Adept

This morning we filmed our friend Ariel Dyer's entry for the Tiny Desk Contest. We shot with the Canon 7D and BMPCC with My Canon TV-16 25mm and Cosmicar 12.5mm. Here are my BMPCC grabs with quick and dirty color correction.
Canon TV-16 25mm 1.4 (5.6/8 split, 200asa):


Cosmicar 12.5mm 1.9 (wide open with ND, 800asa):

The last one was a bit underexposed, so there's noise, but I like the rest of the image.

Not quite correct, but pretty good guessing ! Will explain if nobody else is giving his guess anymore. 
By the way, I am already quite happy with the way the minolta 35mm 2.8 and 50mm 1.4 render colors. I just did a quick edit. First pic is 50mm second pic 35mm. The 35mm made the already nice scenery 20 mins ago when the sun was going down even more beautiful. Incredible sharpness too. 

I was actually referring to the 20-35mm EF version but it’s probably a very similar lens design... maybe even identical.
But yeah, this is definitely my thought process. In fact, I could see myself shooting an entire short film with just one lens. Now the problem becomes... which lens. I am looking for a very modern clean prime lens between 35-50mm. I’d love a 50 or 35mm 1.4 Sigma Art but I don’t want to pay that kind of money... any suggestions? 
I’d love some Leica’s, but as you know... they can be pretty pricey... do you have the 50mm f2 Summicron?
For now I am going to roll with my Canon lenses. Hopefully this zoom will be good. I’ve been editing a scene from my short that I shot with the 35mm f2 and I really just love that lens. The color needs a little work yet, but the lens is just special...

I’ve been doing tests and am shooting like 5 different reviews on this camera for Kinotika and my personal channel and to me, honestly, the GH5S is game changer. I’m noticing significant improvement in skin tones and color science here along with better autofocus with the “hack” than the GH5. I’ve been comparing the two cameras using the same settings and the GH5S does seem to be faster. Also, I love the newer sensor size. Just that little extra amount of sensor size allows for the Olympus 12-100 zoom to be the best lens of all time! Constant f4 was always a problem with this lens, but now with the low light performance it’s a non issue. That 12mm becomes a 21mm equivalent which makes it the perfect “vlog” focal length and with the ability to zoom to 100mm... you have a 21mm-175mm which is unheard of. You get fabulous IS with the lens so you’re not missing out by not having ibis and call me crazy, but I’m not a fan of ibis. It’s always ruined the shots for me. 80% of the time on the GH5 it’s great, but sometimes you just see that wobble and it ruins the shot in my opinion. Lens IS never does that for me. 
So: GH5S + Olympus 12-100 = best walk around kit. 
There’s so many things with the panny cameras that just make my life better and more pain free too. Like the hdmi implementation. Having all your settings, audio levels, etc carry over hdmi is so incredible. 
I even love the stills off the GH5s. Really clean and 10mp is fine for me. Less megapixels than my iPhone but the photos are fine for my use (family portraits)
I’m buying the GH5S with the 12-100 with a speed booster for my contax Zeiss glass and actually going to sell my 1DC for this. I’m so happy with the 10bit files and vlog. This camera makes me happy. The GH5 never did. 

How do people on here think this camera will affect others, I mean a 2k full frame camera with that set of features will surely impact the gh5/fuji xt1 etc. You will really really need the 10 bit, 4k 60 fps of the Gh5 to buy a camera with a minuscule sensor compared to this one. More so that in some case even in video it will be better like DR, auto focus and low light.

Yeesh, had a GAS flare up this weekend and picked up 3 new lenses:

Voightlander 36-82mm f/2.8 Zoomar in DKL Mount
Rollei HFT 25mm f/2.8
Rollei 105mm f/2.8
Pretty excited to check these guys out when they get in

I couldn't find any samples or a demo of low light 240 fps footage from the Gh5s. Thus, I went out and made my own test video to see what's possible. Here it is:
 
 

Edit... maybe false or true, at any case rumor, but maybe to someone might be useful - quoted from internet
"It is now strong rumors in dealers circles that Panasonic will make significant price reduction of GH5s in March or very early April. Some talk about 40% cut, but it will be determinated by actual sales, as Panasonic needs minimal production volume to keep lines profitable and preliminary sales figure is much lower than this volume."

http://www.newsshooter.com/2018/02/22/panasonic-gh5s-good-bad-clean/

I'll make sure to do a side by side with the UM46K when I get the GH5s.

My involvement with movie / stills (even as an amateur till this day) is (I think) kind of interesting.

I love music (more in the past - free time is shorter to enjoy it each day that passes), love to go to concerts, but...my memory is kind of weak, a lot of moments in concerts end being forgotten. Hence I had the idea to film parts of the concerts as a way to remember. It was a time that smartphones are the Samsung's with Tizen, Android did not even exist yet, and I bought a Kodak Zi8 - a little film camera, fixed lens, with 1080p (a rarity in those days). And started to record some shows.

Soon I upgraded to a Sony HX9, much better quality and sound. And with it, tried to start to take some stills - and liked it. Than start to search for a camera that could make good movies and stills, Google mentioned a camera called GH2, I found a site called EOSHD, which owner made a video in Tokyo with that camera that blowns me away...and the rest is history.

Video brought me the stills, and I love both. It gives you that kind of satisfaction from a thing that was created, and done, only by you, a sense of accomplishment. As I guy that likes art, it is the closest that I can get to it.

But I think that my stills side in much better.  All photos with m4/3 cameras, "which sucks for concerts, you need a full frame one". The second one was published in the Franz Ferdinand's Instagram account, good moment.

@mercer thanks. To be honest, I think the same angle with the same grading would look awesome with a lot of cameras. The light was really beautiful. But it directly hit the lens so I had to crank the contrast all the way up. 
There are a few reasons I considered just now:
1: It was my moms camera (she didn't like me taking it to the desert, haha),
so I was deciding between a new sony 6000 and gx80, at the moment, both cameras are at the same price in germany.
2: For pictures with heavy grading as well as 50mbit fhd the sonys are great, but I think the panasonics have better color space, which is important in compressed video. 
3. The lenses for sony are overpriced, so I chose to go for a cheap camera and invest more in the stuff around it (like lenses, speedboosters, microphones and stuff)
4. The sony overheats, so it is not futureproof if I work for serious clients :D 
5. The gx80 has IS. I think that could be really great when using old glass and tele lenses.
6. The gh2 sundance winner and Andy Lee got me sold on panasonic, even though I don't think that Andy Lee's movie was finished :D 

To be honest, if I happen to prefer the sony, I can just sell my gx80 used and buy the sony6000 so that is a maximum loss of 100 dollars
Also I shoot everything manual, so I don't care about any kind of autofocus tracking. I will try to shoot events with the gx80 (pictures) and see if anyone notices that I am using a tiny camera with vintage class.

Thanks for your tipps: I am really bothered right now because the lens turbo md to m43 is out of stock. Also I don't know if there will be problems with the lenses hitting the glass of the lens turbo, so I don't wanna ship it all the way from USA and then have to return it. How did you solve that problem with the minoltas? I am looking at the 28mm 2.8, 50mm 1.4, 35-70 3.5 md (4 glasses) and the 135mm 2.8. 

Fun Fact: My gx80 is already kind of famous. I already have a dump adapter and took my minolta lense to a movie festival. A television team from german 1st. programm was there that wanted to finish their scene but ran out of time. I was like: I have a 4k camera, I can finish it, so I did. German actor Götz otto was there. I asked him to sit down on a sofa on the event, and gave him directions from 5 different angles. He was like: Man, you are giving a lot of orders for a director, and started laughing, but he really gave me all his acting skills.

In case you didn't know, he was the bad guy in james bond, tomorrow never dies. I guess that makes me one of the few people in the forum that already directed a hollywood actor, haha.
Will post a short clip if anyone is interested. (sorry for writing so much)


Cheers

The secret to those images though is in the color grade.  There are very few cameras that will look that good with minimal grading.  I have spent months off and on in the color bay with v log tests devoloping LUTs that match my style with the camera in almost every lighting scenerio.  But now that I have the LUTs developed, it's an easy matter of applying them to my footage as a grade, then doing my corrections underneath on each project. 

I think it's possible to create amazing images with almost any camera these days.  The trick is to pick a camera and stick with it for a while.  Take a couple of weeks to test it in every situation.  Find out what exposures compliment the sensor, what ratios it likes, native ISOs, and what it likes for breakfast.  Then after you find its sweat spots, take the footage into Davinci and play with it.  Develope a color science that matches your style.  Most codecs are robust enough these days to really develop whatever color science you want with your images in post, especially if you can shoot log. 
 

Sorry, I was flying and just caught up with this.
It's a GH5 with V-Log with a Canon 24-105 1st generation lens.  I am falling in love with this camera more and more every shoot; I don't quite see what so many people have against it.  With a speedbooster you get super 35 4K 10 bit log with a robust, yet not bloated, codec.  Plus, a really tough body and battery that will get through some of the hardest shoots without overheating or dying:-)   And the image is just beautiful!  12 stops of dynamic range are definitely enough for most normal shooting, I rarely end up blowing anything out, even when exposing on the bright side.  The V log is a bit noisy, but the noise looks a lot like film grain, I think it adds a nice texture. 
 


 

 
Also, all the screenshots are taken from footage shot in 1080P 10 bit, not 4K. 

Does all this pixel peeping over camera nuances really matter on set if you know your camera sensor as a DP?  Check out some screenshots from my latest commercial and see if you can guess the camera it was shot on.  How good is your camera knowledge? :-)  (All these images are just with a 10 second grade, so don't be too hard on them) 
 




 

@Sage Am I right in understanding that your lut converts GH5 VGamut to Alexa Wide gamut? If so, the "correct" way to use your luts would be to use GHa LogC with an Alexa Wide Gamut to Alexa X-2 conversion. When I do this, colours look more correct - not too saturated and skintones are not too magenta.
Here's a comparison with actual X-Rite colorchecker values from BabelColor in the centre as a reference. I've added a curve to each to match to the chart's gamma.
(VLog to GHa LogC) + (LogC Gamma & Alexa Wide Gamut to Alexa-X-2 Gamma & Alexa-X-2 Gamut) BEST MATCH

 
(VLog to GHa Main) - too saturated

 
(VLog to Varicam V709) - better, but not as good as the first one

 
So as far as I can see, the colours that GHa gives should (technically) be transformed by using them with a LUT that expects Alexa Wide Gamut. So I'm curious as to what you see is the role of GHa Main and Soft? I understand your reasoning for the curves you chose for each, but what about the colour?
 
 
 
 

Even with the mighty 1DXMk2, AF when left to camera may have unintended results. With lessor AF systems... which is pretty much everything else that is not using Canon's DPAF system, well, it's somewhat less than perfect. As I see it, we are starting to see some interesting options in this area. Manual focus is always an option, but has limitations. To this end I give you the Tilta Nucleus M. I recently picked one up in hopes that it could help me to vanquish focus woes once and for all. This unit paired with the Panasonic GH5s has the potential to make a formidable filmmaking/doc work combination. From my primarily experience I can tell you the system seems very well screwed together. Solid, in a way that few products are these days. Everything is metal. Even the battery doors are metal. The motors are high torque and tunable for different lenses. I have to say this system seems very complete. I will be digging into it in detail over the next few weeks and months and will offer feedback if the community is interested.  
PS: A couple of notes...
Point 1. The unit does not come with batteries, and will only work with unprotected cell button top 18650 batteries. I generally use protected cell batteries, and as this was not mentioned online, believed I had batteries already.  Needless to say, I am now waiting for batteries so I can fire up the unit. These batteries are the one recommended by Tilta. 
Point 2. You may find that the included lemo cables are a bit short. I purchase a second one from here.
 
 
 

Mechanically great - focus throw was huge, it was hard to focus handheld but great for the 1st AC. Fully metal and quite hefty however short. Here are a few screen grabs with a 709 LUT applied. All shot on the 50 or 85

Holy s***!
First let's just say my BMPCC Speed Boosters were, erm, disassembled and rattling around in a box. Had completely abandoned them - since I stopped using the Pocket Cinema Camera - then, Metabones updated the firmware to kill the BMPCC 0.58x on the GH4 (the only camera it fits). They did this for a very good reason - it could damage the shutter, goes very deep. My EF version does not fit the GH5S at all. You can screw the glass out away from the sensor and it will mount but then no infinity and after 1 second the screen goes blank and camera says 'lens not connected'. Boo.
The NIKON version on the other hand... It's pant wetting good.
Not only does it fit...
FULL FRAME field of view in Cinema 4K.
It clears the sensor housing. Infinity focus. Actually, allows you to fine tune to infinity as it even goes past infinity!!
By the way, with this camera, the GH5S 4096 x 2160 mode is wider than 3840 x 2160 - uses more width on the sensor (mutli-aspect sensor) - full 19mm of sensor BEFORE speed booster applied!!
Apply the BMPCC 0.58x Speed Booster factor to that and you get...
1.07x crop on full frame - i.e., basically nothing. Naaathing. It's full frame.. LOL.
Here's the calculations just for fun:
1.86 * 0.58 focal reducer = 1.07x crop Or you can do the 1.86x crop diagonal, that is 1.07x  Even more fun are the pictures.
Oh my god.
Inky blacks in 10bit
F0.75
Clean ISO 12,800 in hybrid LOG gamma
At least 13 stops dynamic range like raw Blackmagic
No IBIS, so no shifting vignette (Although don't expect corner sharpness to be all that)
Sharp image wide open at F1.4 on my Nikon 58mm AF-S
Will shoot some footage with it and put it on the blog.
So we can finally say... out loud...
Panasonic GH5S, full frame 10bit camera
GH5S owners... Get those Nikon Metabones SB 0.58x out immediately!!

Ok, so I have been running some tests under fluorescent lighting that I am pretty sure is somewhere around 4800-5200(not sure because it is ceiling light at work). I have some stills here with the GHa tungsten then daylight applied and I am curious what everyone thinks looks best? @Sage Do you recommend using Tungsten for fluorescent or daylight? I also attached my film print graded version. I am really liking the way the GHa lut is grading! The highlight rolloff really is fantastic.

Got myself some new glass for Christmas. I do prefer native lenses but the Sigma Speedbooster combo works really well! Screengrabs from GH5 + Speedbooxter XL + Sigma 35/1.4 + Black Pro Mist 1/4. 
Edit. Oh yeah, thanks to @jase and @kidzrevil for introducing me to Black Pro Mist, and other, filters.

Voigtlander 40mm with Formatt Hitech Supermist Black 1/2

Credit to @wildrym in the other thread:

A little Leica R action from a recent short. Not final color.