Hanriverprod

1dx ii
 

Just received my new XC15 with XLR attachments. Just threw this up after a hard day's work in the shop---so you can sample the quality of the audio.
I also used the new Production Camera custom profile that is also in the Canon C300 M2.  But this is just a sample of the audio for talking head stuff:
 

Indeed, you should run right out and snap up a a6300. It's the best camera in the world. I know I'll be selling my 1DXMkii to get one  or maybe just stop worrying about charts and look at some real world results?

I'm not saying any of these are great content but it's definitely not a person sitting in one spot talking into a camera. Now a lot of them start off with a person speaking into the camera but that's to setup what they will do that day.
 

People in this thread have no idea how people vlog these days. 

Before anyone starts thinking of buying this camera for its autofocus, I will say that the AF is more built for stills autofocus. Most of the native lenses (even the 18-55) have dated autofocus tech that just don't move fast enough for fast c-af, especially in video.  And as you may have seen in some videos, it tends to keep hunting for focus even when it's already locked on to something that's not moving. 

A random video i found on YT.

Hi everyone,
I have a site up with free music that you can use in your videos. It's all original...all my own work. All I ask is to be credited as indicated on my homepage:
http://soundimage.org/
I sincerely hope my tracks are helpful. Any and all feedback is welcome and always appreciated.
All the best,
Eric
 
 

With the camera fixed on a tripod the joy stick focus guidance might be a good idea, but on a monopod or handheld it will cause the same amount of jitter as focusing manually (not talking about focus by wire on the OIS lenses). I'm pretty satisfied with the stabilization of the 18-55 and it's a sharp lens. For recording at 55 you really have to freeze, of course. If you dial in f4 (or higher) at 18 mil it will be a constant aperture lens, but it's not good at zooming in or out (if you're into this), because of the flicker you'll get (like the Panasonic lenses). But you don't have to adjust your ND at least.

https://www.dropbox.com/sh/2e8ol7fwb0od20o/AACWr3GJ2EpKMThOs2NmjLnFa?dl=0
Downscaled from 6K Wide to 4K Wide, ProRes422HQ
Footage is in KineLOG
 

Is anyone shooting on their GX85 and have some videos to show?
I finally got a workflow that I am very happy with. It may not be the most interesting video for you guys but please have a look and tell me how what you think about the colors? 
It was shot in standard 0, -5, -5, 0 with only natural light and reflectors. The edit was done in FCPX using Color Finale. 
 

@Hanriverprod Hey mate used the Rokinon/Samyang 35,50 & 85mm T1.5 prime lenses with Metabones Speedbooster XL 0.64x adaptor.
 
Natural Picture Profile
Noise Reduction -5
Sharpness -3
Contrast -3
Saturation 0
 
No colour grading or luts applied, picture straight out of camera. 
 
 

Here's another, using the same in-camera settings but different lenses this time.
NO COLOUR GRADING. My camera settings listed in the video description....

Ok couldn't help but post my grade too... I'm not trying to start a competition and certainly open to criticism myself but some of the grades posted of this so far might not be showing it in the best light (except the grade from @Geoff CB which is gorgeous - I'm not that good!).

As a GH4 user this was just a dream to grade in Premiere Pro CC with Lumetri colour, I loaded a LUT called  AlexaV3_K1S1_LogC2Video_DCIP3_EE and then did some simple tweaking to highlights, shadows, contrast, saturation and minor adjustment to curves. I really pushed the saturation which might be too much for some peoples liking and usually mine too but it helped to naturally warm up the image a bit with some of the more subtle warmth in the skin tones that was otherwise hidden.

After grading GH4 footage for years this is going to ruin me forever! I might be upgrading to a Terra instead o a GH5! (though having both as some have mentioned would be quite complimentary for different uses). The background wall is naturally quite purple so if I were to go further I would be trying to reduce that as it gives the overall picture and foreground a magenta feel by association even though it's not.

shot only using touchscreen autofocus

Another test with the X-T2. 4K, Acros simulation. I like the look the black and white gave our scene. 
 

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup:
 
 

distortion from the stabilization?

Autofocus with Tokina 11-16 2.8
Dutch Videographer I think talking about whether a focus puller is needed with Mark IV. Maybe somebody can give a short synopsis of what he's saying.
 

The circle is completed ;-)

http://www.43rumors.com/david-peterson-says-the-new-gh5-will-have-full-size-hdmi-and-ibis/

The GX80 is meeting my expectations for run & gun. I think this shoot exemplifies expectations one can have of this camera for your quick, set-it-up and shoot style videos… family, street, etc.
Here’s my setup:

GX80 Panasonic 25mm F1.7 Zoom H1 Sony ECMCS3 Clip style Omnidirectional Stereo Microphone Settings:
GX80: Natural profile (Contrast = -5, Sharpness  = -5, Noise Reduction = -5, Saturation = -5), White balance (Sunny, A3, G3), ISO (200), Sutter Speed (1/50), Aperture (F2.8), IBIS (on, but no electronic IS) Zoom: WAV (24-bit, 96K Hz sampling), Level (70) Description of shoot:
This took me about 5 minutes to shoot. I saw an interesting opportunity, went to get the GX80 and Zoom H1 from my office. For the settings above, I only need to put the camera in “C” mode to start. The Zoom is always put back with the level at 70, I only need to place it near the subject and start recording.
Post Processing:
Imported sound from Zoom H1 (just connect, don’t take out card) - 30 seconds Imported video ~3 minute video file - about 3 minutes Synced files - 10 seconds Threw it on a 4k timeline - 1 second Expanded audio - 1 second Select camera audio and push “v” key - 1 second Added 1db to Zoom H1 audio - 1 second Collapsed audio - 1 second Make cuts - 10 minutes Color corrected (highlights = + 15%, midtones = +7%, shadows = +1%, Global color 110° = -3%) - 2 minutes Added FilmConvertPro2 effect (KD P400 Ptra, Grain = 0) - 10 seconds Added a simple title - 10  seconds Rendered video - ~20 minutes Total Post Processing time = ~40 minutes (with rendering)
Re-rendered video at constant bitrate of 35000 kbps in 4k with Handbrake, resulting file 690 MB- ~10 minutes
Uploaded to Youtube - 90 minutes
Youtube processing - 10 minutes
 
Final Product:
Picture Quality:
Hindsight is always 20/20. I think the scene was a little dark as her face falls into shadow from time to time. I probably could have bumped up exposure and just avoided the window blown out in the background, but it gives you an idea of the limitations in terms of dynamic range. For me, the colors are quite nice and pleasing after applying Filmconvert… before that, not so much as white balance was off due to keeping blue channel from going too low- I guess many cameras need to be tweaked.
Notes:
This is a video of my daughter trying to set-up a Canon Powershot A410 that I gave her. She practices from time to time and enjoys shooting. Capturing moments like this is one of the main reasons I bought the GX80 for family. Please excuse her coughing as she’s getting over the flu. Also, note that she’s constantly switching from English to French. Good luck trying to understand, but you still have an idea of the audio quality.
Of the video I cut out was a portion that was probably unusable as I wasn’t holding the camera steady enough as I moved to another position. Yes, it’s prone to jitters if the IBIS goes past its limitations, but I could easily have avoided this hadn’t it been to user error (movements were simply too fast).
Feel free to make comments on any of the above as I’m trying to improve everything! By the way, here’s a photo she took of me looking serious during this shoot. 

The ergonomics for stills stand out vs the A7S II, much nicer. For video the live-view experience is a big improvement with much higher frame rate screen, very quick to switch between video and stills mode on a lever, very quick to pause the AF by pressing a function button (either toggle or hold) or lock onto a subject simply by pressing the touch screen. The AF system on this camera is the best I've ever used be it video or stills, it rocks in both. Dual Pixel AF is an absolute bomb. It recognises faces in near darkness even when you can't see them yourself on the screen. It never seems to slow down much even in low light. Even at F1.2 on my beloved EF 50mm F1.2L it does a very good job so you barely have to think about focus. Not used manual focus on it yet ONCE.
The automatic white balance maintains a warm naturalness to scenes with mixed indoor / outdoor lights, very nice indeed and never seems too cold or clinical. Colour is astounding on this camera.
The 120fps quality is good for that kind of frame rate, and it is full frame. Better than the A7S II 120fps. It is almost the same quality as the 1080/24p. The 1080/24p is as detailed as the 1D C's full frame 1080/24p but without the moire correction.
Not tried the HDMI output yet but has option for 1080/60/50p in the menu, so should do nice 1080/60p 1.3x crop when set to 4K 60p mode in-cam.
4K image quality is as you'd expect
Fucking good.
The file sizes are a downside as is the moire in full frame video mode 1080p. I used to shoot a lot of 1080p on the 1D C to get around the massive MJPEG codec.
Rolling shutter MUCH less than A7S II and 1D C in 4K!
Will say a lot more in the review, as only had the camera for 2 days! Bought it in Berlin at a store brand new.

It's like pulling teeth to get these companies to say what the internal recording color depth is. Out of all the reviews, writeups, videos and product listings it's still not clear if 8bit 422 or 420. One of the most important features. 

1dx ii