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Interesting video, not only for that section but also for more useful tips, like the creative team getting to know the style of the film through the DP shooting his own feet walking through a field, and using doubles for follow-shots, even before the main actors are on-set. This might be of interest to you @mercer for improvisational short films?

If you want to avoid recording the noise then maybe the solution is an external microphone. A previous conversation about how to use an external mic while keeping the setup very compact yielded these insights... Using a Rode Video Micro you can either mount it above the camera in the traditional way like this: Or on a flash bracket by the side of the camera: or @Don Kotlos took it one step further and used velcro to attach it to the body of the camera itself:

I don't know those lenses, but I'd suggest searching YouTube and Vimeo for example video footage and reviews - there are many people who are buying vintage lenses these days so there's lots of information around. Also, google will turn up lots of good information, and remember that photographers often post images from these old lenses and so these photos give a way to see how sharp the resolution of the lens is (4K video is a series of highly highly compressed 8MP images, but 24MP high quality still images are common). I've recently found sites like https://www.pentaxforums.com/userreviews/ very useful as they aggregate reviews, give ratings, and also give price history.

The GH5 is good but not great in low-light, therefore you want to use the fastest lenses you can get. This will also mean that your depth of field will be relatively shallow - unfortunately there is no way around this with this camera. Your 12-60 f2.8 isn't a very fast lens. I would suggest either getting fast MFT lenses like the Voigtlander F0.95 series primes, or getting a speed booster and using something like the 18-35 f1.8. These will require manually focusing. I recently filmed a lot with my GH5 at night using only the ambient available lights and I found that I really needed to use my Voitlander 17.5mm f0.95 with the aperture fully open at 0.95. The alternative is to rent another camera setup that will have better low-light performance. Perhaps something like the A7SII or A7III with a 24-70 F2.8 lens. This setup would enable you to get noise-free shots with a deeper depth of field than the GH5/fast-lens combination.

I think I've worked out how we stay relatively sane and civil on these forums when talking about cameras.... We let it all out in threads like this! I mean, seriously, read this thread from the beginning in one go! ???

I'm confused. If the people need 100 million guns then who are they going to be fighting against? If it's anyone other than the US government then they'd either need a navy or snowshoes, and if it's someone to the south then they'll be completely screwed because there will be a great, impenetrable, beautiful wall in the way ???

I have this kind of setup to connect my 4K Dell to my MBP via a cable. In terms of testing it beforehand, I'm not sure how you would do that, but I also think that maybe you don't need to. If you get the RAID setup and it doesn't work with the ASRock Thunderbolt 3 at 40Gb/s then just return the ASRock and get something else that does work. Even if you have to bin it and buy another Thunderbolt card, you'd still lose less than buying your second RAID choice.

Every time I see a screenshot I always look at how much battery people have left. It's probably because my wife and kids are always screaming about having 2% left when we've only left the house 5 minutes ago, and I just wonder why they don't charge them while they're at home... 26% - that's considerably above average from what I see online, well done! My impression is that they're kind of the "zero ergonomics modular camera" equivalent of early Blackmagic. They push what can be done for the money, but the question is if they're reliable. Most of the reviews I've seen online from previous models are from people who pre-ordered really early and are receiving the camera in the first batches. The reviews typically include a mixture of gorgeous footage from the Kinefinity, nice footage of them using the Kinefinity, and shaky iPhone footage from when the camera totally bricked itself and won't turn on again, followed by a narration about how it took an hour on the phone to tech support to reset it, or how they had to send the unit back and that's why the review took 6 weeks to film. I think they've got a lot in common with the P4K in that naive people likely ordered based on specs and end up selling it when they realise the camera isn't waterproof (or something equally obvious to most people) so there might be some bargains around second-hand. However, I'd read a lot around how buggy the firmware is before parting with your money

Is this to do with the mechanisms that combine the pixels together to down-res the output to 4K from the 8K sensor?

Did they cover fully-normalised databases yet? If someone says they've studied database design (in a programming context) and they don't know when a fully-normalised database is better than a semi-normalised database, then I just assume they're lying and/or don't know anything I think it's down to the clothing. @Kisaha also said "which for my country equals to Polar temperatures" which is true for me as well because we don't have clothing that is suitable for that kind of thing because it basically never happens! The wife and I are contemplating visiting Antarctica at some point, and apart from renting some really nice lenses I think I'd also rent some suitable clothing too

In a battle between the people with 100 million guns and the government, my money is on the side with the predator drones, not with the side who can't even talk about photography equipment online without getting into an argument.

Based on the Z Cam E2 already having done it, I'm also pretty certain it can be done.. ? That's not the limit in terms of what is state of the art either... both the RED MONSTRO 8K VV and the RED HELIUM 8K S35 do 8K60, and in theory they should be able to pump enough pixels for 4K240, so either they didn't think anyone wanted it, or there's some other limitation.

No worries mate... -3 would make me pretty grumpy too! All professions, huh? ALL professions? Really? Lawyers? Lobbyists? Hitmen? ..................Politicians? ???

What setup are you thinking of investing in?

8K has four times the pixels of 4K, so 8K30 is equivalent to 4K120 in terms of pixels-per-second. You might be right about less processor intensive processing but they'd have to be choosing from the options available in the marketplace which may not have a less-compression / higher bit rate option at the right price. Of course, if you were a microchip manufacturer then investing in the market for a 8K video compression chip isn't a risky proposition, and phones have been doing 4K60 with efficient power consumption and thermal loading for a few years now, so it's not like the tech is that far away.

Not realising that they should worship the art of photography or film-making and see the rest as tools. I suspect that brand worship is a symptom of the amateur who loves the equipment and talking about it online and not the pros who are way too busy trying to balance the quality of their work with putting food on the table, but who knows...

I'm still unclear if the OP is using a 100mm lens or a 100mm equivalent lens. I'm also a little surprised that you didn't get good results. I've only used a gimbal on my phone but it made smooth movement really easy to achieve. Maybe with a longer lens it would help to change to the slowest movement? What was the problem you had? Was the pan speed uneven or did it not stabilise enough?

I used mine hand-held with a 58mm Helios on it, which is the equivalent of a 116mm lens on full-frame. That worked well when I was able to be reasonably steady but needed a bit of help when I was cold or had been active. On a gimbal you shouldn't have any problems at all

No crop and it's really wonderful to use - I have used it handheld with long vintage lenses and it's worked really well. Enjoy!

No insult intended! Sorry if that's what it sounded like. I sympathise for the struggles that the pros are experiencing with the changes in the industry, and in a sense I just have my struggles in a different industry. I've had my fair share of stress from work (or the lack of it) during my career and there is just as much criticism and commentary of my industry from those outside it as there is in photography I think. We all live somewhere and holiday somewhere else, and we all work in one industry and have hobbies in other industries.

8K is twice as wide as 4K, thus has 4X the pixels. Maybe you're thinking of MP?

I'm an amateur, as are many people here I believe, so I think we'll grapple with the changes that are likely occurring in our own industries, and visit the world of photography and film-making in our spare time and with the luxury of not having to survive from it.

8K - the only way to get a true 4K image!

Edit 2: I tried creating a new node, changing the mode to HSL and then setting the RGB mixer to the same settings as the faulty node, and it has similar but much worse behaviour, so I can't work out what it's doing.

Thanks! That was what I was missing I've been playing with it for a while and I've noticed this "black sun" type problem: This is coming from the HSL node, but the strange thing is that even if I go into the RGB mixer in the HSL node and reset everything to defaults, it is still there, and gets turned on and off when I enable or disable the node. This looks like a bug in Resolve to me rather than the RGB mixer in that node doing anything wonky. But that's the only problem I can find. I even cranked the contrast to ridiculous amounts in a node in before the emulation nodes and it seems fine. Original image + emulation nodes: Stupid contrast + emulation nodes: This is my GH5 in 4K 150Mbps 10-bit 25p mode with HLG. Edit: I was using the WDR - Compound power grade for the above. I haven't played with the other ones yet.