Linus N

I mentioned this in my other thread, but in short the GH4/5 are known for HDMI delay, however I get way more delay into Ninja V than with other monitors. And until we get SDI on mirrorless bodies HDMI is the boss the short delay I saw on the Z6 setup the other day would work great for my use-case, where the GH5+Ninja V is unusable for anything than static shots really.

I've built a Canon FD set with 20/2.8, 28/2, 35/2, 50/1.4, 85/1.2 and 135/2 that I use for all my professional shoots which are mid-tier commercials mostly. If I can get away with the characteristics I keep them wide open and if I need sharpness I stop down to an F4 or so. Long-term plan is to have them re-housed to PL by P+S Technik. I like the look and they cover FF to follow the camera trend.
Edit: ...with focusgears from followfocusgears.com and fronts from Simmod to make them somewhat usable in a professional setting. Only downside is the fiddly process of swapping lenses ?

I've built a Canon FD set with 20/2.8, 28/2, 35/2, 50/1.4, 85/1.2 and 135/2 that I use for all my professional shoots which are mid-tier commercials mostly. If I can get away with the characteristics I keep them wide open and if I need sharpness I stop down to an F4 or so. Long-term plan is to have them re-housed to PL by P+S Technik. I like the look and they cover FF to follow the camera trend.
Edit: ...with focusgears from followfocusgears.com and fronts from Simmod to make them somewhat usable in a professional setting. Only downside is the fiddly process of swapping lenses ?

I've built a Canon FD set with 20/2.8, 28/2, 35/2, 50/1.4, 85/1.2 and 135/2 that I use for all my professional shoots which are mid-tier commercials mostly. If I can get away with the characteristics I keep them wide open and if I need sharpness I stop down to an F4 or so. Long-term plan is to have them re-housed to PL by P+S Technik. I like the look and they cover FF to follow the camera trend.
Edit: ...with focusgears from followfocusgears.com and fronts from Simmod to make them somewhat usable in a professional setting. Only downside is the fiddly process of swapping lenses ?

Hello! I recently made a tutorial in covering how to make film halation and grain in Resolve!
I used two methods. One using the GHAlex LUTs for the GH5 and another way using Color Space Transform. 
This is my first ever video tutorial so I apologize if it's a little boring and long.
Tutorial - https://www.youtube.com/watch?v=20epDbE9Adc
Here's some examples using this method - https://www.youtube.com/watch?v=luaGcO-nzd8
https://www.youtube.com/watch?v=XNQMeGqoM7o
If you like this, feel free to download the Power Grades I've provided on my website and experiment with them.
Thanks!
 

I mentioned this in my other thread, but in short the GH4/5 are known for HDMI delay, however I get way more delay into Ninja V than with other monitors. And until we get SDI on mirrorless bodies HDMI is the boss the short delay I saw on the Z6 setup the other day would work great for my use-case, where the GH5+Ninja V is unusable for anything than static shots really.

I meant, experienced ones (more than 5-7 years experience, and at least a few series of broadcasted material and real films), I said two, I should say none!
Jwsound is a good source of information by established professionals, and except some kids and a few others with limited years on the job, this guy is giving nice advice
https://m.youtube.com/user/ThatWasSound
The Judd guy explains things nice and easy and is a valuable source of information, but I am not sure if he has ever worked on a scripted job, a soap opera, a TV show or a feature film.

https://m.youtube.com/channel/UCjL6MFoRxI9dbybAYO4uNzA
This is another one, I like that he is talking from the perspective of the boom op which is becoming almost a "lost art". 

I find that using the pre and then working as if I had shot in V-log works very well when using HLG. I was somewhat forced into this workflow when I bought the Ninja V because of the whole video levels thingy making v-log impossible to use if you want a reliable preview on the monitor. I find HLG more or less as good anyway though, so doesn't really matter much to me.
Some examples of using HLG with GhA:



 


 
 

The Pdf is in the midst of a major revision that will bring it up to speed (and the filesize will be smaller); it's on the way

The Swedish price is... higher ?
As for scrubbing it depends on codec and what you're throwing on the footage, as you know. Just some sort of reference is that my current MSI GS63VR (4C/8T, 16GB RAM, GTX 1060) can handle 4K 25p XAVC-I from the FS7 and 4K 25p ALL-I from the GH5 without exploding. I almost never shoot Long-GOP codecs so idk how it would feel about that. 
I'm looking to replace my MSI as it's going to someone else in the company. Both the Blade and MSI:s GS-series of laptops are slim and light for the power they pack. Performance-wise I can find similar specs for same/lower price, but Blade for me ticks portability, small charger and big+good trackpad for those pesky flights and train rides. On a train right now doing some storyboarding on the GS63VR (with the Wacom Intuos Small BT if anyone cares :))
EDIT: Personally I've skipped eGPU's for now as I move about a lot. 3 different offices (not my own ones, of course) and a lot of time traveling means I don't wanna haul it around. If you're more static than I am, having a nicely specced 13" laptop with eGPU at your main workstation is a cool and portable option imo

I got spent! Dang.

(No spoilers ahead)
I went to see this as it premiered last Wednesday and was blown awat by what they're pulling off compared to typical Swedish feature film productions. I also went to an event the week before with FSF (SSC - Swedish Society of Cinematographers) and heard the DP Hannes <insert last name> talk about the movie together with the colorist Ola Bäccman about the process of making the film. An additional "WHAT?!" factor, on top of the lens choices, is that they shot the entire thing in FS7:s internal XAVC-I codec except for some green/blue screen work where they went with raw.
I've followed their work for years, and seeing their first feature on the big screen was truly a humbling and epic experience. Given the budget, time, experience and all that they managed to pull off an amazing film which easily lands in the top 3 Swedish films ever made in my book. My girlfriend, who didn't know about Crazy Pictures before going to the movies with me shares my enthusiasm. On top of her reaction, there was a woman in the seat next to me who was literally at the edge of her seat from 5 minutes into the movie until the very end.
TL;DR: Go see it!!!!!!

For what its worth XAVC-I on FS7 is a pretty fat 10-bit/422 intra codec with bitrates up to 600Mbps...

Wow. Thanks for those kind words. I’m the director/writer/VFX-supervisor & a member of Crazy Pictures which means that I’m kind of involvd in most things regarding this project. We worked qite hard to achive a high production value with the small budget we had, so it feel GREAT to hear that you enjoyed the result. 
(extra fun to hear about your girlfriends reaction!)
If there’s anything you wonder about the production, the process or some technical details, feel free to ask.  

I have nothing to do with this film other than i think it's amazing! They've been, like they always are, very open with everything through out the whole process. Including gear which is why i thought it would fit here on EOSHD.
Premiered on Swedish cinemas four days ago.
Total budget: $2M, shot on FS7 and vintage Russian lenses. More info below.
 
Director Victor Danell on Facebook:
"Last year I directed my first feature. Me and the DP wanted a lifeful and ”not so perfect” look to keep the story grounded, so we decided to shoot on vintage lenses. I relubed and added a oval iris on every lens my self. Shot on a Sony FS7
This is the complete set of lenses we used. A total price of less then $800.
20mm - Mir 20a
28mm - Mir 10a
30mm - Meyer-Optik Görlitz Lyidth
37mm - Mir 1a
38mm - Helios 44-2 + DSO wide angle adapter
50mm - Carl Zeiss Jena Pancolar
58mm - Helios 44-2
85mm - Jupiter 9
135mm - Tair 11a
THE UNTHINKABLE / DEN BLOMSTERTID NU KOMMER
http://www.imdb.com/title/tt5227746/?ref_=nv_sr_1"
 
 

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig.
And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo
Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. 
https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it)
Cheerios!

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig.
And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo
Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. 
https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it)
Cheerios!

On this one I'm kind of making fun of Instagram. It went crazy viral.
Otherwise, I love doing hyperlapse and drone stuff
 

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig.
And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo
Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. 
https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it)
Cheerios!

Just tried this on some random GH5 footage I had laying around, color charts, drunk people in my couch, a client interview. All I can say from this extensive 3 minute test is that I really like this, thank you so much! Cleaned up skintones, made the rendition of clothing, furnitures, walls, wall art more realistic. I haven't shot on Canon for a long time as we use Sonys (FS7, a7SII) at work and I own a GH5 privately and this is yummy. Hat off for you, my good sir! Will make this a must have addition in my GH5 post workflow and test it more than these intense 3 minutes so far.

Just tried this on some random GH5 footage I had laying around, color charts, drunk people in my couch, a client interview. All I can say from this extensive 3 minute test is that I really like this, thank you so much! Cleaned up skintones, made the rendition of clothing, furnitures, walls, wall art more realistic. I haven't shot on Canon for a long time as we use Sonys (FS7, a7SII) at work and I own a GH5 privately and this is yummy. Hat off for you, my good sir! Will make this a must have addition in my GH5 post workflow and test it more than these intense 3 minutes so far.

Ooh! I'll give it a try after this House of Cards episode 

Quick update here: I had projects to shoot so I returned the Kipon adapter and managed to get my hands on a Metabones SB Ultra which works flawlessly. I did send an email to Kipon and asked about the compatibility issue to which they responded that they'll fix it in FW eventually. I can't confirm nor deny whether it works with the 1.1 FW in the GH5 or not as I don't have the adapter anymore. 
So for anyone looking for answers it's inconclusive! I'd recommend keeping an eye on Kipon's update logs and try the adapter in-store if possible to see if IBIS and everything else works as intended with the adapter before purchasing it. Metabones is pricey but it works, which is more important if one is doing client work on a regular basis.