it's good. 

MDMA is about empathy above all else. A feeling of warmth and closeness and intimacy and caring in situations where those emotions either don't exist or they exist in "lower doses". Difficult to depict in isolation. But - and I think this is critical - easy to depict by way of contrast. Before, during & after. There is no dramatic perception change or distortion of physical reality. It's subtle. It's emotional: "I love you now but I won't tomorrow". Maybe "love" is too strong. "I care now but I won't tomorrow"?
It's easy to hold hands with someone whilst taking mdma. Easy to hug. Not even necessarily sexual.
Music & sound? Not convinced. It's a peaceful time of silent caring. Soft edges. The (dance) music is the same.
But these things are quintessentially personal experiences which are difficult to characterise or bind by generalisations.
Tim

I shot a video for an artist called Vesperteen (check them out on Apple Music, or here). Shot 75% in V Log 10 bit, and 25% with C100. Check out some of the V Log stills below. Haven't worked on a final grade yet. These are just Cineon to Film Contrast LUTs applied.

I have one pre-ordered from a place that Aaron Green recommended. I'm most excited by the global shutter option. There is something about the way it renders motion that makes a subtle difference. And of course, I look forward to shooting raw and prores without the need for an outboard recorder/monitor. I've been running around with a GH4 and Odyssey 7Q+ and it can be a bit unwieldy when I'm on my own.
I have assembled everything I need to shoot with it collecting in a box. some purchased, most I already had -- cage, cards, cables, 502 monitor, speedbooster, ND, follow focus, tokina 11-16, sigma 18-35 + 50mm, and Rich at Dog Schidt Optiks is crafting a Trump 58 set with the 38 and 88 attachments for me which i can't wait to pair with the bmmcc. Hopefully it ships this month.

I also picked up this fantastic monopod by Sirui. bought it for the Micro but have been using it with my GH4 in the meantime and I love it.
 

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

There definitely is...you just don't share it. Important distinction.