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Well since the E-M1 II already oversamples from 5K and is very very close indeed to the A6300's 4K the answer is yes. GH5 will have a flood of high detail. I long since stopped caring about the sharpness of 4K though. More sharpness is the last thing we need. 10bit, dynamic range, colour, less aliasing, less moire, less rolling shutter are all more important when it comes to 4K, which already has too much detail according to most of the cinema audience reaction to it being projected.

It always feels like their reviews are a greater service to Johnnie's ties with Sony than to their readers. Johnnie goes to Japan. Johnnie gets into feedback session. Johnnie gets a loan camera. Johnnie is the oracle to consult if Sony want advice. Johnnie is holding camera and looking serious in every review shot. Johnnie is documentary filmmaker. Johnnie with his bumbag on being PRO. Johnnie writing boring piece of shit review that looks like it took 12 minutes, that didn't tell me anything whatsoever that I didn't already know, that nevertheless everyone reads as it turns up on SonyAlphaRumors due to special friendship between two hacks. That's more like it.

Everyone has their own tastes and it's best to do plenty of tests by yourself to figure out what you like most. Personally when I had the GX80 I liked using -2 Contrast/Saturation on the Standard profile. These two at 0 or -5 baked in the values a little too much so I found a middle-ground. Sharpening is always very obvious to my eyes and I hate the look of it. Noise reduction makes the image look mushy, especially skin. So those two I turn to -5. The resulting is image is quite nice but I have found that using the Canon C100 Mark II setting on FilmConvert gives really, really nice results. I'm seriously considering getting the G80 atm...

He has $100k and he thinks my C-LOG profile is too expensive at $15. And then he expects help from my forum.

Hello ana-scope lovers, I'm selling my Möller Anamorphot 32/2x and Rectilux 3FF-S. This particular Möller is hard to find especially in such good condition. It took me over a year of searching (on and off) to get one in this condition, it looked like new-old stock when it arrived and had been stiff to turn as a result of sitting somewhere unused for years. I regreased it (when used in the olden days of double focusing) but not really important now as you'll have it set to infinity and using it with the Rectilux 3FF-S. The Möller is known for its sharpness and crazy blue/purple flares! The Rectilux is also in great condition and I've regreased it also as there was some slight vibration when focusing when I first got it so now nice and smooth. The Rectigrip included, I cannot recommend as it put a small dent in the barrel of the scope when tightened and also hard to gauge if front of taking lens is making contact with back of scope. There is a minuscule mark on the coating because of this but barely noticeable. I only noticed it when taking macro shots to sell the scope so I'm including an excellent Redstan clamp that does a brilliant job of holding it in place and prevents elements from making contact. Also included are a Coupling Ring which connects the scope to Rectilux, a custom made lens gear for the Rectilux 3FF-S from Helicopter Sean and a thicker custom 3D printed pitch gear for your follow focus because of the long focus throw in and out. A PDF of Rectilux 3FF-S also included and a clamp most likely used for scope's original purpose and could somehow be integrated into a rig set-up, it's extremely solid. Price: €800 Photos: You can just see the small indentation where Rectigrip made an *impression* Rectilux with custom lens gear: Rectilux has 72mm filter thread. I have used a variable ND filter with no problems. You can also see the purple coating of the Möller that gives it its signature blue/purple flares: Rectilux + Möller + Coupling Ring + Rectigrip Custom 3D printed pitch gear. I have basically used a longer screw and placed it on top of original gear: Redstan clamp: Some screen grabs, oval Bokeh: A recap of what I'm selling: Möller Anamorphot 32/2x Rectilux 3FF-S Rectigrip Redstan Clamp Coupling Ring Original screw on clamp Custom Focus Gear for Rectilux Custom 3D printed pitch gear PDF Rectilux owner's manual I take PayPal and possibly we can do it through eBay but would like to avoid because of ridiculous fees! I'll be posting from France. If you're interested or have more questions, PM me.

So, we had a quick shoot, here's the result: Setup: GH4 4:3 anamorphic mode, pentax 50mm smc f1.7, Sankor Compact 2x Single focus anamorphot which is still for SALE, DIY LED panels, homemade dolly with a fluid head and a regular tripod work. You might notice that the opening shot is with a spherical lens, well that's because of the glidecam. Edited & graded in premiere with some luts. Cheers!

Oh God... I spend too much time here. I have learned a lot, but I hope nobody takes my amount of likes to mean anything more than I have too much time on my hands... because I don't know shit!!!

I agree, I don't think dropping Contrast down to -5 is about getting more DR, it's about me being able to choose where I want to use the DR in post as opposed to where Panasonic wants me to use it to videotape my kid's birthday party... I don't have kids and I'd rather eff up my footage on my own terms, not Panasonic's.

Thanks again for the information. I'm not fully convinced of this... more testing on my part... seeing is believing and so far I've shot a low-contrast scene and jacked the contrast in both directions to see more about what's going on. I do notice the mids having less height, but when I pull them down I'll be damned to see any better quality either way. What concerns me the most is highlight roll-off- not DR... I'll need to test that on some speculars. They are the dead give-away of bad video that my camcorder has. I guess that's why I couldn't see a difference at 600%. Funny. [10 minutes later]... Found the denoise version. It DID take some of the macro blocking without harming the other parts of the image... nice.

Alternatively, wait until they are a few pints to the wind. Go candid the rest of the time.

Settings were Natural -1, -1, -4, 0 with iDynamic. As any filter I believe it should be used in moderation, no filter can make massive improvements without harming other things. But a stronger DeBlock setting is certainly possible. -5 on the contrast will not give you a higher dynamic range, it will simply compress the luminance values. Obviously it was simply a shot demonstrating DeBlock, and in fact you are right I could have made the shot with a higher exposure without clipping. As you can see from the scope we have enough room for a higher exposure. And of course values need to be brought into legal range.

My style is different. I talk to everybody, make compliments and jokes, smile. By this I indirectly ask everybody to look at me because my job is to portrait them in the best light. I casually reassure them, make them feel comfortable. They don't awkwardly avoid me (but forget my presence when it's appropriate), they smile directly into my lens. In other words: I direct them. I had this in me before, but I really improved this as a technique since I began my new job five years ago, nursing people with dementia. It's called validation. You approach the human being in question with the conviction that she is the most valuable person in the world, that he makes you radiantly smile, you let them mirror their best experiences. To achieve this, you first have to sense what makes them wary, shy or even hostile. There are quite reliable signals of body language. You charm away their unease just by your own positive reaction to that, by subconscious changes in your own eyes, posture and voice too subtle to feign. What I learned from this: you can manipulate others in a good sense and in a bad sense. People, no matter how blatantly they contradict the current concept of ideal beauty, like themselves on photos/videos when they are happy.

Seems like I should try every single picture profile, and then decide which one suits my needs best. Until now, I just had to grab my BMPCC and hit the record button. No need to think twice about the settings. The GX80 will finally give me 4K, but it will also take me back to the time when I got my GH2 and had to mess around with the settings. Back then, Andrew released the very helpful GH2 guide, which finally stopped me from messing around with the settings, as he already did it for me. Anyway, as there is obviously no consensus on which GX80 picture profile is well-balanced and gradable to some degree, I will have to find the time to experiment on my own. Some say that iDynamic is useful, others say it will just make the noise more obvious. Some say that contrast and saturation set to -5 will "tame" the image, others say it will do nothing but reduce color information. It would be great if you experienced GX80 users could share your settings, so that we can compare them and see what they might have in common. Just a short overview of the settings you rely on. That would be very helpful. Thanks everyone!

We are in the dawning age of Aquarius: while the world seems very dark right now, we are waking up to a new bright age of a radical shift in consciousness and awareness of the true nature of reality. A lot like what happened in the 60's and 70's though very different because of the connectedness of the internet. The ego-driven dominator culture is being transformed into a similar-but-new form that existed before the dominator culture took over (driven by the harmful drugs alcohol, caffeine, and sugar), to a plant-based feminine partnership culture (driven by healing plants and fungi). Plants and fungi are key in this transformation, as they were thousands of years ago when hominids evolved into homo sapiens and consciousness and awareness were massively expanded. We'll discuss organic nutrition and healing plants and fungi in future videos- we heal the world by first healing ourselves.

I have been filming weddings for 10 years. Ask yourself: Am I beauty or am I documentary? If you are beauty then go with full frame (doesn't matter by whom, get shallow DOF). If you are doc, then get a c100. Develop an instinct for schedule changes. eg. When everyone is going to the next room, and when. Even if on paper,, it always changes. Ask people where they are going and why. Coordinate with the bride's best friend. Groom knows nothing and his friends are there to get wasted. Develop a signal so your. B cam can. Go wide when u go telephoto eg. Ring on finger Everything on slider, tripod or gimbal. Go hand held at your own peril. Seek perfection. Oh, and don't fuck up the dance by being embarrassed to light it.

This nifty thing showed up a couple of days ago. Have been playing with it today and I really like it. Its sweet to have it pretty much permanently sitting on the tripod. That way Im never to lazy to bring along a slider. Did a quick revive as well.

Can you elaborate on how the double-focusing on the Mesmerizer is not as hard as with other adapters?

This is always my favourite. Wedding parties will apologize to me for drinking in the afternoon and I'm like no no, please do. Always makes better better.

I don't want to sound like a wisenheimer, but I predicted the success of an easy proxy workflow in Premiere since the first rumors of it's implementation. Good for all Premiere users. Allow me to remind you of the days when Premiere supported the proprietary Nvidia Mercury Engine. I could (but I won't) dig out some lengthy threads in which proud Premiere owners (you used to buy it) poured scorn on us FCP people. The mark of a professional NLE, they said, is the ability to edit the native codec. Now it's the other way around. "X" lets you skip intermediates because it's so streamlined, you use proxies mainly for multicam. The mark of a smart editor is that he uses everything that let's him work with less problems. Grandma Adobe abandons one of her last fortresses. What's next? Tracks?

Shot on C300 II (4K), cover photo and beach scene 1DX II (4K 60p).

If there was only a dislike button and I'd be in the negatives.

These links both go to the same file, original.tif.

Great, albeit slightly erratic, advice @HelsinkiZim ;-) Which Canons do you use? How do you find them? Yes, it is difficult to get colours straight out of camera that good with anything else. I think you can still do beauty with C100, no? But there is something special with the colour and DOF (and inherent softness) of the 5DMkII which lent itself to beauty.

This is one advantage that I feel Avid has. Proxy mode is just a selection in a drop down menu. No extra media created, works instantly. When you're ready to export, just turn off proxy mode and export.

Yeah it should. In my opinion the light dome is a bit more versatile b/c it has 2 layers of diffusion inside. You can remove 1 or both, depending on the shot. With both diffusion layers it gives a very painterly light. I just took this photo the other day of my son with the light dome only.

Thanks jcs. I doubt that Trump would - nay, could hear your message. The leaders of these movements seem inoculated against such. Instead, reaching out to those who have the power to remove them from office is probably the more productive. So as you suggest, self-healing is in order, as is reaching out to others through literature, film, music, discussion and so on. Here's a potent article that addresses the current ideological and political pestilence from an Australian perspective. It talks about the power of decency and literature, amongst other forms of expression. https://www.themonthly.com.au/issue/2016/october/1475244000/richard-flanagan/does-writing-matter This is a widespread phenomenon.

And so much money has been wasted and so many failures in the process too...... There are certainly a lot of "failed" movies, but none of those failed because the director/DP/producer never interned in electric, grip nor art department. A friend of mine used to key and best grip for John Toll, ASC, and he has a story about one time that he was scouting for a commercial on a remote road with Toll. Toll turned to the key and said that the road needed to be flagged overhead for 1/4 mile of it's length. The only way that they could get the shot without big stands in the frame was to use telephone poles. So, they had to find a utility company that had a huge machine that could install telephone poles for 1/4 mile along the road, and they used those poles to fly the enormous solids. No doubt, the shot turned out great. However, I would wager that Toll only worked in camera dept. during his career, and probably only briefly as an AC. As a DP who has spent a fair amount of time in electric and grip, I probably would have tried something more feasible, but perhaps less effective. I don't know if I could even give that same instruction to the key -- I would have at least hesitated. Greatness often comes from blissful ignorance. That's great! You must be good to have gotten a scholarship. When I attended, they didn't allow mixed majors. I have been called a lot of names, but never that! Thanks for the kind word! Those people would cry if they knew how little tuition was when I attended -- and, at the time, we all thought it cost a fortune!

I experienced that by using the DeBlock function in VapourSynth the number of macro block artifacts on 4K sources is diminished.

I'm enjoying this thread more than ever. Maybe by rubbing some neurons together we'll be able to spark GX80/85 settings that look as "filmic" as possible. This is fairly subjective; so, let's try to identify what we're after. This is what I'm after in order of importance: minimize macro blocking artifacts in the red, green, and blue channels induced by the codec processing maximize DR maximize color information in the red, green, and blue channels minimize noise in the red, green, and blue channels maximize detail Some of these are related, but do you have other ideas, or in terms of what order? The goal for me is a 4k image that looks organic and that I can tweak. I KNOW that what Panasonic gave us as default settings look like bad 1080p, especially noise reduction. I realize that 4:2:0 is best dealt with in-camera; however, I don't always want to decide on the final look AS I'M FILMING- that simply asks too much of us amateur filmmakers.

Let the healing begin.... Maybe people can soon start to learn who they are.

o, and remember... you are the invisible man. Let ur brother do the talking. Know ur shit.

It has 'something'. No matter what the politics. There's Trump's gold elevator. And there's California's new age videos. The US really is different to the rest of the world.

Like here and on YouTube. Very nice!

I think it all depends on what your desired end product is. If you want to deliver in 4K, at the maximum resolution a 4K file is possibly capable of, you will need an oversampled sensor to get there because of the resolution loss from debayering. So at the minimum, an NX1 or A6300/6500... or more realistically, a FS7, C300II, Red, etc, when you consider how many compromises the NX1 or A6300/6500 have (rolling shutter, overheating, limited DR, slomo is FHD at best, etc). So, still not "affordable" to most people looking to own the camera... even the vast majority of pro shooters, which are not yet (and may never be) at the point of realistically affording a $8-10K camera. For all those shooters, and of course most enthusiasts and hobbyists, I think aiming to deliver a maxed-out 1080p file is more realistic, which is mostly achievable with the current affordable 4K cams. Even if my GH4 is only resolving maybe 3K because of debayering, that's still plenty to deliver maxed-out 1080p, even with a little bit of cropping or stabilizing.

I used to care alot about resolved detail with 1080p cameras because so many of them were barely 720p mush. With 4K, I care way way less and would rather have the other image elements be in place. Dunno what the GH4 actually resolves, but I'm sure it's not a perfect 4K. It's definitely plenty, detail wise, for me.

I think GH5 will have quite similar sharpness than Sony A6500. 4k 60P, less RS and 10bit will give even much more value.

That was trippy and soothing...

Hey, America's excursions into the politics of the caribbean, central america, and south america have been awesome and usually turn out great. Cuba was an anomaly!

I wonder if many people know who that is. His name is Fulgencio Batista, one of the many US-backed dictators of the world. Here is the wiki article for more information: https://en.wikipedia.org/wiki/Fulgencio_Batista. I urge you to read it, it will not take more than 5 minutes of your time. If you don't then I will just include three quotes from your past president JFK: "At the beginning of 1959 United States companies owned about 40 percent of the Cuban sugar lands—almost all the cattle ranches—90 percent of the mines and mineral concessions—80 percent of the utilities—practically all the oil industry—and supplied two-thirds of Cuba's imports". "Fulgencio Batista murdered 20,000 Cubans in seven years ... and he turned Democratic Cuba into a complete police state—destroying every individual liberty. Yet our aid to his regime, and the ineptness of our policies, enabled Batista to invoke the name of the United States in support of his reign of terror. Administration spokesmen publicly praised Batista—hailed him as a staunch ally and a good friend—at a time when Batista was murdering thousands, destroying the last vestiges of freedom, and stealing hundreds of millions of dollars from the Cuban people, and we failed to press for free elections" "Batista's rule was one of the most bloody and repressive dictatorships in the long history of Latin American repression"" Fidel was an attorney who had run for parliament in 1952 elections that Batista canceled with yet another coup. When Batista felt he had made his fortune he fled Cuba with it, and after years of struggle Fidel and his army took charge. Guess what happened after that. The bay of pigs invasion (https://en.wikipedia.org/wiki/Bay_of_Pigs_Invasion). I bet this will make a much more interesting story that can educate people and help them elect wiser Presidents. P.S. Oliver Stone has two documentaries about Fidel Castro that are worth watching. Also Oliver Stone's "Untold history of US" is a great doc series to watch.

Some nice D16 colour.....

I've shot with the pocket a lot. It is true, very filmic image, but if you mess up it can easily look really bad. Any moire or IR pollution and the image is instantly ruined. The F3 reminds me a lot of the pocket, but the larger sensor gives you less noise. I've never shot with the digital bolex but it really has that caked on color look that film gives you. So much richness in the saturation. Pocket would have trouble getting a look like this. I've seen good pocket footage, but nothing quite this good. The frame shutter is huge, so motion is much different. Depends on what you're shooting, but that alone makes a huge difference.

What you want is impossible, as a diopter always limits your maximum focus distance. So no infinity, but closer focus yes. Read up on Tito's site http://www.tferradans.com/blog/?p=7282

Nope, that is still not an exception. You should instead report the safety issue to the person above you. In extreme cases where that is ignored... you might consider going to the next person up in the chain, or similar, but you're still many steps away from the point of bringing it up directly with the director. yep thats true @IronFilm on a literal level that is absolutely correct, hear hear. i meant like if a bullet is headed for the director in slow motion Nice to know that a fellow alumnus is on the board! I consider it more of a professional design school rather than an art school. Most of us were pursuing a profe$$ional education when I attended. yeah for sure. art center is a unique place. the most talented student body ive ever seen... most of the people walking the halls are geniuses i got a p good fine art scholarship transferred to the film program ? both weird majors for art center believe me i know. but my vision was always to learn from the whole school as much as possible. like i went and talked to the transportation design students and hung out with them (amazing), learned about rapid prototyping and stuff. not surprised that youre an art center alumnus @tupp~! youre smart i avoided leaving with a huge amount of debt, but some ppl were in $300k+ thats frickin crazy. thats a house (not here tho lmao)

I asked this on Adobe forums and was pretty much told it was a stupid idea and just to stick with a properly calibrated monitor. I will probably still get one and hook it up to my computer just to check before exporting, as the TVs seem to all have different looks. So it may just stop me over grading, which I am certainly guilty of in the past. I work online a lot and my main monitor is not calibrated properly to protect my eyes, I have it dimmed. It gives another perspective to my calibrated monitor, of what other people may be seeing. So my thinking is may as well add a popular TV into the mix too.

Received my GX85 last week in time for a Friday wedding and just wanted to share my initial thoughts on the camera (being a GH4 and GX7 owner) and a short teaser film I made for the couple I filmed with the camera on Friday. Heads up: this is the same post I put on personal-view to avoid any duplicate reading time ;-) Firstly, operationally, this camera with its stabilisation is a gem. For a number of years now, every time I've wanted to go handheld at a wedding I've had to remove my baseplate and attach my Zacuto target shooter and z-finder (I don't keep the Zacuto baseplate on permanently as I value the GH4s flippy screen way too much). Weddings being as they are, this meant I only used my mini rig at strategic times of the day when the switchover meant I wouldn't miss anything. So having it built in meant I could go handheld whenever I wanted; and I did. I had it slung around my neck most of the day, operating my GH4 on tripod and mono as my A Cam and then choosing certain moments to use the GX85. As the day progressed I began using the GX85 more and more and it gave me a photography-like framing freedom to the height and angles I could get to without having to hoist up my beloved monopod or put my tripod down into low leg move. I can see the pitfalls of a device making shooting so easy... you get lazy... but on Friday I felt a freedom and creativity I haven't felt in a long time. I started looking with my eyes more knowing that my gear wouldn't stop me getting into position (and quickly at that). And the quality of the stabilisation? Well, you can probably already tell from the videos that it's incredible. And where I wouldn't normally go handheld with anything over 25mm on my Zacuto, by the end of the day I had my Nikon 105mm and speedbooster (making it 75mm) and it was fantastic, allowing me to grab shots that normally I'd have to set a tripod up for. And with some practise I felt quite comfortable panning gently with it too, it doesn't come to a hard stop like the Olympus stabilisation seem to, it tapers off nicely. I won't comment too much on image quality at this stage as I haven't had time to pore over the footage. My initial feeling is that in terms of DR, detail and colour it is on par with the GH4 with a slightly different colour signature. I feel it is definitely less noisy than the GH4 at high ISO (which is a boon for my work, although I'm really not afraid of noise as much as some people) but detail and DR like normal still seem to struggle once you hit 1600. Also, I don't think the slow-mo (50p/100 shutter on a 25p timeline) is as good as the GH4, doesn't seem as fluid. The GH4 has fantastic 50p. Again, please take this with a pinch of salt as I've scanned my footage for all of an hour and never have time or inclination to pixel peep (too busy editing bloody weddings!). It's just my feel. Now the cons to the camera.... instantly the moment I took it out of the box and put it up to my face I was disappointed. I love the left-side EVF, it means guests can see more of my face and I can smile to put them at ease and more easily talk to the bride and groom if doing any direction. However, that damned left strap lug just sticks into my nose. The GX7 has the correct placement of this lug and I cannot believe Panasonic engineers changed it and then didn't think about the consequences. Anyone else notice this? I want to hold the camera to my nose for additional stabilisation and can't do it comfortably now. I can live with it, but found myself pushing the viewfinder upwards into my eye socket so I didn't have red marks on my nose all day. It's workable, but the GX7 lug placement was perfect. Secondly, no battery charger included. You have to charge the battery in camera which is less handy when you want to have your second battery on charge while using the first. I do this a lot. Obviously it's a real shame it doesn't have mic input, but I understand this isn't a pro model. I just have to choose wisely when I use it for my work until the GH5 comes out as audio clips are so important to the way I edit (I use natural, candid audio whenever I can, especially in my longer edits). However, I really will have so much pleasure using it for my work in the meantime, and it is now the perfect personal camera for me too. So here is a mini teaser video I put together for my bride and groom from Friday. Shots 1, 2 and 4 at 50mm, shots 3 and 5 (cliff ones) at 75mm. Yes, I have slowed them down, but I would be more than happy (and will) use them at normal speed too. The 75mm on the cliff was a bit of a wow moment for me. With the wind the way it was, there is no way I would have been able to get the shot on a monopod that steady, and I would have never been able to get the variety of shots I did if I were using a tripod (there was no time for a tripod anyway). The GX85 is opening my mind up to new possibilities. All shots straight out of camera, natural w/ -2 contrast, -4 sharpness, -3 NR:

A proper comparison would be: A7SII vs A6300 + Speedbooster, the lens staying the same (you get the same FOV and DOF). The price difference is much less dramatic, but still not small. And A7SII has IS with any lens.

My list would be shorter. I'd be like... try: 1. selling your A6300 There's just no way I'm going to put up with a camera that gives me such hassle, even if it shits rainbows. I'd rather use a G7 and just deal with it. Respect if you go above and beyond to make it work for you with fans 'n schtuff though.

http://www.dvxuser.com/V6/showthread.php?196822-Anamorphic-Shootout/page31 - last post on this page highlights the size and light loss of this lens.