kye

@androidlad good answer. Does that mean that the lower parts of the frame on a global reset camera are brighter, due to the slightly longer exposure time? It could be compensated for in processing, but that would shift the DR slightly. Although, come to think of it, skies are normally brighter than land, and are normally on top of the land (if you have the camera the right way up) so in a sense it's almost like a soft-edge ND filter

My 2016 13in MBP gets absolutely smashed by the 5K 10-bit h265 footage from the GH5. I haven't worked out what I'm going to do about it yet, because I don't want to have to render proxies for every time I shoot anything, but it's something like 1-2fps playback, so.... ?

This is an interesting product designed for wirelessly sending video to your phone. There doesn't seem to be huge interest in wireless transmitters on this board, but people go nuts about anything that lets you use your phone as a display, and this might be a slightly bulky way to achieve this outcome. The video was posted a week or so ago and I expected it to show up but no-one mentioned it. Maybe it's of interest to someone? Specs: 140ms delay (3 frames if you're at 24p) 100m/328ft range 1080p60 signal with variable bitrate depending on distance can send to 4 devices simultaneously 3.5 hour battery life automatically finds the best wifi channel before sending the app(?) has various display functions, focus assist, false colour, histogram, zebras, monitor LUTs, markers, zoom, etc

I only do film-making as a hobby and work full-time in other industries. My sister went to film-school and I helped her out a bit here and there, so I have a bit of experience with how things happen, but.....

What are you shooting? I shoot my kids sports games (on a large field) on the GH5, vintage 135/2.8 and 200/4 lenses, and the largest gorillapod. I bring a chair and use the gorillapod on my lap to hold the weight of the camera. I normally set it up with one leg taking the weight, one leg as a handle scooped up so that I'm gripping that leg but also manually focusing, and the other leg floating horizontally to give a bit more inertia to stabilise panning motion. I also use the viewfinder not the screen, but I'm wearing sunglasses so not really getting that much stabilising from the eyepiece. I have found that 200mm is pretty long and I need to stabilise in post, but the IBIS does a great job all things considering. If you're going longer than 200mm you'll want a very solid tripod. I'd love a 50-200mm zoom, but I think I prefer two primes over the questionable quality of vintage zooms, and I definitely prefer the lenses I already own to the price tag on the Pana-Leica lens!!

The future's so bright, I gotta wear shades... ???

The problem is how fast and how smoothly the focus mechanism in the lens can track focus, which is both: working out if focus is lost, which direction to go to find it, and by how much; and also being able to actually change the focus fast enough. The other method is to analyse the lens ahead of time and store that data, in which case you don't need to assess how focused anything is, you just get a zoom reading from the lens and compensate. The XC10 does this, with its fixed 24-240mm equivalent lens. Unfortunately I found in real life that if you zoomed quickly it wouldn't be able to keep up, and also it wouldn't reacquire it through the lens data, but would require the focus mechanism to do it's thing. If you zoomed slowly then it worked though, so that was nice.

In my reading about cleaning vintage lenses most people recommended not trying to clean zoom lenses because they're too complicated to put back together again. The vacuum method will either work or not, but if it works then there's no assembly issues

$1998? The harder the manufacturers compete and the faster they push out new models the more that analysis paralysis will kick in.

Sounds like you're talking yourself into the Samyangs, with their ease of focus, more flexible look, and greatly reduced cost. Plus, if you get a set of them then cutting shots together will be so much easier. Neither - those damned beaches are haunted! ?‍♀️?‍♂️???

It does. I've found there to be three different types of lenses: Fast ones that are soft wide-open but sharpen up stopped down two stops Slow ones that are sharp wide-open (are probably just the previous ones without the wider aperture adjustment) Fast ones that are sharp wide-open and cost an arm and a leg! I have a set of the first ones (fast/soft wide-open) and in a sense you get two aesthetics in one. You can always apply a slight blur in post to make the narrower aperture settings look soft like the wide-open end, and if you only have an odd shot wide-open here or there you can often sharpen them up so that they don't stand out in a sequence. Yeah, just different. I really like the IBIS for being able to stabilise manual primes, and that's one of the main reasons I bought my GH5 mid-last year. Yes, for $2.5k for a lens, you're almost better off buying two primes and a second GH5 and just carrying two setups

Oh, I don't know. It's not a night and day difference, but it is a blue-hour and midday difference! ??? Seriously though, judging from those frames the FD seems to be a little less sharp giving it a more organic aesthetic, although a small motion blur might be causing this impression. A small blur might do the trick in post if that's the look you're going for though. Both are nice looking images, just slightly different. The 3x price difference is difficult to get past, but there's more to a lens than just the image. If it feels nicer to use it impacts the creative process, if it's faster, more flexible, has different colours, etc.

Ah, yes, vintage lenses are a different aesthetic. It's common for pros to have two sets of lenses, one vintage and one modern, although if you're shooting higher budget cine stuff then you often hire the modern ones (CP.2 etc) and keep the vintage set for yourself for low budget or personal projects (and maybe to hire out). It's about choosing which aesthetic suits the project. There's a new panasonic 10-25mm f1.7 in the works if that helps. But I fully agree with you, FF has the 2.8 holy trinity, APSC has the Sigma 1.8 pair, and MFT has ...... nothing. The holy trinity for MFT would be 8-12/1.4 + 12-35/1.4 + 35-100/1.4 and theres nothing even close. In live event stuff you may be torn between having a zoom with a wider range vs faster aperture.

Yeah @kaylee - just think of it as a trip where everything has separated so the entire world is violent and filthy, and Happy is shiny and new That one is obviously pretty wide Wides often have very close focusing distances so it's an aesthetic we can all emulate at home!

It's a workhorse, so putting it to work to earn it's keep is the right strategy I don't really know what lenses are good for corporate, but your existing lineup seems pretty good. The 42.5/1.7 is pretty close to 50/1.8 so maybe something closer to 35mm might be more useful? Slightly cropping in-post is normally fine even if you're delivering 4K so you can always go a little tighter than the lens if you need to. The 18-35 is a beautiful lens, but it's pretty heavy in comparison to primes. The 12-35/2.8 has a great reputation and a bit more zoom range. If you can go slower than 2.8 then there are longer zooms than that, although be aware that 12-35/2.8 on MFT is the same as 24-70/5.6 on FF, so it's not the same as a 24-70/2.8, or even the 24-70/4. I don't have the v-log but shoot HLG instead, but I understand that both do a good job and it's more about your post-production workflow and if you have LUTs already etc.

I read somewhere that some types of haze can be cleared by putting the lens in a vacuum chamber for a minute or so. It makes sense if the haze is some condensation of materials (perhaps oils from ageing lubricants or other components) then putting it under vacuum will cause it to evaporate again, and will be pulled out by the vacuum pump. Of course, many other things can cause haze too, so it's not a guarantee, but considering you only invested $14, you don't have a lot to lose.

It's a common problem. I can't even walk down the street sometimes, with all the people stopping me to ask these same questions.

But not the low-light ability of my 17.5/0.95 Voigtlander. I'd love to use a single lens but alas, I shoot in available light, and sometimes there's very little available!

Welcome. Heaps of knowledge here so post questions / comments. What projects are you planning on using it for? What lenses / accessories will you use with it?

You need to hang with the camera people that exclusively take only photos of brick walls to prove other people wrong on the internet.... there's absolutely no artistic elements creeping in and ruining their images!

Probably the other real kicker is what your shooting ratio is, as that varies significantly between different film-makers. Or you could just go to your hardware supplier and give them your credit card and tell them to ship hard drives until you tell them to stop Don't question @Skip77 - he's here to set us straight about the right way to make a film! He's finished in the GH5 thread and now we all know to throw our GH5s away he's here to educate the P4K and BM camera users. Soon he'll clean up Hollywood and correct all the mistakes that the pros endlessly repeat. I personally can't wait for him to get stuck into the YouTubers - think of the quality improvements that will be made then! We've all been making so many mistakes for so long, let's stop being part of the problem and start being part of the solution.

Fantastic show. I especially like the creativity that having people in 'altered states of consciousness' can inspire

Additionally: There is something really great about a simple camera that makes it a really 'shot getter'. Once you hit record, the GoPro gives you nothing else to think about other than content and composition, and I find that very freeing, and somehow that, combined with it's tiny size, makes it incredibly easy to just get this shot and get that shot. Once you're holding it the time between seeing a camera angle and shooting it is almost zero, and the lack of control kind of inspires experimentation and creativity. I have a half-developed thought that the action-camera is the machine for travel legs, establishing shots, selfies when at locations, and a variety of creative shots at a location. The GH5 might be in a bag somewhere during a travel leg, and getting establishing shots is also a challenge because you typically are stressed finding a location, finding parking or where to go, then when you actually arrive somewhere you have to get the kids organised and out of the car, then have to work out where to go to buy tickets and how to get in and during all that pressure and confusion really isn't the best time to setup a camera rig. After getting into a venue is actually a good time as everyone is visiting bathrooms etc and working out where to go and what time the talks/tours/feeding times/ etc are. Having a clear distinction in your film-making between different styles of shots and the associated equipment can make for a very effective and efficient process. I particularly like Kraig Adams' idea about how he shoots his travel vlogs. He alternates between 'vlog' which is camera in 24p on gorillapod with location sound and edited in 16:9, and 'cinematic' which is camera in either 24p or 60p on gimbal without location sound and edited in 2.35. I feel that this juxtaposition in his final films is a great contrast and makes each style seem more-so than it would be if it was in isolation. In this sense having discrete jobs for each setup and having those jobs align with the technical aspects of the equipment is where you want to be, and that's what I'm aiming for.

Thanks all, some interesting ideas here. lol about the Moneymaker and I already have a camera strap that I've experimented with. Ultimately it was just too cumbersome when getting in and out of cars combined with backpacks etc, which is why I prefer hand-held with a wrist strap, although the problem with that is that you can't be walking around and then stop to tie your shoe or eat a snack or whatever because there's no-where to put the camera. Of course that's where the Peak Design Capture comes in and it might be the best idea I've seen so far, so thanks for mentioning it. I have seen them before, but had no idea they were so cheap / accessible. I'd have to think about where I'd put it, but even if I just hung the X3000 from it and operated it one-handedly while still also holding the GH5. I'm not too sure about the GH5 though, considering I have the Rode Video Mic Pro+ on top of it, but anyway. Shooting two cameras at once isn't likely to have a high yield I'll definitely conclude that, although if one of them is fixed focus and super-wide-angle then your chances improve somewhat. The problem with just panning to myself is that 'just panning' is actually 'just turning off the camera, opening bag, getting wide angle, changing lenses, turn on camera, flip screen to face forwards, pre-focus, hit record, ......' then the opposite to go back. Having a separate camera makes this a lot simpler and means I can leave the GH5 on and ready to shoot at a moments notice should something happen suddenly, which it frequently does with my kids. This is the other avenue, to have one rig with two cameras. I've played around a lot with this in the past using flash-brackets or cold-shoe mounts, such as these setups: Ultimately though I discovered that these setups are very conspicuous and are also really heavy when filming yourself. The position to get a reasonable selfie-frame is a relaxed bent-arms length away and almost straight-on, otherwise the effect of the wide-angle lens makes the person next to you seem like they're starring in Honey I Shrank The Person Next To Me, and I also find that when you hold it out there it's psychologically distracting for quite a bit, maybe 5-10-20 or 30s before you just kind of ignore it, so unless you're ok with the 'oh shit I'm on camera does my hair look alright I hope I don't have food on my face is this lighting flattering' inspired internal motivation then you have to hold the camera for a long time. The technique for the kids is more to surprise them as they mostly act stupid when they realise they're on camera so a huge rig doesn't help that either. Thanks Chris, interesting you're moving from the X3000 to the gopro - how have you found it in post? To me digital stabilisation has real limitations, especially in low-light when shutter times allow movement during the exposure, although the X3000 is several generations of tech behind. I really would have liked to hold off until they updated it, but my next trip is before their previous release cycle occurs, so oh well. The tests I've done with my existing GoPro were with a floaty handle (the bright yellow one) which is comfortable to hold and easy to put in a pocket even if the camera is sticking out, but of course isn't the most stealthy option. If I go with a handle I'm contemplating designing one that perhaps folds up and doesn't add any real bulk to the setup, or alternatively if it's on a clip then maybe it doesn't fold but it might be super-light-weight. If I was rich, maybe, but if you look at professional vloggers who have a camera-person with them they basically become a member of the family, and that's not quite the dynamic I'm looking for. Plus, making films is what I enjoy, especially filming, and anyone that films me will mostly just be filming me filming other people, so not really a recipe for success My GoPro is fixed focus 30cm (12in) to infinity, and best composition is actually with arm bent and relaxed. The X3000 might benefit from a handle though, as minimum focus distance is 50cm (20in). I'll have to work that out, although having a small handle isn't a big deal, and I have longish arms so that helps. The Osmo Pocket is an interesting device, but not wide enough for my needs. The "wide 80degree" lens is likely 22mm which isn't nearly wide enough for a proper selfie unless you like the 'I'm filming myself' look, and the waterproof case appears to still be unavailable? Maybe v2 I have noticed that I was good at filming other people and at filming interesting things like buildings, but rubbish at everything else. For my first videos I had to scrape together establishing shots because I never knew to concentrate on them, but I'm pretty good at that now. The standard format of a trip is travel -> location -> travel -> location with an action/wet location occasionally, so I now know to film some travel montage, an establishing shot or three, and people doing things / interesting inanimate objects. What I'm missing is shots of myself, and a variety of shots, as I still kind of shoot how I see. The shot-list I then thought of adding to my normal style is selfie shots, time lapses of things like eating meals, sunrises / sunsets, and a much greater variety of shots in general. I bought a Manfrotto tiny tabletop tripod for the GH5 in anticipation of doing more time lapses and it's great but I haven't yet trained myself to use it for that yet. In a sense the action camera would be the best fit for this as it would attract basically no attention if I brought it to dinner (a GoPro Session would be an ideal size for this!) but a GH5 is very disruptive, both to the fact it's extremely obvious to my family, and also finding room on a tiny table where there's barely room for the salt and pepper when everyones plates are there makes a DSLR form-factor almost impossible. The GoPro Session is enticing simply because it is so small and pocketable, but its discontinued and would have been a PITA to change between video and time-lapse with no buttons or screen. Compromises everywhere!

Yep! That's the core reason why indy film-making is possible. Not too many other businesses can create a broadly similar product for 1% or 0.1% or 0.01% of the typical budget!