freeman

Hey guys here's a quick edit I threw up yesterday, filming racing is something i'm hoping to get into more in the future. GH5 with a couple different lenses, good ammount of slr magic 25mm .95 in here. Graded with filmconvert
 

So many people vlogging nowadays and using their own voice in their films. Its very personal and I love watching it.. but I've never done it myself! I film a web series with my good friend Sean who is a very talented chef. He usually does any VO or narration. So here's our latest episode and a bit of a new thing for us, we go down a street in Rochester NY and take you to all of our favorite spots to eat and get groceries. We had some fun and it feels good to inject a little of your own personality into your content. Not vlogging yet.. but a step closer. Enjoy
 

Hey guys here's a quick edit I threw up yesterday, filming racing is something i'm hoping to get into more in the future. GH5 with a couple different lenses, good ammount of slr magic 25mm .95 in here. Graded with filmconvert
 

Aussie  I plan on making a longer edit for car people with only engine noise (Its music to my ears too)

Hey guys here's a quick edit I threw up yesterday, filming racing is something i'm hoping to get into more in the future. GH5 with a couple different lenses, good ammount of slr magic 25mm .95 in here. Graded with filmconvert
 

I could maybe post the fusion file if anyone wants it.
The method is pretty simple, start by making a saturation map, detect edges on that so sharp change in saturation make up the bright parts and no change becomes black.
Blur that slightly and convert to apha channel.. Use that to blend a desaturated version with the original.
That way any sharp color transisions (like fringes) gets dialed down while the overall color remains unchanged. Slow change also remains unaffected, but depends on edge size.
The same technique can also be used to bring a busy area down a notch

For me the biggest surprise was that ETC works in 4k. I love this! And also, VFR works in 4k up to 60 fps which feels very streamlined.

Thanks @PannySVHS we've been posting videos on Instagram mostly. There are 6 up so far with 3 more to come in the next few days, one min from each city we are in. On Instagram his name is (at)md_woods_ if you'd like to check them out. Any video posted recently on that page I filmed with the same GH5 setup.

Hey @freeman, Thank you for your post and for giving background information on the applied shooting style and tricks!
Makes me want to see more of the artist roaming through the streets of this beautiful city!:) Ibis is working and fitting the video very well here!

Here's a 1 take long shot I did in Budapest a few weeks ago. I'm traveling Europe with my good friend and musician MD Woods, we were in Budapest for a few shows and I shot this performance for the record label. 
Cam: GH5, handheld. Interesting setup: I used a camera neckstrap around my neck for stability and had a mini tripod (very small) threaded in the bottom to use as a little grip. That and being very conscious of my movements let me do a long shot I ended up being really happy with. Of course, we did 3 takes and my favorite take visually was not the musicians favorite musically but I found it fairly easy to get a good take. This in body stabilizer is so nice to have.
 
 

Those big bags of scilica - to remove moisture at the end of the day or while stuff is stored away - so much moisture. I'd go a hand held point and shoot too - like a Sony RX100 - in a very small watertight case. As you'll be seeing stuff at unplanned moments - and you'll want to whip it out. Even in a small dry bag in your pocket. On the water light and atmospherics change second by second and its your ability to get stuff quickly. Ive spent about 10 years kayaking off shore and fishing for reasonbly big fish. And have shot stuff. Also again - a small point n shoot underwater camera might also be considered. It really depends on conditions..... but one salty splash on an unprotected camera could end things quickly. Also teathering camera cases on deck in case you roll....... check the seals daily for sand etc One speck could end things.... I'd go small peli cases in dry bags. For longer stowage trips.
 

Hey meanwhile,
 
Glad you're interested in getting started with video. Reading this thread I see you're finding about everything at once, and there sure are a multitude of facets when it comes to shooting and editing motion pictures of any kind. And each facet goes deep. My 2 cents: You have to learn some real basics first and reading is only gonna take you so far. Doing is the only way. And to "Do" you need to build yourself some structure into this learning experience. I would stop worrying about cinelikeD and picture profiles and color. That's chapter 6 and you're still on the introduction. You have a camera and you have a computer with some editing software. You need to shoot something, edit it, and show it to an audience. These steps will always be part of the process and trust me you're gonna look back on your first stuff later and have a good laugh so it doesn't mean shit what picture profile you shot it in. 
So what to shoot? Pick anything but having a clear goal will help you get it done and the first rule of filmmaking is "Always finish the film." Traveling somewhere? Make a 3 min film about a place you go. Or better yet, make a 3 min short about your hometown. If you have an interesting shop in town, ask the owner if you can make a video about the shop. 5 min max. Then shoot it and edit it. And post it. Then do it again. A good resource I love: the Vimeo Weekend Challenge group. Every 2 weeks Vimeo staff post a challenge prompt for you to complete over the weekend. Simple stuff, like "Film your Dream from last night" "Make a video consisting of 5 clips of 5 seconds each" These are exercises with defined objectives and are great at building skill. The short time limits are a blessing too because they take less editing time and less shooting space. I see a lot of first time filmmakers start a documentary that ends up being 20 mins long and they get burnt out. No need to do that yet, just start making stuff. As you go you'll realize your sound isn't what you want. And then you move on to tackling sound. Once picture and sound are looking and sounding good you can start tweaking your picture profiles and really getting the look you want. Another easy project can just be a montage of footage to music. You have a lot of grey skies so maybe make a little moody short with grey landscapes and some music you find intriguing. Each project will contain technical lessons to learn, and it'll be easier than trying to learn about all of it theoretically without ever even starting. 
 
So there's how I would start. Looking forward to seeing what you create. 

Thanks for the digging JCS, yes Direct Focus Area is what is being turned on automatically when I mount any adapted lens with manual focus. I guess panasonic are right in assuming that when mounting manual focus glass you will want the Direct Focus Area tool working.
 
My desire was eliminate everything off of my composition screen. Unfortunately it looks like I just can't get rid of this manual focus box. (at least when using manual focus only lenses) When I mount my olympus 12mm which can utilize AF I found some options change. I can now select which kind of AF mode I want, and I found that indeed selecting the 225 point AF area will remove the box (the center cross still stays, but.. OK) However, the second I unmount the lens the little Direct Focus Area box comes back. At this point I have literally tried everything. I guess I still could be missing something, but i'm fairly certain that when using an MF lens, this box pops up automatically with no option to hide it. 
Silver lining, in my intense digging I discovered as Jonpais said the four directions on the rear wheel can be configured as 4 additional custom buttons! (for anyone wondering, pressing DISP in the "Fn Button Set" brings up options to configure the wheel as a 4 way D-pad like button, and on the GH5 the new thumb nub can have itself configured as a 4 way) I find that pretty damn cool even though I'm running out of needs to configure haha.

Thanks for the digging JCS, yes Direct Focus Area is what is being turned on automatically when I mount any adapted lens with manual focus. I guess panasonic are right in assuming that when mounting manual focus glass you will want the Direct Focus Area tool working.
 
My desire was eliminate everything off of my composition screen. Unfortunately it looks like I just can't get rid of this manual focus box. (at least when using manual focus only lenses) When I mount my olympus 12mm which can utilize AF I found some options change. I can now select which kind of AF mode I want, and I found that indeed selecting the 225 point AF area will remove the box (the center cross still stays, but.. OK) However, the second I unmount the lens the little Direct Focus Area box comes back. At this point I have literally tried everything. I guess I still could be missing something, but i'm fairly certain that when using an MF lens, this box pops up automatically with no option to hide it. 
Silver lining, in my intense digging I discovered as Jonpais said the four directions on the rear wheel can be configured as 4 additional custom buttons! (for anyone wondering, pressing DISP in the "Fn Button Set" brings up options to configure the wheel as a 4 way D-pad like button, and on the GH5 the new thumb nub can have itself configured as a 4 way) I find that pretty damn cool even though I'm running out of needs to configure haha.

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

The box stays up in MF mode (using native lens).
Searching for Direct Focus Area found this: https://***URL removed***/forums/thread/3677576
See last post here; might help: http://www.dvxuser.com/V6/showthread.php?325388-Turning-off-focus-pinpoint

I like the look of vintage documentaries and for me (having shot on a gh2 and gh4 for all of my personal and client work) I have found lenses to be the most significant decider in the "look" of any of my films. All of the "look" in this clip is because of the lens, I used an Angenieux 12-120 from the late 60s:
Grading is necessary and especially with these old lenses if you want to bring back some contrast. I have been using film convert (fcpx plugin) lately and really liking the grain in that emulator, and also the relative speed I can get a decent look going. This short with the rally cars was graded with a LUT and some individual tweaks (it was before I purchased film convert) but I find film converts grain to really add a nice layer in that "film" look. I would say though the lens is where you start, and going back a couple decades gets you a look thats not so common anymore.

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.
 

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.
 

I like the look of vintage documentaries and for me (having shot on a gh2 and gh4 for all of my personal and client work) I have found lenses to be the most significant decider in the "look" of any of my films. All of the "look" in this clip is because of the lens, I used an Angenieux 12-120 from the late 60s:
Grading is necessary and especially with these old lenses if you want to bring back some contrast. I have been using film convert (fcpx plugin) lately and really liking the grain in that emulator, and also the relative speed I can get a decent look going. This short with the rally cars was graded with a LUT and some individual tweaks (it was before I purchased film convert) but I find film converts grain to really add a nice layer in that "film" look. I would say though the lens is where you start, and going back a couple decades gets you a look thats not so common anymore.

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.
 

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.
 

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.
 

I agree, the film look is lovely.
But it's not magic.
It's resolution and motion, and color handling and skintones.  It's how it nails the natural red in people's faces.
I started to get more into older glass to help.  That with making highlights blue and and shadows blue helps too.
A little grain, and you get somewhere.
But yes, each film stock and telecine technique help give a unique look.
But I still think a certain natural sharpness mixed with softness helps very much.
Here's my latest piece with the old angenieux 12-120mm 16mm film lens that helps make it feel more organic.
I also softened it in post as well - that helps too a lot.
 
 

This looks amazing. Really gets that super16 feel.
I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass