TurboRat

Have you considered the Contax Zeiss like the 50mm 1.4?

Sanho Hyperthin HDMI cables works on my Atomos Ninja Inferno. It's cheap and light so no harm in trying them out.

If you're shooting events, travel videos ,you don't want to be the guy who always lugs around his monopod or tripod. IBIS is not essential but try walking around and shooting places without IBIS. I've shot with cameras without it and with only lens OIS and I feel like the shakiness is too distracting to show to clients, friends, and family. And I wan't to be inconspicuous when I'm in a crowd and not to be the guy lugging around a monopod, tripod, gimbal, lens etc. I feel like people usually don't act natural in front of the camera - sometimes they hide their faces, look directly at the videographer, avert their gaze, etc that I can't get the shots that I want. Again, it always depends on the situation, and you can turn it on or off on most cameras with IBIS if you don't want it

4 hours ago, webrunner5 said:

Does Anyone shoot Anything in normal speeds anymore? Jesus what is the deal with trying to see if Anything is worth a crap on a camera at 120p Slo Mo. Sam Peckinpah is alive and well.

It's 'cinematic' ? But seriously, it helps smoothen the camera movement especially if you're just moving around the camera with no goal but yeah, slo mo has been the default for travel vids, wedding, etc

3 hours ago, Slothorp said:

I dit another test with a simple domestic RGB led (hence the flickering) to show how the BMPCC4K reacts in the red channel, both in raw and prores. With other colors, when overexposed, there is a gentle roll-off, but in the red, it clips with a very harsh way, and a strange color shifting. There is also much more noise in the reds. 

 

Yeah I think I saw some night shots with the red lights on the cars clipping but didn't see the noise. On your test the sudden noise was quite distracting. Hope Blackmagic addresses this

Looks like the stronger red lights have a tendency to get clipped:

https://www.youtube.com/watch?v=54153YyAUVY

You got a lot of options and you have to consider your budget. I got a used GH5s for 1750usd so it was a no brainer for me at that time to pair it with my GH5 which I bought for more. I suggest you take a look at the P4K plus accessories + lights for your budget. But if you're going for run & gun, a used GH5 will fit the budget. GH5s is too shaky for run & gun but boy is it great for low light

31 minutes ago, Snuff said:

Shot on: Blackmagic Pocket Cinema Camera 4K (BMPCC4K)
Lenses: Voigtlander 17.5mm f/0.95 and Super Takumar 50mm f/1.4
Resolution and codec: 4K DCI, RAW 4:1, 24P and 60p
ISO: between 400 and 3200.
Edited and graded on DaVinci Resolve 15
LUTs used: BMPCC4K film to extended video (from Blackmagic)
No grain added in post, No denoiser in post

 

Looks like P4K is a great match / B Camera to the Ursa Mini. With the GH5/ GH5s I think there's some work to be done to achieve this kind of colors so I'm not sure if the P4K will be an easy combo with the GH5s

1 hour ago, Turboguard said:

I have P4K, T5 and 5 LPE6 at the moment. Probably rounded up to say 1800

That's a great price for that kind of camera. I bought a used GH5s body from a friend for 1750 and I'm quite happy with the price. But a P4K + accessories for that price is really competitive.

Hi guys,  how much do you think will it take to outfit a P4K including SSD and batteries? Will P4K + SSD + additional batteries exceed $2000+?

1 hour ago, anonim said:

I think that there's not at all anything special in general about shooting with GH5, distinctive from any other hybrid camera... For specific settings in detail you may ask or search...

The same about shooting with 10bit HLG profile, once after you "normalize" footage to rec709 space. In Resolve it is possible weather using Driftwood's free "tecnical" luts while keeping common value "Davinci YRGB" in path Project settings=Color Management=Color space&Transform=Color science, or change that value to ""Davinc YRGB Color Managed' following with "Rec 2020 HLG" (somebody use 2100HLG) as Input and Timeline Color space, and Rec.709 HLG as Output Color Space in corresponding fields... Further you make grade changes as to your choice.

Or you could use some of the paid Luts... it seems that most appreciated are GHa by @Sage or those by Paul Leeming (One).

So, just to wish for you old good... happy shooting.

What do you think about this HDR workflow? https://www.mysterybox.us/blog/2018/1/8/panasonic-gh5s-hdr10

35 minutes ago, katlis said:

Glad I read this page today, didn't know about the ProRes PRE with DNX, thanks for the heads up. I just did a 4K 10bit 60p test in DNxHR HQX (with my new Ninja V)! Definitely getting different results between software. Premiere has more of a green cast. You can get closer to Resolve's output in Premiere by simply decreasing the temp by 1.0 and increasing the tint by 1.0, in this test anyway. Still not the same, but hard to see with the eye after tweaking. 

Side note, loving the little Ninja V. Using the full 3D LUT for monitoring is awesome!

Wow yeah I notice the green cast in Premiere. This confirms my bias against premiere as an NLE since I also had issues after rendering in Premiere (because desaturated). I think it's officially time to move to Resolve..

4 hours ago, anonim said:

If you plan to buy GHa lut, there is conversion from CIneD to VLG and further easy workflow, so it seems logical to use CineD?... especially regarding correcting algorithm that @Sage makes in it to nicely tame greenish color shifting that polutes GH5 skintones image OOC.

For normal usage (without extensive motion demands or maybe greenscreening) I'd say there's no noticeable difference between 400 and 150 mbit modes. But 10bit is so convenient in disposal as still (strangely) unbeaten advantage of GH5, that I'd say it is the must to use it whenever is possible... Simply, avoiding of any banding/posterization in any non-extreme grading changes is fantastic - and such safeness doesn't exist in 8bit mode, even if final result may often look similar.

Thanks for this. As a newbie GH5 user, I'm learning a lot about Vlog / HLG / 10bit from this thread :). Anyone can point me to a good tutorial about shooting with the GH5 or should I just research on YT along the way and keep using it? Would be great if there's a video with workflow from shooting with 10bit HLG to grading on Resolve or Premiere

@kye I bought both and love to use them but I use the Daylight LUT more since I'm shooting more during the day plus the colors are not too orange in white light during the night. Have shot few scenes anything under Tungsten lighting though so your preference may vary. Also want to hear from @Sage for this

19 minutes ago, jonpais said:

The color in the Fabrizio & Omayra video is simply gorgeous and the dynamic range is very impressive. 

Yeah they really showcased some amazing footages. I also admire the filmmakers for being brave enough to shoot with the Sigma 18-35 under snowy conditions and on the other one at the beach where salt water and sand can possibly get into it

I have a Ninja Inferno but I did not notice the issue, granted I have not used Vlog or compared the video from the Inferno to the SD card internal recording. Will also try this. What I have seen though is that there's more noise on the footages on the Inferno compared to what I'm seeing on the lcd..

1 hour ago, Andrew Reid said:

Nice. But could have been shot on any modern cam over $1000.

Well yeah, I think there's some expectation about what the P4k should be, especially from the people I know who has/had a BMPCC

Thanks for answering all my questions @Tim McC    Yes I'm currently using a GH5 as a main cam that I want to build an anamorphic setup on. Also have an a6500 but looks like the GH5 is more ideal. Thanks!

27 minutes ago, austinchimp said:

I totally accept that the BMPCC4k image will be more robust and gradable with Prores and Raw than the images from my GH5, but overall - especially with viewing on Youtube and other streaming sites - there's not much between the cameras when it comes to the final product, as long as you know what you're doing.

The Blackmagic colour science is lovely, and much better than the native colour from the GH5 or Sony A7III, but those two can be graded to have a good look too. I've been playing with @Sage's GHa luts and that give the Panasonic a nice feel, and for me, Feel was always the thing that brought me to Blackmagic cameras.

Perhaps it's because when the original Pocket came out the look and feel was so far away from any other small camera, while now it seems to be more of a level playing field.

 

 

I have the same expectation that the image will look different compared to the GH5 or A7III, like a BMPCC 4K version than can be compared to the Ursa or Alexa mini lol. But if you factor the lower price,  I realized you can get the same quality of shots with the P4k vs the GH5/GH5s  and Sonys and have some more money to spend. I guess I just got my expectations too high since I love the old BMPCC look

2 hours ago, Tim McC said:

I do recommend it.  You can see that there is some slight vignetting at 50mm, so at 58mm on the Helios, you should be just fine.  I like the white barrel flares, but not everyone does.  I'm using a SLR magic rangefinder in front of the Sankor, so that helps a great deal.   

Thanks! So the rangefinder is for single focus? If I don't buy a rangefinder, I'll focus twice, correct?

Also, do I need something to connect the Sankor to the Helios?

Also are you using rods?

Sorry if I have a lot of questions. I'm really interested in building an anamorphic kit :). Thanks!

41 minutes ago, kye said:

I think this thread needs a reality check, and luckily Caleb Wojcik just posted one.

Some of the points he made were:

• He loves the image but the camera is a pain to use and so often stays at home in favour of his 2 x C100 mk2
• It was expensive, and the battery life, proprietary accessories like touchscreen, storage, media readers, handle, chargers, and everything else cost about $25K US about two years ago
• In fact it was so expensive that he left it locked up because of fear of using it (despite having insurance)
• It's hugely heavy and impractical to use, he had to buy four batteries because two wasn't enough, and it basically requires a team to build and operate it

In summary - two years ago one of the most affordable cinema cameras cost $20K plus, was such a PITA to use that he didn't take it places, and he used C100s instead.

Now in 2018, they release a 4K60 RAW cinema camera that costs less than 10% of the above RED, is smaller than the C100s but a significant margin, gets similar battery life, is easily hand-holdable, works with all kinds of third-party accessories, and comes with a free copy of an industry leading NLE.

Anyone who bitches about the battery life, size, cost or anything like that clearly don't have the faintest idea what a real cinema camera is like.

Get a grip - you're just embarrassing yourselves.

It's fine that you consider the P4k as a cinema camera since it has a 'Cinema' on it and interestingly not a 'Pocket' camera. Everybody have their own preference and should not influence your own. 

Honestly it's still debatable for the new P4k to be grouped with the Reds or Arris. Will wait for EBU or other technical bodies for their tests. 

That said I think the concerns about the P4k are the result of comparisons with existing cameras like the A7III, Fuji, Pana mirrorless. It's clear that Blackmagic's target market for the P4k are non-Red/C100 using consumers hence the comparison

Some more reviews:

https://www.youtube.com/watch?v=ju2Q1Tv-2Aw

https://www.youtube.com/watch?v=Bg97E3-OqaI

I trust these guys to know their stuff about cameras and they have almost the same issue with battery life and build of the P4k. Personally I think the shots from this camera are wonderful but gonna wait if there's other solutions to remedy the 35-40min battery lifespan.

Shots look amazing! But of course caveat is the size, battery life, ergonomics.

Would you recommend the Sankor 16c on the GH5? I've been looking for an anamorphic lens to pair with the Helios 44 that will not vignette and currently overwhelmed which one is affordable and good.

3 hours ago, Dustin said:

@TurboRat Funny that 16mm is something I think would be fun! I’ve heard the 18-105 isn’t particularly sharp and the focus distance isn’t great for bokeh otherwise I’d pick it up. I really miss having a wide. With the clear image zoom I think I could get by with just a wide angle and 35mm. 

Yeah a friend with an A6300 was looking for a 10-18mm Sony for his wide. I think having a wide angle lens is really essential to your kit to cover the focal lenghts and some interesting angles

2 minutes ago, Thpriest said:

I have the Gh5 and the same lens set up but over here a lot of venues are dark and there is no way you can light without pissing people off! Most weddings are in the evening and at night time as it's too hot during the day in summer.

You can either bump up the iso and apply Neat, or shoot underexposed then bump up the brightness / exposure in post. Also, it's recommended to shoot CineD and no Vlog with less light.