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Yeah, that's pretty much the next thing he told me. Basically his point was that writers can do whatever they want, but no-one will buy your script, so you have to be careful and understand how films are made and write around those limitations. I heard that he had a bit of a reputation in less mainstream circles because his scripts often featured particularly realistic street fighting and criminal elements and most of his scripts were made by low budget productions to cater to people that like shows like Underbelly or whatever. It was funny because he didn't really seem the violent type at all, either in his tone, his home, or his career. Although he did give me some dating advice once, and that was to date as many girls as possible, to have multiple ongoing relationships at the same time and be completely open about it with everyone, and basically see who would be willing to fight hardest for his attentions. He said that that's how he ended up with his wife, and I think they'd been together for 30+ years at that point, so he was an advocate for his approach. That's not the kind of strategy that I could bring myself to ever do, but thinking about it now he really was a cool guy. Meeting him in his younger years might have been a much more exciting experience!

I sure like my GH5, but if I was constantly having to match it to something else I'd probably like it a lot less! This is excellent advice. Lenses are really the place to start with building your setup to deliver the aesthetic you want to create. Also, don't underestimate the benefits of only having to buy one set of lenses that can be used across all your camera bodies. And also maybe things like batteries, media, and accessories, although they're potentially more universal, or aren't the same across a brand. Also also, if you have a setup with different brands and different non-compatible lenses then if a body fails you can't swap in another unless you have duplicate lenses and everything. From a purely artistic perspective having a mixture might be an appealing thought, but from a "get it filmed, get it edited, get it out the door, get paid" kind of perspective, compatibility has real advantages.

IIRC there were some comments around the release of the S1 that the GH6 might be with us soon. Assuming that's the case, it would be a pretty huge thing for Panasonic to add that to their lineup before all the other higher-end cine cameras had it. Not saying impossible, but I wouldn't bet money on it. In terms of there being a GH7, who knows. You might be right and maybe everything moves to full-frame. It would be a pity though as one of the strengths of the GH line is that the sensor size allows use of all sorts of non-FF lenses. Mirrorless means that you can adapt any DSLR lens ever made, but it would be a real shame then to only have mirrorless FF and have professional cine-lenses (which are made for Super35 not FF) either vignette seriously or would need to have either a optical or digital teleconverter. Having mirrorless M43 means that getting fast wide lenses is difficult, but everything else is easy and cheap. You only have to search ebay for 250mm or 300mm primes to understand that you can get 500mm, 600mm or more for less than the price of taking the kids to McDonalds, plus you're not having to buy a new bag to store it, or back surgery when you get home.

I'd like one because I don't have one on the filter thread. I have a 4-stop fixed ND on the end of my main lens, attached with the magnetic filter holder so I can easily pull it off or put it on, and I simply have it on during the day and off at night. Beyond that, my style of film-making is too fast and I am already worried about too many other things to fuss with an ND when I change lenses etc, and plus I just don't care enough to bother with all that hassle. I'd like it to just be built into the sensor so that it's there for every lens and every lens adapter. If it was built into a speed booster then that would mean that I wouldn't be able to use it when I'm wanting to take advantage of the crop factor of my GH5 to extend long lenses for sports or wildlife. Everything other than it being built into the camera is a compromise. I'm estimating that it'll probably be part of the GH7 but not before. It would be great if I'm wrong, but I'm not optimistic.

Yes, and I think we'll get there eventually. The FS5 proves it's possible, but when I looked into why we don't all have them I saw something from Sony saying they are difficult to make or expensive or something (can't remember) but basically there was a good reason why we don't all have them yet. They will get cheaper and easier to make (like all tech does over time) and we'll start to see more high-end cameras having them, and eventually companies will start putting them into adapters, and Metabones will do it and release the kind of product you want. It will be really expensive. Eventually it will probably trickle down to be in every camera, probably just built into the sensor stack, but that will be a long time from now. An integrated electronic variable ND solves a problem that isn't there for high-end cinema cameras, is there for mid-level cine-cameras used for run-n-gun doc work, is there for us hybrid shooters, and the consumer doesn't really care about, and in some cases is actually undesirable for the end consumer (eg, for any camera likely to be moving a lot that relies on post-stabilisation, like all 360 cameras). It will trickle from where there is the greatest need and money to where there is the least need or least money.

Start with the problem and then work your way to a solution. Otherwise the grass will always be greener, this is why companies do marketing - to trigger the "wouldn't it be great if..." reaction. Matching colour in post sounds important to you and will add more fiddly work to every project, which is the last thing any of us needs in our lives! If you buy an XH1 and XT2, what major problem will you have with that setup? Once you know what major issues you'll have, then you can work out what you might buy instead, then you can assess what issues that will add.

Lots of good info here already. One of the things that you have to understand is that you're in a situation that many here have found themselves in, being invested in the Canon ecosystem with lenses, and wanting to do great video while also enjoying the Canon colours and the great focus performance. Canon offers great quality from their cinema cameras, but unfortunately, when it comes to video quality from their non-cine cameras they are a long way from the top. Depending on what your expectations are, and what level of image quality you're willing to accept, there's really a few options: Stick with Canon and just be happy with the quality available Switch to another system that offers better video quality and keeps reasonable autofocus abilities, but have to reinvest in another brand (eg, Sony) Switch to another system that offers better video quality and keep using your lenses but sacrifice autofocus (and have to play with adapters etc) It's really a situation where no manufacturer offers everything, and you have to pick two out of these three: great colours great focusing great video quality You can also choose multiple brands of camera to keep your kit as flexible as possible (eg, have a camera that doesn't do great AF for interviews etc, but another with fast AF for gimbal work) but then you introduce the challenge of matching your cameras in post, assuming you used both cameras on a project, or want consistent colours between projects. There's no wrong answers, and I'm sure you can run a successful video business with Canon quality video, but every time a new camera comes out many of us here get all excited because we're all still chasing a camera that can really perform across these three aspects. Good luck

I went back and watched the RED vs P4K and noticed an equal amount of banding between the two of them on gradients. I suspect that it's probably coming from YouTube as my 10-bit GH5 footage doesn't have that problem. I was watching 4K on my 32 inch display. Perhaps you could post the video and tell us the timestamp of where you're seeing these terrible gradients?

What was wrong with it? I feel like someone has mentioned this, but I can't remember specifically what it was And what version was the last one you checked?

Nice.. for people who are clumsy or think quickly

If you have a model in front of a green screen but the screen doesn't extend out to the edges completely, then adding a mask so that those edges go through to a layer that is just plain green then you will have essentially extended your green screen in post. Then after that you can key out the green and it will extend all the way to the edges of the frame. It's fiddly but it would work. I've done a much more complicated splice of two frames before and got an excellent result.

Assuming you're editing in Resolve, you can key out any colour, so if you are able to choose a colour, choose a colour that isn't in the shot you want. I haven't blanked out part of a frame before, but one thing you can do is to make a transparency mask to make the part of the frame (the edges) transparent and then put a later underneath with the replacement image. I've done a similar thing before and didn't need Fusion, just layered up a couple of clips on the timeline. I'm sure there are people more knowledgeable than I am with green screening, but in case no-one replies, a quick google should give you the basics of what to look out for. Good luck!

Nice low angle ??? Last year I spent about three months abroad in tourist spots through various countries and was keeping a lookout on what cameras I was seeing around the place. What surprised me was that I think I saw three Canon sightings amongst the literally hundreds of Nikon sightings. Most of the cameras I saw were those fixed lens super-zoom cameras that look like a DSLR but are smaller. Either I didn't know that Nikon is killing it in the fancy family camera category, or that I just happened to go where they're popular, but considering I went to places like Rome / Pompeii / Tokyo // HK // Singapore you'd think that the tourists would be pretty international. It got to be so predictable that I did full double-takes the few times I saw a Canon logo.

It's a pity they don't allow more flexibility. I'd suggest that they just include a menu called Don't Go In Here that allows the user to turn everything on and off etc, but there are people that just can't keep their hands to themselves. My dad used to work for a large company managing all the PCs and there was a staff member who would call the Helpdesk about every week or so with some strange problem. At first they tried fixing it but couldn't work out what had happened so they erased it completely and reinstalled everything. Some other problem a week later, same answer. A third problem and they noticed the pattern and replaced his whole computer, another problem a week later. Dad got involved and did some digging on his machine and worked out he spent about an hour a day screwing with random settings in the registry, which is a database deep inside Windows that has probably millions of variables that control all sorts of strange things. The point is that he was changing things that weren't labelled, there was no mention of on the internet, or anything. They tried everything, talking to him about it, his manager got involved, it went for months and they couldn't work out how to stop it happening. It got worse and was taking up hours of IT time every week, he was going around the company badmouthing IT and causing big problems. In the end they had to change the IT policies for the whole business to enable them to lock him out of the program and not be able to screw with things anymore. There were a few other people who worked there that needed that access and they ended up having to change a bunch of things to allow them to continue to do their jobs. He obviously had some kind of mental issue that meant he couldn't stop doing it, and couldn't accept that he was causing his own problems. Imagine if you're Canon or Fuji or Nikon and you give the entire world access to settings where people like this will screw with all of them and then when they don't like how things have turned out will go online and post criticisms relentlessly forever. You might be thinking "it's only sharpening or NR" but think about how much photographers or YouTubers talk about cameras being "sharp" or about ISO performance. It's unfortunate, but I think the only reason that some manufacturers can put real settings on everything is that either that these people can't afford these cameras, or when these people play with them the image will still look good, or that when they screw with things and they look bad and complain the other users are educated enough that either they can see it's user-error or no-one else cares about it.

And it's smooth to edit with? That's pretty nice. Are the standard flavours of RAW also fine to edit with, or just BRAW?

Which NLE are you using and do you render proxy media? I'm not sure of the workflow, but prores had the advantage of being a dream to edit with.

Nice. I think that pilot isn't something you'd normally go into unless you have an interest in aviation, so (assuming that he does) then that's really awesome to hear. So many people are into aviation and don't really get to spend much time in the industry, let alone in the air. I get motion sickness so an aviation career is definitely not on my radar, but I've been on a couple of aerial sight-seeing tours, one in a helicopter and one in a small plane, and I can really see the appeal, it feels like you're completely free.

That is an interesting video. And when I say interesting, I mean interesting because it's so boring. And when I say boring, I mean his findings, not the video itself. And when I say his findings are boring, it's because when he compares the two, he finds that both have pros and cons, like we'd expect, the BM has less features, the RED costs both legs and a kidney. Possibly the biggest point of commentary in the video was that when he took the BM to the teachers protests in the rain, he said that he didn't take the RED because it's just not practical. I'm watching that section and just thinking "of course you've taken the BM, there's no way you'd take the RED out handheld in the rain".

lol...

I'd imagine so. There's a thing in the fashion industry (and others too I'd imagine) where to get a job you need to work as an unpaid intern for long periods of time. The fact that you have to work long hours and these offices are in the middle of big and expensive cities means that you can't work a second job to pay rent, so these opportunities are basically only available to people with money. Considering that to make money in film you must do a lot of work up-front as well as make contacts and build your network, if you didn't have pressure to put food on the table it would really make a large difference. Not as much as working in downtown NY 15 hours a day, but some at least.

This isn't really my area, but if you want a flat bar that has multiple points with 1/4-20 screws then search in bay for "flash bracket" and look for these things.. They come in various sizes and the cheap ones are aluminium but I've also got a larger one that is steel, so sturdy enough. Not sure if they're useful, but just in case you weren't aware of them Nice setup! There is a certain satisfaction in building something highly functional that is also simple and light-weight. Maybe I should start a "Rig porn" thread!!

The XC10 had a fan and it was quite a small body. but you're right that there are thermal limitations. For Panasonic to warn about overheating really is a sign! Yeah. I suspect it's a mixture of things. I saw an interesting video talking about shooting portraits with slower wider angle lenses instead of more traditional fast portrait lenses, and there were some comments about how the wider and deeper-DOF look seems more authentic to consumers now, considering that what we see shot with mobile phones almost always lacks clever editing and what we see with "real cameras" is almost always heavily produced and edited, so consumers tend to believe the mobile phone look more. This combined with the reality-tv style of shooting has changed the way we experience and interpret video content. Gimbals or Run-n-gun can be faster to shoot with, better ISO performance and higher DR it would mean that you can shoot with less lights, and potentially light a whole room then just move setups within it instead of having to reset lighting for every setup. Combined with face-detect AF (which isn't really there for cinema cameras but will be soon) would mean that you can move faster and miss less shots due to focus issues, and either de-skill your focus puller or eliminate them entirely, saving more money.

Interesting. We periodically buy or rent content here in Australia. The only way to get Game of Thrones here (legally) is to pay for an extortionate Foxtel subscription or just buy GOT. We compared buying it on disc vs iTunes and iTunes was cheaper. We don't care about 4K, or even HD sometimes, so we're not paying top dollar. Good SD looks fine on our modest sized LCD TV. We also rent movies from Telstra on occasion to watch for family movie night. The kids go to the movies with their friends sometimes, and if there's a big movie that I really want to watch on the big screen (like Star Wars) then we'll go to the movies, but otherwise we don't go to the movies with the kids. Instead we rent a movie from Telstra Bigpond for about $5 or so for the SD version. We all watch Netflix and YT but the newer release movies aren't available through streaming. Apple is great at making platforms and locking people into them, so I think they have a real chance to dethrone Netflix if they are smart about it. Considering that Apple operate other platforms (apps, books, podcasts, music, etc) which have far less barriers to entry, might mean that its a successful middle-ground between the media conglomerate world (that Netflix is really part of) and the open-to-everyone world (that YouTube is part of). Assuming low barriers to entry, this is kind of what YouTube RED was meant to be. We subscribe to YouTube, mostly because it gives offline viewing and no ads, but now that most good YT creators have ads for sponsors within their videos it's kind of getting annoying to me now. I'd pay decently for something where we get a mixture of Netflix type content as well as sponsor-free content from professional YT creators. There's lots of talk amongst YT creators about having all their eggs in one basket with YT as a platform too, so having a competitor would be very interesting to creators too I think. Damn, that was one we were watching ???

I think you got auto-corrected - didn't you mean to say "standard marketing"...? It's basic economics. Companies will push and push until certain limits are met, and the phrase for this is "what the market can bear" - not "what the market gets mildly annoyed at" or "what the market would like if it's Christmas". Saying "what the market can bear" is basically like saying "what you can get away with before the average person goes completely f*cking nuts". We talk about these companies like they're people, and that's fine. The problem is that we don't analyse them like people. There was a great documentary series called The Corporation in which an psychology professor who consults for the FBI "compares the profile of the contemporary profitable business corporation to that of a clinically diagnosed psychopath". (link) Besides, I called it September last year when I said "The best new camera purchase in 2018 is... Don't!" ???

There's some confusion online around HLG and conversions. HLG is actually a delivery format, so if you shoot in HLG and are going to display it as HLG, you just hook it up to a HLG monitor and grade the way you want, no LUTs required HLG isn't the technical term - it's more of a non-specific marketing term, and there's conflicting information online about whether HLG is Rec.2020 or Rec.2100, but if you're looking for conversion LUTs then those are what to look for I did some experiments with my GH5 and I don't believe that HLG on the GH5 is either Rec.2020 or Rec.2100, but in the end I concluded that it's close enough to Rec.2100 that I don't care about the slight differences It's complicated stuff. I tell people that using Resolve is like flying the space shuttle, and to extend that analogy, navigating different colour spaces and gammas is like knowing how to be a pilot. To get to where you want to go you must know how and where to fly and know what controls to adjust to do so. Resolve, HLG capable cameras, and HLG capable TVs are all cheap now and available to the general public, but it's like making the space shuttle cheap and available, being able to afford it doesn't mean you will know how to fly it