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canonlyme

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  1. Like
    canonlyme reacted to heart0less in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    Just a note for G80/G85 and GX80/GX85 users:
    (this may be of interest to you, @canonlyme)
    Consider disabling IBIS while shooting anamorphic.
     
    Recently I took a look at my short video tests and noticed that there is a lot of swaying going on in them.
    At first I thought that rolling shutter was to blame, but after further tests I concluded that this swaying has nothing to do with fast pans and it's visible even during some subtle movement.
     
    Turns out IBIS in G85 doesn't like scopes.
     


    Sorry for hijacking the thread!
  2. Like
    canonlyme reacted to heart0less in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    I've tried the 4:3 4K Photo Mode with anamorphics on my G80/G85 (which shares many features with GX80/GX85) and, to be honest, I got better results when shooting standard 16:9 4K 24fps video.
    Rolling Shutter in 4K Photo Mode is worse than in a regular video mode, IBIS doesn't seem to work that good, you can shoot only in 30fps and there is no Cine-D.
    Sure, I get even more cropped image and I do have to crop out a lot of pixels, but it works for me.
     
    Not saying it's the best solution, but maybe you'll like it more?
  3. Like
    canonlyme reacted to BTM_Pix in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    OK, well I've got a solution for you.
    The live view to a phone works while recording the burst.
    So your options are to use the free Panasonic Image App on your phone as a monitor or use an app like Gmonitor (Android or iOS) which is about $5 and is a more dedicated monitor app for showing the live stream.
    There is some lag but it is actually pretty marginal and definitely usable.
    Far, far more usable than the non-functioning HDMI port.
  4. Like
    canonlyme got a reaction from heart0less in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    @BTM_Pix 2019 and I am still using my beloved and underrated gx80. The main problem for professional use is that the HDMI output get's blocked during photo burst mode. I would like to shoot 4/3 4k with the burst mode but when enabled the HDMI function gets blocked, not really, rather there come a sign transfered by the camera that photo mode is activated.

    This is for shooting 4/3 anamorphic. Funnily enough, when I do switch back to the normal mode, I see the external monitor showing the correct image in 4/3 desqueezed for one split second before going back to the heavily cropped 16 9. (with anamorphic, this is 32 to 9). So I know that the camera could do this, but they do not allow it. Do you think, from your experience, there is any chance that the HDMI output could be manually enabled or hacked? 

    cheers
  5. Like
    canonlyme reacted to Ian Edward Weir in GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19   
    I used Leeming Lut Pro and did not have any issues at all. It covers Cine D and HLG  All my childhood photos are on Minolta glass. https://www.leeminglutpro.com/
  6. Like
    canonlyme got a reaction from Ian Edward Weir in GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19   
    Thanks for your response. That is such a good insight!

    When you are an artist, as a filmmaker, you find your own way of doing it and if it works and you have the time for it, I see no problem in this at all. In contrary, I think it is really nice if someone takes such passion and time for something, unless you would find out a much quicker way to do the same.

    Yes, I chose minoltas not for their price, but I looked at comparisons of images and their special way to treat colors just pleased me the best. Now I am happy I could afford the whole lens set without spending too much. Something that vintage lenses do is they give a special treatment to colors, where if I would take the same effort in post to try to create something special and tweak around a lot, it would probably turn out garbage until I become much better at grading. 

    Did you encounter any problems with bringing the clips from HLG to rec709/premiere color space? Because the way that HLG is filmed it introduces a greenish color tint from what I have learned. 
     
     
  7. Like
    canonlyme reacted to Ian Edward Weir in GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19   
    Thanks Julius, that sounds cool about documentary. I'm addicted to finding and creating the moving paintings in nature with anamorphic lens. I'm very old school with my approach to color. I like to get things as close as possible to what I'm seeing. It's really the anamorphic lens, taking lens and filters that are giving me my look. I color with Film Convert to give me the greens, blues and yellows I like. Even then I dial the preset way down. I then use Lumetri to tweak contrast and highlights. With Davinci you have more tools and flexibility but for nature work, I feel the glass takes care of 90% of the final image. for my workflow, it's kinda tedious and not for everyone. I de- stretch each shot in it's native resolution. Some shot's are 8k and some 5k. I then do a first pass color treatment and then export out a Pro Res HQ 8k or 5k .mov file with max bit depth and render. Each clip I export is 20-30 sec's even know I end up using 6-8 secs. I then reimport and edit on a 5k timeline and do additional tweaks if needed. I'm sure working in Davinci with proxies might make more scents but I'm building a library of nature footage and want to go back to clips. 
     The B&H and Minolta glass will create a very nice color pallet. 
  8. Like
    canonlyme got a reaction from Ian Edward Weir in GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19   
    Hey Ian, 

    I think you have inspired me for my next documentary. I will try to recreate paintings of places in real life using anamorphic. What I am especially interested in is the grading.

    I can imagine there are some important workflow steps for you, if you graded in davinci resolve. I really love the look and some tips to get to this "painting like" look would be greatly appreciated. This will also be my first project in Davinci, so I think I will try to get everything as good as I can in camera, exposure and white balance, so that I can edit without any grading in adobe and then grade the finally used, picture locked clips. I will try to use the Color management tools and tutorials in davinci as well. I also will try to use HLG combined with Cinelike D. And am going to use kowa for b&h with minolta lenses. 28mm, 50mm, 135mm, 70-210 mm. I am looking forward to hearing from you. Great movies. 

    The same thing with the spots actually happened to me in india. Luckily I was doing hyperlapses so I could easily correct the spots in lightroom. Lesson learned, I always have the blower and a cloth with me now.

    Cheers, 
    Julius
  9. Thanks
    canonlyme reacted to Ian Edward Weir in GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19   
    I'm excited to share my new travel film I shot over 4 days in Yellowstone in August. This was my first video on GH5. I learned allot on this shoot. I hope you sit back and watch on a decent screen with some good sound and enjoy some CinemaScope nature bliss. Cheers.
    Filmed on the Panasonic GH5. Filmed in HLG and Cine D profiles. Colored with Film Convert. Anamorphic lens used were the Baby Hypergonar 1.75x, Bolex 8/19 1.5x and 16/32 1.5x Anamorphot. The Rectilux 3FF-s variable diopter and closeup lens.
    Taking lens used Pentax 300mm DA f4, MeVis 35mm f1.6, Carl Zeiss 100mm f2.8 and Pen F 38mm f1.8 with wide angle attachment in front.
     
  10. Like
    canonlyme reacted to Ian Edward Weir in GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19   
    If you enjoyed my Yellowstone film, you might like this. I filmed this over 1 day in the Grand Tetons National Park. 
     
     
  11. Like
    canonlyme got a reaction from mercer in Blackmagic Pocket Cinema Camera 4K   
    I agree with you, the micro is very appealing at a lower budget. 
  12. Confused
    canonlyme got a reaction from wwiisgttom in From 6d to GH3, is it worth it?   
    This is some of the bullshit you only read in online forums. If you say something like that, is is only because you are justifying paying more for the g85 over the gx80. The gx80 has equivalent 4k to the g85. That is what matters. If you really think that they process the image differently in fhd, then give me an official enginnering source or make that judgment over your own footage, do not just reference another test because you are lazy to do your own.
    I think a couple of points have to be added here. 
    The GX80 is by far the better professional budget option then the g85. Who cares if the fhd is worse then something else, you are not gonna buy a porsche and then only drive it at 100kms an hour, comparing the sound to a fiat. 
    Why? In 4k, there is no visual difference to be seen to the gh5 4k, and equivalence to the g85 4k. We have recently shot a documentary and noone could tell much difference to the gh5, even at 200mbs, to the 100mbs 4k of the gx85. Feel free to post a screengrab with the gh5, I will give you one of my gx80 that will look as good.
    You get the gx80 for around 200 to 300 bucks less then the g85. The gx85 is missing external audio jack, but this does not matter, since if you shoot professionally, you will not allow bad pre amps or camera sounds to go on your audio and go dual audio.

    One other thing is weight, people say the gx80 is missing weight, but as a b-camera, this is a huge upside. We were shooting while hiking and carrying the gh5 on a gimbal/glidecam slash the gx80, we always ended up using the gx80 on the glideplus a 40mm voigtlander, and we got the most beutiful shots. 

    The gx85 has professional features that if you go dual audio, you not really need and, if you have the same budget, it allows you to get a cage, grip and a zoom h1, which will take your gh5 audio apart.
    To summarize, the gx85 is in my opinion the best price/value under 1000 dollars, its a beast. So getting the gx85 over the g85 is a no brainer. 
    Comparing it to the gh3, I think the gh3 is a beautiful camera, and if there would be image stabilization, I would recommend the gh3 over the gx80. But ibis is still what kills the gh3. On top, I am currently building up anamorphic, and the gx85 allows you to shoot 4:3 in 4k photo mode, which the gh3 does not. On the other hand, the gh3 has internal audio (bad preamps). 
    The gh3 also gives you better slow motion then the gx80 at 50mbit/s vs 28mbit/s.

    The G7 is the gh3 with worse slow-motion and worse fhd, so I would go for the gh3 over the g7 and the gx80 beats the g7 as well because of ibis.

    I don't wanna be mean but there has been some junk written in this thread about high iso and soft footage of the gx80.
     If you are gonna use iso higher iso than 1000 with a m43 camera, you are already doing something wrong. Without loss of IQ, you are gonna use fast lenses or lighting to shoot at the right light. 

    I do own the gx80 and I can recommend over the g7 and g85 as a first cam, b-roll cam or professional b-cam, for a gimbal/glidecam for stuff like weddings, or as the first camera to get at the current state of technology (which is 4k) 
     
  13. Like
    canonlyme got a reaction from TurboRat in Blackmagic Pocket Cinema Camera 4K   
    I agree with you, the micro is very appealing at a lower budget. 
  14. Like
    canonlyme reacted to Anaconda_ in Blackmagic Pocket Cinema Camera 4K   
    As you say, it depends on your usage and what you want out of a camera. I don't feel the need for a GH5s, however if I did have the GH5s I might pine for internal ProRes and RAW. 
    It's also not about RAW for me. I wanted to shoot ProRes because the files off both my GX80 and LS300 were driving me nuts. In my experience no edit suite can play JVC's 422 files at all, and I was also having some issues with h264 realtime playback, even if the files are untouched. I'd imagine the GH5s would give me similar results. On the same machine, I can grade the ProRes files and playback in full quality as if it's nothing.
    Sure you can convert the files to ProRes, but that adds a lot of time to the workflow. Yes you can also record externally, which I did on the JVC but that's more gear to carry around.
    For me this camera is fantastic in the field, the only thing I need to carry that the other cameras don't need is extra batteries... in fact, the same batteries I'd have used in the recorders I mentioned. Then when I get home to edit, it's like I'm dreaming. 
    Having used it almost daily since October, I'm fairly convinced I have the best camera available for my requirements, for everyone else, that may vary.
     
  15. Like
    canonlyme reacted to Tito Ferradans in Lens-yclopedia RELOADED   
    We're now fancy at www.lens-yclopedia.com . Still the same thing until a good soul shows up with some web skills to adapt the information into an even prettier shape of a website.
  16. Like
    canonlyme reacted to funkyou86 in Sub US$200 on camera monitor with anamorphic desqueeze?   
    It does squeezes 2x as well, but GH5's HDMI will output 4:3 image in 16:9, so it will appear as a picture in picture. Keep that in mind.
    I use Feelworld F7 which has custom zoom and custom anamorphic stretch options, works like a charm with GH5.
  17. Like
    canonlyme reacted to Caleb Genheimer in 2x anamorphic essentially 1.5x and 1.33x   
    Hold your horses there! I'm calling full and utter BS on that last statement ? I use my 2X all the time with my NX1. It's 16:9. I get paid actual monies (several monies sometimes) specifically BECAUSE I shoot 2X! There are monitors that can desqueeze it and crop to 2.35:1. I have one. There are adaptors to make it single focus. I have one. Shooting with it? Easy as shooting with any standard prime lens.
     
    In terms of "easier to deal with"? As in the post-production? Don't fool yourself, unless you're a fool (which I'm sure you're not). It's just math. Desqueeze ratios and aspect ratios. Vertical and horizontal resolution. All can be sorted with simple division, multiplication, subtraction or addition. 
     
    If you feel the need to defend the 1.5X, that's fine, there are great 1.5X lenses and crappy 1.5X lenses, just like there are great and crappy 2X lenses. 
     
    As as far as calling 2X users "purists"? I take offense. I'll put my "cheap" 2X up against what I can only assume is an Iscorama that you spent too much money on. But I'll tell you right now mine is sharper, the bokeh is more distorted, and the flares aren't yellow, they're blue. Oh, and it has a wider FOV (even when cropped to 2.35:1). 
     
    Im all for everyone finding their own solution in anamorphic, but do the math, don't just make blanket statements.
  18. Like
    canonlyme reacted to Ed Arnaud in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    Thanks @BTM_Pix!  I now have CineLike D on my GX85!  Would it be possible to unlock or add the ability to shoot in the 4:3 aspect ratio in 24p 4K?  The camera only allows 16:9.  I can shoot video in 4:3 using the 4K Burst (S/S) mode, but that's 30p.  I'd like to use my 2X anamorphic attachment using the 4:3 aspect ratio.  
  19. Like
    canonlyme reacted to Shirozina in Noise Reduction without neat video?! (gh5/mft)   
    Even with sharpening set to minimum it's still too sharp for some - each to their own I guess. I nealy ruined a couple of shots a couple of months ago when I accidentally left the sharpening at 0 and not -5 and had to do some softening in resolve to get it to look natural. and not over sharpened.
  20. Like
    canonlyme got a reaction from Adept in Lenses - Sticky Topic   
    Thought this might be interesting for you guys: 
    I was at the Berllin Museum for photography this week and had the chance to see "Helmut Newtons private property" that gathered all his belongings shortly before he died in a car crash. 
    (one of the most famous photographers of all time). 
    At one point we could see the lenses he owned. Apart from some full format camera stuff he must have often shot with small handy cameras like the eos100d, pentax and nikon. 
    Sadly the museum staff didn't put all the lenses the way that you could see focal lenghts and apertures (like nobody would be interested in that ? ), but I think I could make out he used the same range of lenses for all of his cameras. 
    This is what I think I could see: 35mm (don't know the aperture), 50mm 1.4 85mm 1.4  as well as 135mm 3.5, all nikkor f`s. 
     
  21. Like
    canonlyme reacted to baksteen in Magic Lantern Raw Video   
    I get the feeling that fewer and fewer people are using ML. For me the flexibility of the raw files is the main reason to use ML, this paired with the 'fullframe look' makes it such a versatile cam that looks different than most with their 'video' look. 
    My guess is that most people can't be bothered with the workflow but any RAW format will require a lot of time, thats what you choose for when you shoot RAW. Using ML on paid shoots is something I'm entirely comfortable with. 
    To keep it going, some projects of mine:
     
     
     
     
     
     
  22. Thanks
    canonlyme reacted to BenEricson in Video Compression Kills Grain :(   
    I always hear comments like this, but I’ve never heard an actual story of anyone having a “it was all blank sorry” moment.  This seems like the modern equivalent of forgetting to load a card into a digital camera. You’d have to either have very serious mechanical error, severe under exposure, or be uneducated in the process, all of which are preventable... especially since the room for error with negative film is extremly high.
    I recently shot a short piece on a Bolex Rex 4. The scanning prices have dropped recently and the 4k scans available now are really nice and affordable. 
    ProRes LT to Vimeo has worked pretty good for me in the past. Film grain holds up really nice in my experience.
     
  23. Like
    canonlyme reacted to Gregormannschaft in Lenses - Sticky Topic   
    I'm just editing a little highlight reel from the Berlin Fashion Week last year, and I deeply regret selling my Canon FD 24mm 2.8 lens now. Some of the rendering is really nice, to my eyes at least. I replaced it with the Sony 28mm lens, and that's great, but it is just lacking something. Also used a Tiffen Black Pro Mist 1/4, GFILM settings and Deluts Downtown Alt as a base LUT if you were curious.

     




  24. Like
    canonlyme reacted to Dustin in Opinion Poll: Sony A6300 / A6500   
    Final update here: I've purchased a used "Excellent Condition" Sony A6500 from Adorama. Saved a couple hundred bucks from new price. Funnily enough, I bought my current camera, a d5300 refurb from Adorama. With a 30 day return policy I'm going to give it a go. Settling on the 35mm 1.8 OSS Sony and a Lens Adapter for my two Nikon Primes. Should be a fun next couple of weeks!
  25. Like
    canonlyme got a reaction from kidzrevil in Lenses - Sticky Topic   
    Here are my first screengrabs shooting on event with gx80+ vintage minolta set up. 
    Lenses I used were 24mm 2.8 Tokina RMC and the 50mm 1.4 Minolta with lens turbo. Happy to say that they blended in quite well with each other, only for some shots I still remember which was which. 

    The picture of the glasses was shot with the minolta, the other two were shot with the tokina which I got for 24 bucks ? 



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