JordanWright

I wish the PanaLeica zooms were 2.8 constant 

I wish the PanaLeica zooms were 2.8 constant 

great looking footage, loving the results with your set up

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. 
 

I got me two sets of D-Mounts. Three Kern Paillards and two Yashicas. They cost me €12 + €6 + shipping for all of them and included two cameras as rear caps.
If someone wonders about the specs compared to a modern Canon or Panasonic equivalent they are smaller, cheaper and better built with loads of character. So better speced indeed


 
Here is a sample of the Kern 13mm f1.8

 
Here the Kern and Yashica 13mm goes head to head.
Yashica


Kern Paillard

 

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

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

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

When I used the A7S ii I preferred Cine 2 (-15 Black Level)

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

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

Just finished shooting my film school grad film with a set of Zeiss CP2s on a C300 II. Will show images later.

Just finished shooting my film school grad film with a set of Zeiss CP2s on a C300 II. Will show images later.

When I used the A7S ii I preferred Cine 2 (-15 Black Level)

35,50,85 mainly at T2.8. I haven't used the ZF ZE but they were very sharp with almost no optical defects. They give a very clean look if thats what your after!

It's true the video quality on this thing is laughable and yet they are marketing it towards the YouTube crowd.
Reminds me of the episode of the IT crowd where Jen was tricked into showing the internet-in-a-box to shareholders... But because they were fucking clueless too, they lapped it up!

Its got to be paid promotion from the guys that have been hyping it up - I don't see a single reason to get it over the 80D or 1DC

Are you implying some people sell their "opinions"?   Have I been lied to my whole life?  Endorsements are a BS marketing ploy?  Dang.  And, yeah, Canon rolls out a bunch of gear.  A lot of it is hamstrung in video specs.  That's how they roll. 
I hope you're not legitimately worried or concerned about any of this.  It's the same story, different day.

Im sad to say I dont have the Bolex any more (Ive had two). Even more sadly they are very hard to find these days. But I might get a bmpcc again soon.

Yeah I shot this video with the 5DIII ML RAW
 
I still own a 5D III, but mainly for shooting pictures and shooting some clips of my little girl. I upgraded to a URSA mini pro. And It is hard to step back from such an image, so atm I do not use the 5D III for any projects anymore. Allthough the 5D III RAW has some serious mojo going on, and I like that its so tiny so for travel its so lovely. 

Already seen some really cheap ones in the UK on ebay going for just over £1000

Yeah sometimes you loose the handheld feel

I currently use a Sony a7s ii with native Sony glass ( Loxia 50/2 and Sony 28/2). I am considering switching systems on the GH5. I have a few questions about the system.

1) Lenses? which to go for... Native or speedbooster. how well does the IBIS work with adapted lenses, do you have to dial in the focal length each time you change lens?

2) Lowlight - I often shoot upto 1600, sometimes at 3200.. is the footage usable at these ISOs

3) Dynamic Range - If I switch I plan to use VLOG.. how much difference in DR is there between the a7sii's Slog and the Gh5s VLog. Has anyone else made the switch and do they miss it?

4) Colour - I have been using EOSHD on the Sony cameras with really nice skintones. How are the skintones on VLOG?

Thanks in advance.. if anyone else has made the switch from the Sonys to the GH5 any advice would be appretiated! and is there anything ill miss from the sonys?

Got that lens. Will give it a go.
Remember this stuff has limits... corners not sharp on certain shots for instance, but I'm just glad it works, gives full frame image in 10bit and rest is history.
F0.75 with GH5S is some serious low light potential.

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!!