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There has never been a good war. Not one. I think everyone can agree on this. There are going to be casualties - as much as we don't like it. I believe Russia is directly what stopped the advance of the Saudi/Qatari/Turkish militias from over-running our military and over-throwing our government. Of course, this viewpoint is rarely, if ever, reiterated on Western mainstream media. Regardless, people have the choice to believe me or not, I don't mind - my information comes directly from my family and friends on, nearly, a daily basis (thank God for free WhatsApp WiFi calls!). Everyone is ultimately entitled to their point of view. And I agree with Andrew that not every other Syrian's experience of the war will be like mine, or my family's. Lines have been drawn, sides have been taken, and all of us have been caught between the crossfire in one way or another. I believe Obama's choice of not using U.S. ground forces directly was simply because the U.S. cannot afford another ground war - both in terms of causalities, morale, support and financially (15 Trillion in debt last time I checked). Having failed in Afghanistan, Iraq, and Libya, the U.S. has lost its military deterrence - Obama bluffed, Putin called it. Further, post-Afghanistan, Iraq, and Libya, they have also lost whatever credibility they had left as being morally conscious force in the world... I'll be honest, guys, I find it very difficult to continue discussing this. I hate to sound weak, but it's rather emotionally draining. All I want is for Syria to go back to how it was when I was a kid. I had friends from all different faiths and creeds. People would celebrate each other's holy days as if it were their own. I didn't matter what part of Syria you were from, or what religion you happened to be born into. There wasn't even a concept of "Christian Syrian, Shi'a Syrian, Sunni Syrian, Alawite Syrian, Druze Syria, Jewish Syrian" - we were all just "Syrian". And the awful truth is, you can see in my very own statements that even I have become a victim of this segregation - I have said, time and again, how I am "Christian Orthodox Syrian". The truth is, I don't like saying it - I just want to say "Syrian"... All in good time. I hope.

This debate gets brought up every once in a while. Now, I haven't been, but the general concensus I believe always was: film school isn't useless, though, it's not really about the material that's being taught. It's working on things together and connecting with people that you might stay in contact with for years after graduating. For that it's quite useful. A degree on your resume does look cool, but it's not the thing that sells your skillset and level of talent. A list of productions you've worked on and a filmreel will do that for you. Think it's more about being good at networking and selling yourself, than what some paper says... so... you can start learning things you might already know... or work on getting actual field experience. One is not better than the other, you got to walk your own path, if that includes film school, that's cool, if it doesn't, that's cool too.

Preference for either the Sony or Canon's color science is subjective. The A7SII's advantages in low light and the 1DX II's autofocus are not. Each has its pros and cons, leaving it up to the project to determine either's suitability. Both are great cameras. I'd be leery of putting too much of an emphasis on the out-of-box image for either camera. Too many factors play a role in the final image. Neither camera is going to make your movie for you.

Films are not going away...far too much money at stake...what has changed considerably is the content created for television ( at the same quality level as any feature film now)...but sticking to movies...many links in the chain that either makes or breaks a project....and success depends on an audience member being able to completely immerse themselves in a film...hard to happen when you're watching something shot on an iPhone with little or no production design, bad sound and of course poor acting and directing...sorry....a little off topic, but read a post a while back saying in a 100 years there'll be no more movies made...as long as humans are around, we'll be hungry for the escape movies/television can bring us...as far as cameras today go...we're more than there and I think Andrews point is well taken...smartphones are the new point-and-shoots that consumers want and you can now use an actual point-and shoot as a crash cam or in a difficult to fit place or a drone etc....

I once went to Stockholm in person to pick up the Panasonic G7 and saved me 230 or so bucks (had to be there anyways, but still, http://www.prisjakt.nu proved helpful). I ordered the G80 from UK and for EU body prices got included the 12-60mm, a Panasonic 64GB card and a battery grip. It does help to look around. Usually I check http://geizhals.eu . I find it very helpful to get some oversight. That said... 1999 for either E-M1 Mark II or GH5 is a matter of perspective. So here's mine... No DSLR for me. I don't like mirrors and I don't like optical viewfinder. I'd rather just have an EVF and excellent liveview; what you see is what you get. Plus, mirrorless cameras just about standard give you peaking, zebras and all that good stuff No fullframe camera for me. What fullframe cameras would there be? Let's see... eh... Sony. Well have you seen what those bodies retail for? And then you need big bulky 35mm covering glass that ain't cheap either. Don't know. Just not for me S35/APS-C. Now we're talking. Excellent. Yes, I'll have one, thank you! What can I choose from again? Ah, more Sony. Well... they sound good on paper, but in practice... between the overheating, rolling shutter, color issues, poor design and its price... there's not really that much that makes it an attractive choice. I think I'll pass until they come up with something a little more reliable and enjoyable. Fujifilm XT-2. Ooh, me likey. Too bad there's no sensor stabilization, vari-angle touchscreen and headphone-jack on the camera body. Tough. Canon? The new EOS-M5... overpriced stripped down 80D much? Maybe cool as a gimbal AF tool, otherwise nope. Nikon? Not making anything. Samsung? Dead; although the NX1 is pretty sweet. But you know... the XT-2 would pull ahead of it. Well... that's kinda that. Unless you want to go proper cinema style camera and throw a couple of thousand bucks at it, but at the cost of losing a innocent looking versatile hybrid system that packs a punch That leaves... drumroll please! Micro Four Thirds, MFT, M43, M4/3. Now... I kinda made my peace with the 4/3" sensor a long time ago. Hell, some even accepted the limited conditions the BMPCC would shine in. S16. And as such I don't need ISO12800. I mean, ISO1600-6400 would be kinda nice. Don't really like to go beyond ISO1250 right now due to the decrease in peformance. But somehow, you just make it work. You work around the sensitivity by lighting, by using more sensitive lenses. You work around the crop. The shallow depth of field. With a smaller sensor you kinda lose some color accuracy, dynamic range... I mean, it's not like you're not paying for it somehow, but you manage. In return you get to have one of the most versatile systems out there. With small bodies and small pancake primes. But you can also rig things up and use speedboosters. And especially with the features in the new E-M1 Mark II (which I feel they should've just called a E-M1 Pro/E-M Pro to avoid the negative backslash it being so much more expensive than its predecessor), you now have one of the most complete cameras on the market out there. Compared to a mirrorless APS-C Sony... it has a far better choice concerning lenses native to the system and sensor format, it has that vari-angle screen, dual cardslot, superior sensor stabilization, neglectable rolling shutter... and most importantly... it's reliable. Compared to either XT-2 or NX1 it has the vari-angle touchscreen (frontfacing option) and 5-axis sensor stabilization. You just can't really fault the E-M1 Mark II on hardware level. The GH5... we don't know much yet, but it looks like we're going to keep that GH4-styling. That's good and bad, because I was actually hoping that with the GH5 they would really re-think what they wanted the top of the line GH-camera to be for general video production, as well as more advanced cinematic application. So I was thinking a different style body, more room, better interface, more ports, bigger ports and all that good stuff. Still though, even with a GH4-style body and souped up internals, this could be something very different. We already kinda know that its sensor and processing allows for internal 4K at 60/50p and 4:2:2 10-bit at 30/25/24p. There's 6K Photo. If the E-M1 Mark II's processing and speed is any indication of what the GH5 might be like, we're really getting some performance. And people who've been using the GH4 as a production tool, will gladly embrace the improvements in noise control and overal image quality that has already gotten a boost with the arrival of the G7, GX80 and G80. Not to mention the probable inclusion of sensor stabilization. Rolling shutter could be neglegible as well. Super slowmo. Who knows? Ultimately though, this is a tool not to be underestimated and of great value to independent and indie filmmakers, production houses and the sorts. Would I say 1999 is pricey? Yes, most definitely is. But I think the E-M1 Mark II makes sense. There's all this Olympus PRO glass and these people need a camera to go with it. It's not some incremental upgrade, it's a new game altogether and offers things in a complete package we haven't seen yet before. To those who think it's not worth it, they have a great selection of alternatives... the E-M1 with firmware upgrade is pretty solid, E-M5 Mark II, E-M10 Mark II... Panasonic G80. Talking about that last one, that is a fine camera for people looking for a serious hybrid camera that don't neccessarily be using the more pro applications such as V-LOG L. Pay less, only use what you need. The GH5 on the other hand is the ultimate video production tool, by the looks of it. Either used stand alone or rigged up, if it sells for 1999 it will provide shooters with a the most complete video package under 2000 bucks yet. If they would tell me 'we have a promo going on, one time offer... we see you have the GH5 in your basket, we'll change that to a URSA Mini 4K (that you're not allowed to sell) but leave the 1999 price. Which camera should we ship to you?'. I'd probably go with the GH5. I just really like the idea of a camera that I could use with a 20mm f/1.7 pancake lens and at the same time could rig up to be a set-up too legit to quit. But that's just me. You also got to consider that because of the pro features, less people will have use for it... and in turn therefor they sell less units and need to increase prices. As has been said before, we're just a marginal piece of the pie... the people that care a lot about shooting video with stills cameras, so when they cater to us, I'm really excited. And currently I see the E-M1 Mark II and the GH5 as the most complete packages out there for hybrid shooting with a video edge. There's always things that can be improved, but that's going to remain to be the case.

I manually exposed. I pretty much always used the ND, ISO 500, tried to between f2.8 and f8. The stuff shot at F11, like I said, is pretty much unusable. Something looks weird at that f stop. All C-LOG. These are excellent.

I've had problems with pixel films Lut loader as well. Even with the older fcpx it was a bit finicky however now with 10.3 I had to uninstall and reinstall the Lut loader before it began to work. Even now when I select a Lut from a folder on my desktop, no changes appear to the footage. I have to select the lut a second time, and sometimes even adjust the "amount" slider until I see the Lut applied. When the thing does end up working the way I usually grade over multiple clips is by using a title (with no text) over all the footage I want a Lut applied to. The title acts as an adjustment layer. So you drag the Lut loader onto the title instead of the clip, then everything under that title gets the Lut applied.

A good free LUT loader plugin for FCPX : https://www.motionvfx.com/mplugs-107.html

So sad about what is going on in Syria, and certainly like in the cold war the demon is always Russia, glad to hear there are REAL Syrians here who are telling the truth about what is really going on there....

It is the most RIDICULOUS thing that Apple's flagship NLE doesn't have LUT support built in. If you're going to use the same LUT on every clip I recommend EditReady to apply the LUT during transcoding to ProRes. It will make your edit a lot smoother too than editing the camera files direct.

I have both of those cameras... But I agree that the GX85 for it's price is a great narrative tool. I am kinda glad I haven't sold it. Up to $500, I think the D5500 is really good. The XC10 is a great camera, but I think a 5d mkiii with ML (especially with current developments) is the better pick.

Hey guys, thanks for replying. Thanks for the link. Well, research has been done with your support. Shooting turned out to be pretty fun. CLOG is a joy to grade. It´s a student film with a student camera package, so had to deal with native Canon lens focus throw. But workable, TV logic didnt connect right, so the camera screen had to do it. DOP did all the manual focussing, AF one time for a situation where contiunous focus was necessary. Worked like a charm. Thanks! cheers

Yeah,since canon has the best colour in the world,why some guys even bother worry there is not log ,not ibis,not FF view 4k, not bsi sensor, even the codec from 90s work out just fine！ Good work canon,sony sucks;)

Here are some frames from a few shots I grabbed on the way to the shop, using EOS Standard > FilmConvert. @kidzrevil I think that Cinema EOS Standard at ISO160 is an even closer match to C-Log at IS0500 than EOS Standard is - it's way less contrasty with lifted shadows like you mentioned before. I think I might use EOS Standard for low contrast scenes and Cinema EOS for high contrast or highlight protection. I've pulled the sky exposure on a few of these, emulating a graduated ND in post. The 422 codec holds up really well.

Well dji have solved the issue by literally thinking outside the box. I wouldn't mind a totally stupid looking camera that could should 4K raw...

If you skip to 10:50 for the sample footage, you can see some really amazing images coming out of this camera. Dare I say it almost looks Alexa-like in its color rendition and has a certain "filmic quality" to it. Unfortunately this does not extend to the dynamic range... although I bet F-Log would help substantially.

Syrian War....... Interesting Video. Perhaps watch.....

Paul Joseph Watson's take.......

Cool, thanks That's what I'm hearing too, x2.2 crop. I'm leaning towards the GX85 for run and gun/something to throw in my jacket, or the A6500 (which has been offered to me by Sony Australia at a 30% discount - $1600AUD/$1185USD). I'm invested in Sony lenses, and have the official Sigma MC-11 to go with my 18-35mm F1.8, as well as Metabones Canon-EF to Sony-E adapter...but man, I'm on the verge of getting rid of everything and grabbing a GX85 + 20mm F1.7. I wanna go back to basics...ultra basics :P

Looks pretty good. I was using the Prolost Neutral settings that were popular for Canon DSLRs... for Panasonic maybe it's Prolost Natural... But basically turn contrast, sharpening and noise reduction all the way down and then saturation half way. I did not touch the curves or iDynamic. Where did you notice a benefit with iDynamic? I also started shooting everything at 4400 Kelvin. I found it was a good all around WB number that worked better than AWB, but still gave me the leeway to correct/push either way in post without too much effort. I've posted this before, but it gives you a quick idea of my results. I colored it with FilmConvert... I have been going through a lot of my equipment and deciding what to keep and sell. Every time I think I am definitely selling the GX85, I'll pick it up and the floaty image brings me back to it. I am primarily a hobbyist with a few short/feature film ideas I'd like to work on in the next year. Each film has its own look and needs, so I have been testing and testing a bunch of cameras. One of my ideas is a B&W project, with my preliminary tests, the GX85's L-Monochrome is excellent... so much so I have ordered the Rokinon 12mm cine lens (I'm done with lens adapters) to give the GX85 one last test to see if it would be a good option for this upcoming project. Anyway, I love seeing the results the members of the forum are getting with this camera!!!

Back testing profiles, and still not happy with my best effort so far which was Natural 0, -5, -3, -3, Highlights -3, Shadows +3 and still too contrasty for my taste, I tried setting iDynamic to Standard rather than Off and was very surprised with the improvement. I'm sharing this because conventional wisdom is to leave this kind of thing off and someone else might like to try it. This is NOT interesting video. Just walking around the block, pointing at "difficult" lighting situations...

@mercer and all Nikon fans: Fotodiox just announced an adapter for Nikon F-Mount lenses to Sony mount...adapter supports AF and lens stabilisation (VR). So, for me - as I just ordered a D750 - and other Nikon still shooters, this will be great, as the Nikon lens collection could be combined for 4K video shooting with Sony cameras as the a6300. I've tested the D750 (stills) and it is an excellent camera, "seeing" and focusing in the dark...Great dynamic range too. And NOW one can use the good 1.8 / 1.4 primes for 4K- shooting in very low light with the cheap A6300...(hope this works as good as the FotodioxPro claims this...) https://www.fotodioxpro.com/products/nikg-snye-fusion

Actually, we have established why DJI can do 4K60p - by using fans and having a lot more space to work with in regards to heat dissipation. Smaller mirrorless bodies simply cannot process that much data and not overheat fast. Much the same as smartphone sensors being able to capture 4K60p for some time now, but it would fucking fry the phone with the current processing power.

Nice work Dave. Whats interesting is Canon already has designed the perfect 1DC mkii sensor, the 12mp full frame from the orginal 5D. I'd love that in a 1DCII, full frame 4k with everything else you mentioned.

http://www.43rumors.com/ft5-more-gh5-pricing-info/#disqus_thread Body only: Price will be between 1 800 € and 2 000 € in Europe for the DMC-GH5. Price will be ± 2 900 € for the DMC-GH5 + the new Panasonic Leica 12-60 Lens (not the older 12-60mm lens!) In Korea that's around the price of a a7r ii or a7s ii. Kind of crazy.

Just registered to comment this. Sweet images and colours straight out of cam! I really love them Also, I like the way you are shaking the net underlining how images beat spec sheets in your last posts

Metabones EF XL working fine on my Panasonic G80.

If one looks at this pic: It seems as if the G80 would have the same issue as the Olympus bodies for which Metabones created the Speedbooster S. That would really be a pitty.

It's kind of easy and straight forward but it is 4 oclock in the morning, on a hospital, so it is best to download the manual and have it on your phone! Check this out as well. https://vimeo.com/118390610 I have the digital manual on me, on every camera I have to use. For run n gun AF is incredible, but for a movie I wouldn't even dare to use anything auto at all, maybe I am too old school, I do not know. There is a certain discipline when you do shorts or features, AF sounds too easy to be right, and as a 1rst assistant, is your job to focus pull as well! 75% zebras are alright, beter to be safe than sorry anyway. The codec is incredible robust for its bitrate, but again, C100 is more of a run n gun camera, live events, low/medium budget corporates e.t.c I am sure you will be fine and pleased with the result, but there are other solutions for films. It seems like you should have done your research beforehand thought!

If I remember correctly the camera only allows you to set the framerate based on the frequency you select. So for 24 or 60p you have to set 59.94hz. I think the frequency option is in the same place as bitrate and framerate.

Just a test in low light with Canon 50mm 1.8 II. The crop, the dof, the bokeh and the flare it's very cinematic and very nice look. I tested with M42 and Exakta lenses, this lens work perfectly. (Excuse me, the color grading is fast and no perfect).