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Actually you can make the GH5 look very cinematic!

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1 hour ago, mercer said:

With that being said, there is something for convenience and no budget filmmaking and for the money the GH5 is the best deal around. And with every passing month I am seeing more and more quality work done with them.

It may be just me, but I have noticed the 1080p looks better to than the 4K with highlights. But since I haven't used one, it's probably not fair for me to say for certain, just some general observations from the videos I have seen. 

And, beautifully, 1080p is perfect 1080p resolution, even seemingly better than C100/300 and it keeps that quality up to 60p, with some detoriation up to 75fps and from thereon

going downhill until 180fps. Would have been awesome to have pixel perfect HD up to 120 or 100 fps.

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15 hours ago, cantsin said:

 

Okay, let me be the killjoy and party pooper... In all of the above videos, I see 'cinematic' light, framing and camera movement, but what I don't see is a 'cinematic' camera image - i.e. with rich, deep colors in subtle graduations and natural vs. artificial sharpness of the image. 

Of course, a $2000 GH5 is no $20,000 RED or $40,000 Alexa, but when comparing it to a $2000 Blackmagic Cinema Camera (to just pick a few random examples from Vimeo):

 

 

I'm not seeing it... two of the videos you share are pretty mushy looking to me, which just kills it. The first video is utterly unremarkable. Even though two of the videos are soft, I wouldn't mind so much if they had something unique to say. But they don't. The Criminal Minds promo doesn't shout film to me either, no way the GH5 or even the lowly G85 couldn't have done just as well. I much prefer the look of the Foam Drive Renegades. In the third video, Hope, I'm seeing crushed blacks and blown highlights, nothing so subtle or special about that. And as far as skin tones go, @Thpriest's work is better than this.

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11 hours ago, jonpais said:

I'm not seeing it... two of the videos you share are pretty mushy looking to me, which just kills it. The first video is utterly unremarkable. Even though two of the videos are soft, I wouldn't mind so much if they had something unique to say. But they don't. The Criminal Minds promo doesn't shout film to me either, no way the GH5 or even the lowly G85 couldn't have done just as well. I much prefer the look of the Foam Drive Renegades. In the third video, Hope, I'm seeing crushed blacks and blown highlights, nothing so subtle or special about that. And as far as skin tones go, @Thpriest's work is better than this.

Weirdly, I find the first video utterly remarkable. And in the third video, I am struggling to find the blown highlights... well maybe a few inconsequential highlights are blown, but shooting in mid to late afternoon sun in the middle of the woods is not an easy task, so the occasional blown highlight to see the subject's face is a fair trade off if you ask me.

As far as crushed blacks... I just see some clean blacks, I wouldn't call them crushed. Film recognizes black. The idea that blacks need to be lifted is really for a pseudo faded film look that became popular with digital video to take away the inherent video look a lot of consumer cameras deliver. But I also like that faded film look as well.

The real star in these videos, well the first and third, is the color separation and tonality and the highlight rolloff... in my opinion.

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5 hours ago, mercer said:

Weirdly, I find the first video utterly remarkable. And in the third video, I am struggling to find the blown highlights... well maybe a few inconsequential highlights are blown, but shooting in mid to late afternoon sun in the middle of the woods is not an easy task, so the occasional blown highlight to see the subject's face is a fair trade off if you ask me.

As far as crushed blacks... I just see some clean blacks, I wouldn't call them crushed. Film recognizes black. The idea that blacks need to be lifted is really for a pseudo faded film look that became popular with digital video to take away the inherent video look a lot of consumer cameras deliver. But I also like that faded film look as well.

The real star in these videos, well the first and third, is the color separation and tonality and the highlight rolloff... in my opinion.

I don't see anything which can't be done with a GH5 or even 4 (external V-Log) in these clips tbh.

Crushed blacks are almost standard in every movie since the beginning of cinema and honestly - I like it.

The Highlightrolloff in the third clip isn't that great, her skins turns yellow in some scenes with direct sunlight.

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6 hours ago, fuzzynormal said:

Hey, I saw this at the cinema...so what are we really worried about?

https://www.youtube.com/watch?v=eCdRFMp8Xwo

 

people are worried about being inadequate. Thats my guess. The worry is crushed black levels, compression artifacts, in camera sharpening and all the stuff we obsess over as cam operators locking us out of our big break in hollywood or some renowned film festival. Either that or we are just crazy LOL

28 days later was a low resolution,aliased filled, DV cam work of art.

To stay on topic I think the GH5 can reach a cinematic look but that all depends on us being able to work within the limitations of what the camera is capable of and exploiting it as an aesthetic. Almost the same way some people liked to shoot low contrast film over the contrasty positive slide film. I would say the panasonic series of cameras are our equivalent of slide film and if treated as such we can get great results out of the limited DR

this looks like it has about 6 stops of DR LOL still looks good though

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9 hours ago, kidzrevil said:

we obsess over as cam operators locking us out of our big break in hollywood or some renowned film festival. Either that or we are just crazy LOL

It's certainly not crazy to be meticulous and try your best with what ya got.  But on a website for aspiring filmmakers, but mostly hobbyist, it makes sense that attention is applied a little too much to a single thing, the camera.  Many here are locked into what cameras do or don't do because, perhaps, they don't need to have a well-rounded approach to a  production. 

Also, it's just fun to talk about technical crap.

For me, the more important things are not camera specific. As you know, I love playing with cameras, but to funnel the majority of my attention through what apiece of gear can or can't do can be distracting. (unless that was my specific job)

Sometimes, for instance, a good prop and production design is more integral to success than whatever sensor you happen to be using.

Blocking, lighting, cinematography...um, the actual acting...one's ability to be a decent director...so much more important on a narrative.  If you got yourself or a crew that excels in that, you'll be fine regardless of what you're shooting with.

Interestingly, I think camera/sensor/lens decisions might be MORE important these days on documentary, where controlled situations are not part of things and the crew is very minimal.

 

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3 hours ago, AaronChicago said:

Just shot an ad for a bank using the GH5 and SLR 2x anamorphic 50mm prime. This is pretty much my go-to combo right now outside of the Ursa + Sigma Cines.

 

GH5anamorphic.jpg

Love it so far. Maybe just make the right side a bit dark, then it would be perfect.

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8 hours ago, AaronChicago said:

Just shot an ad for a bank using the GH5 and SLR 2x anamorphic 50mm prime. This is pretty much my go-to combo right now outside of the Ursa + Sigma Cines.

 

GH5anamorphic.jpg

The blacks are crushed!!! The blacks are crushed!!! :) Joking...Really nice image Aaron! Keep us up to date, now im curious to see the final result.

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