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Hello everyone, I first heard of the gh2 and anamorphic lenses on this blog and I got curious. After reading and reading I finally decided to take the leap and ordered one. Although I'm not new to images from my post-production trade I am new to film making and it's fascinating. I'll share the videos of my journey in this thread, there is a complete rundown of each vid on vimeo if you are interested. I should get my anamorphic clamps and diopter next week, can't wait to get them and finally try my anamorphic lens! :) Looking forward to hearing your thoughts thanks http://vimeo.com/46627432 http://vimeo.com/46683852

Hey everyone, just wanted to post a link to my website www.seekingheartwood.com I've spent the past 21 months on the road shooting this doc with a hacked GH2, AF100, HMC150, and a little Gopro thrown in. On the main page you'll see a video for my Kickstarter campaign. I used the AF100 for the main cam with a 50mm old zeiss lens, and the b-cam was the GH2 with vanilla eoshd hack and an old 90mm vivitar series 1 lens. [url="http://www.youtube.com/watch?v=b5ngqj0Rwjk"]http://www.youtube.com/watch?v=b5ngqj0Rwjk[/url] thanks!

[quote name='Xiong' timestamp='1346485280' post='17077']Lets say we don't have alot of gear, only a few lights, simple boom mic to H4N. Its fine when we're in a controlled set/environment, but if we try to move to say a parking garage? Or an office building with bad yellow florescent light? Wouldn't we want to shoot in RAW? Where we have the option to try and fix these issues? [/quote] [quote name='EOSHD' timestamp='1346503849' post='17090'] Indeed, a large production would spend a lot more than they spend on post, to fix issues with a location and lights. We, the ones who are smart and think differently, will be able to do a lot of that in raw now. [/quote] When part 2 of the Zacuto shootout was discussed, everybody agreed with the conclusion that 'forgiving' greater capabilities of high end cameras lost against conscientious lighting and clever planning. This is not rendered invalid by an affordable raw camera. With photos, I admittedly use the raw format in the same sense. There is a temptation to do a sloppy job, because almost everything can be fixed in post. Or so it seems. As a longtime analog photographer and professional darkroom laboratory worker (sounds awkward, from german), I know that 'raw' (undeveloped emulsion) actually came long before Jpeg. Digital imagery are historically the first instances of baked-in compression, and I always scoff at the post-deniers who consider themselves better pros. The point is that the goal of it all is a better image and that you will fail if you believe that a 'forgiving' codec will get you there. In the end, decisions have to be made as to how much the colors should deviate from average, natural looking values to creatively change the mood or express something. I suspect that many who welcome raw for making their lives [i]easier[/i] will just botch around and compensate for being too shirt-sleeved. Raw needs the same care during shooting as any other format to lead to good results. And the post is actually most demanding.

[quote name='pietz' timestamp='1346485079' post='17076'] i work for a commercial production studio and we just shot a job with a budget of 2.5 million $. with this kind of budget you would expect the freedom to shoot on every possible camera out there and youre right. we shot on the arri alexa in 1080p prores for so many reasons. i find people here who say "people who dont see the benefits of raw, dont know what they are talking about" and the funny thing is that i get the feeling that many of YOU dont know what they re talking about. for example mattbatt, if you honestly believe that in a few years prores will be seen on the web, you have NO idea what youre talking about and clearly dont know a thing about prores. honstely. ProRes was created to be graded in professional purposes. you absolutely cannot compare this to a high bitrate H264, it will never be the same! you cannot put the argument out there saying raw gives you 12bit and prores only 10bit if you dont know what it means in real life. there is absoluty no way in hell and physics that you can tell the difference between 10bit and 12bit material. its so far from being possible. 10bit means more then 1 billion different colors that can be created. even if you decide that you want 75% grey to be white, thats more than enough. also andrew 13 stops is not a plus for raw, it doesnt have anything to do with that. the alexa has 14 stops and records in prores, whats the point youre trying to make? as one of the people in the 2012 camera shootout said, "its much more about workflow these days" you can import the alexa files directly into AVID and also use them for grading. thats about as easy as it gets. not only the space on HDDs but the transfer speeds and computing power you need to seemlessly edit uncompressed is extremly pricy. if you havent compared Uncompressed footage to ProRes you should not be talking here. do your homework and come back with evidence, because it blows my mind every time i realise that prores seems to have no boundaries and its about a tenth the size. [/quote] What a condescending tone. ProRes on the Alexa is not the same as ProRes on the Blackmagic. I don't yet know how ProRes performs on this camera, I very much doubt it will give you 13 stops of usable dynamic range or as much as raw. It certainly doesn't give you as clean resolution or as much or if or a way to reduce aliasing by downsampling in post to 1080p and equally it doesn't up-res as well to 4K. So let me get this straight, with your $2.5k budget you spend a boat load of cash on a monitor, 20 people to construct a tent so you can see it, a truck with a generator so you can power it and then two more trucks so you can move it around. Takes you an hour to move 100m with that crap. And you have this Alexa beast that shoots ArriRaw... AND... You choose NOT to shoot raw to gain a little hard drive space. Insane! I'm not anti-ProRes. I'm just in love with the look of CinemaDNG on the Blackmagic and that extra resolution provided by 2.5K and the way the raw material can be pulled around so much in post. Image quality all the way for me. I feel that if the film and TV industry really wanted convenience and to save money, ProRes is the last thing I'd look at frankly. If only you guys listened to all that new blood with the better ideas THEN you would save time and effort, instead of dismissing them as not knowing what they're talking about.

[quote name='bwhitz' timestamp='1346467790' post='17063'] +1 This is almost everyone on DVXuser and DVinfo. The discussions over there are reaching the inanity level. Some are even going as far to claiming that RAW is gimmick, the BMCC is a "toy"... and real pros "get it right" in camera. Or "if you know what you're doing... 8-bits and 4:2:0 is more than enough". It's funny because when DSLRs were all the rage... it was almost a crime to shoot on anything less than a 4:2:2 codec. I guess now that there are "pro" large-sensor cameras that students and amateurs can't afford they're justifying the use of sub-par codecs again. [/quote] I remember this well with the DSLRs, all the discussion was about the poor codec, lack of grading flexibility, no 4-2-2, blah blah blah. Now we have raw, and we still can't win. They are saying you should get it right in camera! When we really did need to get it right in-camera with picture profiles etc. on DSLRs, nobody mentioned getting it right in camera, they were all mentioning 'you can't fix it in post so these aren't professional cameras'. Damned if we do, damned if we don't, with some people. The negativity is astounding. Well it is a good job we had DSLRs and our optimised picture profile settings so we are used to getting it right in camera by now. Don't let any so called pro patronise you when it comes to getting it right on the shoot. I am sure we will all be endeavouring to get it right 'in-camera' raw or no raw. Raw certainly is no excuse for sloppy operating.

[quote name='madaspy' timestamp='1346463425' post='17058'] I shot 267 GB with my 7D which comes to be about 13.5 hours of content. In Prorez 422 1.22 TB Raw 6.9bTB [/quote] I've also been looking at the drive space issues. I can get 6TB of HDD space for around 300 EUR. I won't be shooting 13 hrs of docu footage. I tend to cut in-camera. I don't do long takes or live events, or interviews, etc. For a music video or a typical EOSHD 'on location' vignette I'd probably even only do 1-2 hours worth of footage, I almost do edit with the shutter button! Treat the Blackmagic Cinema Camera like a film camera. Best quality for the price, use it when you need to, and not all the time. John Ford cut in-camera. He did this to stop the bastard producers re-editing his film!! For many a docu interview, a DSLR is just fine for run & gun. The BMCC is an artistic filmmaking tool designed to ease aspiring filmmakers into the world of post, the world of raw and the world of DaVinci Resolve. Smart move by Blackmagic and incredibly generous too. That price will gain them a lot of ground in the market too, and the image will gain them a lot of ground even in the pro market vs Red and Arri! Remember that the raw files can be deleted and they can be converted into ProRes. If you shoot ProRes in-camera like I said in the article, you are making that decision a lot earlier and I kind of find that a bit unnecessary given how quick it is to transcode later over a single night, depending on how much footage you have. You certainly won't be needing 6TB of SSD drives which would be very expensive. Unless you're shooting 13 hours per shoot without ever dumping to HDD. Again use the SSDs like 30 minute long film reels. 240GB = $180. Not expensive. These are not Red SSDs. I believe it is important not to say a blanket 'no' to raw, or a blanket 'no' to ProRes. It really does depend on the shoot, or even the scene. Just use it when you need to and it will work out fine.

Hello everyone, I took some of the collective advice and did some testing with new settings. It appears that if I raise the shutter speed much higher in full M movie mode based on the fps im am shooting the AF doesnt hunt. Oddly shooting at 60P at roughly 160ss the AF works pretty darn good. Of course I will use a combo of full manual focus and some AF but I think AF is now more predictable and I have more confidence when I need to use it. thanks to all who replied. Great community and great camera! Here is the result of my last shoot. All manual 60p 720p AF on. Used the kit lens in this video. Thanks again! [url="http://vimeo.com/48159523"]http://vimeo.com/48159523[/url]