Jump to content

The Panasonic DC-BGH1 camera soon to be announced


Trankilstef
 Share

Recommended Posts

33 minutes ago, SteveV4D said:

I'm warming to this camera.  I wish it had internal ND and even just a small screen.  Yet I can see it working in my selection of cameras and would mean my MFT lenses would still have some relevance in the future.  If price drops a bit next year, that would be a bonus. 😄

I am sure the next GH will be even better. Cold Cold!!

Link to comment
Share on other sites

14 hours ago, Kisaha said:

I am sure the next GH will be even better. Cold Cold!!

A good reason to hold on.  I'm hoping for a GH6, but so far we have this and the fullframe S5.  Hard to see now where Panasonic is developing the future of the GH line now.  

Link to comment
Share on other sites

1 hour ago, SteveV4D said:

A good reason to hold on.  I'm hoping for a GH6, but so far we have this and the fullframe S5.  Hard to see now where Panasonic is developing the future of the GH line now.  

I expressed my feelings about the C70 on the other post, BUT my main jobs in the industry are different (sound, assistant director), so I have 4 mirrorless and the P4K for the moment for my personal video company, I am not willing to spend too much on a better camera, so I will be waiting a little bit more for other (e.g cheaper!) options in the market. 

I am willing to go up to 3500euros, so no C70 for me. For my position, a videocentric m43 camera will be enough, maybe, and the R6 is too expensive for my hybrid needs (a couple of photography sessions, or 3, per year), and the R6 somehow limited, to go full in RF.

No need for full frame for me.

I am playing the waiting game for now! I am expecting a "huge" Fuji and Panasonic release in the 2021.

Ofcourse, if image was my main trade, I would have already pre-ordered the C70, and probably sell everything to go Canon. The C70 is such a significant release for me.

Link to comment
Share on other sites

  • 1 month later...
On 10/19/2020 at 12:16 AM, Kisaha said:

I expressed my feelings about the C70 on the other post, BUT my main jobs in the industry are different (sound, assistant director), so I have 4 mirrorless and the P4K for the moment for my personal video company, I am not willing to spend too much on a better camera, so I will be waiting a little bit more for other (e.g cheaper!) options in the market. 

I am willing to go up to 3500euros

The cheapest of cheap options is to go secondhand 😉

You can get a Sony FS7 with accessories for that budget you said. 

Link to comment
Share on other sites

7 hours ago, Xavier Plagaro Mussard said:

This little camera has been Netflix approved, probably because of the TC IN. But can someone explain why Netflix is so worried about TC IN?? I can understand if we are talking multicamera settings, but with a single camera??

Because any larger production is recording dual system sound. And TC makes that workflow go through waaaaay easier. 

Link to comment
Share on other sites

Netflix's requirements is not only about having a minimum fidelity to the image, or even making it strictly easier in post, but having a standard workflow. They need to be able to send any one of their productions to any one of their post houses and have it be immediately workable, and that if that team gets shifted to a different project midway through, they can send that half done project to another post house and have them pick it up immediately, no questions. They've decided that TC is a mandatory element to their workflow, from capture through post. To be honest, if I were Netflix, I would specify a lot more of the technical and metadata requirements for my productions just to ensure that every piece is compatible across their entire billion dollar post workflow.

On a much smaller scale we do the same thing at my work (outside the film industry). If the designer for one project is out sick and the client needs a change, other people on the team have to be able to open it up and immediately know how to make the change. We adopt standards, some of them because it's the easiest way, some picked randomly just to make sure we're all on the same page.

Link to comment
Share on other sites

9 hours ago, SteveV4D said:

TC very useful for particular productions can not be argued, but a linchpin in Netflix approval feels narrow minded.  Not every production should have its value rest on TC input..  🙄🙄

With how dirt cheap field recorders with TC are in 2020, and how dirt cheap timecode boxes are in 2020, and how common place TC has become in even entry level cinema cameras, then I think you'd be very foolish to shoot any feature film or tv series in this day and age without using TC as part of your workflow.  

9 hours ago, KnightsFan said:

To be honest, if I were Netflix, I would specify a lot more of the technical and metadata requirements for my productions just to ensure that every piece is compatible across their entire billion dollar post workflow.

And they do!!
I've mixed at that level for Netflix, and they do indeed have huge expectations from post that I have to live up to. 

Link to comment
Share on other sites

One of the things that I think amateurs miss about professional film-making is that it's a production line.

There are standards for how each operator does their bit so that when it's passed to the next operator they know what to do with it and don't have to re-invent the wheel each time.  These standards have been developed over many decades in order to get the best results from an acceptable time commitment.

I think that's something that is really missing from people who think of film-making as a single-operator.  Not only because you're not in the mind-set of working with others and thinking of their needs, but also in the sense that we can do anything and 'get away with it' because we're passing the footage we shot to ourselves to edit and then to ourselves to sound mix and then to ourselves to colour grade and then ourselves to encode and deliver.

As a single-operator if you do something a bit wrong and then get it into the edit you're now in a situation where you're having to work with what you have, and maybe you get frustrated and maybe you learn.  In a team if you do something a bit wrong you will get a pretty severe talking to from the boss and you will learn from that experience and probably never do it again.

Netflix sets dozens of rules with their cameras, it's not just TC.  These reasons are there so that the chain of how team-based film-making works isn't completely screwed up because of camera choice.

Anyone who isn't familiar with the rules should go read them, and if there's a rule that you don't understand the benefit of, then you should learn more about it, because these rules have been created by the people that do this successfully for a living for decades.  

Link to comment
Share on other sites

2 hours ago, IronFilm said:

With how dirt cheap field recorders with TC are in 2020, and how dirt cheap timecode boxes are in 2020, and how common place TC has become in even entry level cinema cameras, then I think you'd be very foolish to shoot any feature film or tv series in this day and age without using TC as part of your workflow.  

 

Maybe what I should have written to be clearer, was that "not every production should have the value of its camera rest on TC alone."  Which as you point out, there are actually external options for getting TC. 

Mind you, since TC is found to be so crucial for Netflix approval, the argument will soon be void, as TC becomes standard in cinema cameras even in the budget range.  

That said, I'm not looking at work for Netflix Productions with large crews. So it won't bother me either way. 😏😏

Link to comment
Share on other sites

22 minutes ago, SteveV4D said:

That said, I'm not looking at work for Netflix Productions with large crews. So it won't bother me either way. 😏😏

Indeed, 99.9%+ of us on this forum will never be making the call as to what camera gets used on a Netflix commissioned production. 

31 minutes ago, SteveV4D said:

I shall have to remember this when watching the next crap movie on Netflix. 

That "crap movie" is still one better than 99% of us here who will never get any feature film we produce onto Netflix. 
(let alone commissioned by them!)

The task of making a good feature film is far far far tougher than many of us realize.  

22 minutes ago, SteveV4D said:

as TC becomes standard in cinema cameras even in the budget range.  

That's exactly what's happening, has any cinema camera at any budget level came out this year without a TC input option of some sort? 

Link to comment
Share on other sites

44 minutes ago, IronFilm said:

 

The task of making a good feature film is far far far tougher than many of us realize.  

Its also a misconception that anyone in filmmaking inspires to make a feature film.

I will unlikely even get even anything small on Netflix...  if fact, probably never if I don't even try, which I likely won't. 

I'm also convinced making a film is extremely tough. Sure of it, as I happened to stumble on a major movie production being filmed at Hampton Court a few years back, with a vast amount of trailers on a nearby open area, lots of crew all putting their valuable experience to good use, working very hard.  A level of team work and production I can't even come close to replicating myself as a sole trader.

The movie they were working on was 'Holmes and Watson'. I wonder how it did?? 🤔🤔🤔

 

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

 Share

×
×
  • Create New...