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The young guy in the video makes a lot of sense - you have to give him credit for being uber-sensible. My mantra is: If there's noise in my shot, so be it. I got the shot. And it works. Light, composition, lens choice, perspective, location, filming style, people.... all these things have way more impact than filming with a better camera. It's easy to kid yourself that you need a better camera, but SO MANY forget the bigger picture of having a camera in the first place. A better camera will have very little influence on making your stuff "cinematic" if you don't apply the key principles around it. Right now - I have the FS5 and the A6500. I have the FS5 to cover all my jobs as a great all-rounder - plus due to many requests for HFR, it does that too. The A6500 is used for gimbal work, B-roll and stills shots. For every job i do, I'm covered. New GH5? Ursa Mini Pro? Nice, but not needed. A waste of money. Have these Sony cameras had a dramatic impact on my overall content quality? No. It's the artistic choices like lighting, lens choice, grading and style. It's the casting choices (spending more on talent). It's using a location in creative ways. It's editing and rhythm. It's getting everything synchronised. It's publishing work to be proud of. The cameras are now at a point where we don't need to be concerned with them, or have to jump through hoops to work properly. We're in a content age where video is the biggest type of media on the planet, and to stand out, you have to wake up from the merry-go-round of camera obsessions and make some really engaging stuff. I really couldn't think of any big reasons that I'd part with my cameras just now. There would be little benefit to upgrading them, just another hole in the wallet. Frankly, I'm done with the gear acquisition illness many of us have. It's incredibly distracting, time-wasting and not creative at all. Of course, it's part of my job to keep up to date with it. But losing time due to thinking about new cameras, not anymore. There's a lot of camera gear blogs now. Many of them are sponsored because people have to make a living. They are a good source of news. Opinion pieces are subjective. BUT...there is a gap in these blogs. There's barely a focus on the craft, experimentation and artistry of film making. Maybe because these topics are less hyped, monetised and clickable.

I'm with you on that. I won't need much else with an FS5 hanging around. However, whether your camera is $1000, $50000 or $10,000 - it's likely that all those cameras are more than enough to shoot quality footage with. Focus your energy on everything else - the camera is just a screwdriver in a toolbox when building a boat.

Some things to know about this - Panasonic understandably were not happy with the flawed test. C5D - "We have decided to temporarily remove this content while awaiting further feedback from the manufacturer." Rediculously Seb is still blaming the removal of the test on "agitation from the community" rather than plainly putting his hands up and saying "we got it wrong", which I for one would have welcomed. Full statement: "Due to the agitated discussion and hostility arising from our test of the Panasonic GH5, and our commitment to re-evaluating our test methodology based on reader comments, we have decided to temporarily remove this content while awaiting further feedback from the manufacturer. We value feedback from our audience, and our common goal is to find the most affordable and portable cinema tools out there." Forgive me for thinking C5D's goal was to blog about professional gear, all $6000+

I predict an Ebrahim Saadawi joke in 3... 2... 1...

I used to have that glidecam. You just need a spacer to lift the camera a bit, yeah? Suggest going to a hardware store and pluck around in the bins for anything that'll lift your cam enough and then get a bolt to fit. You could get a machinist to fabricate something for you in a matter of minutes as well. Or, honestly, looks like a Manfrotto quick release plate might give you enough. If not, it's pretty easy to add a spacer to the Manfrotto receiver too.

Does anyone else get annoyed by this? I'm not talking about quickie vimeo tests either, I mean proper commercials/TV shows/Movies with a budget. Especially with ads. I'm seeing more and more handheld... and not the good, heavy, weighted handheld. The microjitter, I'm holding a light camera kind of handheld. Often with stuff that's lit well, colored well, sounds well... I'm starting to appreciate the good ol' tripod.

I'm more annoyed by a bad gimbal than handheld jitters

I think good TV has surpassed movies in 90% of the cases. when you count the quality vs. speed vs budget is incredible what the teams can achieve. A lot of them would look great on a big screen. IntoTB is a great show and I'm looking forward for the new season!

It's kinda pointless anyway, agreed. If you swing the camera around enough to get so much motion blur, chances are there's something intense happening anyway and resolution isn't going to be important that moment.

Sorry, but if you lose resolution from motion blur at 4K, surely you're also losing resolution from motion blur at 1080p? I'm not really getting this argument.

The camera's face barriers to higher end acceptance because a lot of camera rental companies don't even stock them. You can't rent them from Panavision. They're just too cheap to be worthwhile to rent out. They're cheaper to buy for a production than to rent. I haven't bought a camera for a show for a long long time. I only rent. I own two of my UM4.6K bodies because the production bought them for the show I was shooting and "gave" them to me at the end because they'd written off the costs, which were, in the scheme of things very small for camera. JB

Bought my VCT-14 plate on eBay virtually New for $160...will work equally well with an Alexa as my set up and last a lifetime... You can see how the adjustments are done fore and aft to keep the camera and lens and all else like a mount or monitor you may hang...this setup works easily between 10 & 30 lbs.

Ehh... it's all pointless. Over the holidays, I was at the movie theatre and their projector went wonky during the previews and the menu screen appeared... they were projecting the trailers at 720p and they looked great... so if Hollywood movie trailers don't need to be projected at 4K, I highly doubt Albert's Bar Mitzvah or Elizabeth's Wedding or little Billy's 5th Birthday Party needs to be shot in 4K either. But Sony and Panasonic needs to sell those 4K TVs, so they tell us we need 4K... and that is what we get.

You could see if there's a vertical bracket available for the G7. This will extend the bottom of the camera a bit (kind of like a battery grip) and give you more height.

Personally I use arca swiss quick release plates on my cameras so what I did was I got this arca swiss clamp and mounted it to the top of my Glidecam with a stack of alternating large metal washers and large neoprene gasket washers (both of witch can be purchased from any hardware store for a few cents each). The key is to alternate the metal and neoprene washers so no two metal surfaces touch. Metal on metal = low coefficient of friction Metal on neoprene = high coefficient of friction = harder to slip and spin. The other benefit of the neoprene is it compresses slightly so if you torque down the 1/4-20 screw to take all the compression out of the neoprene it acts sort of like a lock washer and helps maintain the torque. I have though about using some SA glue as well but have yet had any issues with my current set-up so have not done so yet.

We are way off topic here guys comon! on another note i dont care what C5D said or wrote about PreProduction Gh5 am still getting it rant over!

I solved a height issue on my rig by first mounting the camera and cage on a Sliding quick release plate. https://www.amazon.com/gp/product/B000JLK5Q4/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=1 This in turn is then mounted on the Zacuto Universal Base/Shoulder plate...gives me room for a FF and up and down adjustments and finer balance depending on lenses used on the Zacuto I have a Sony VCT-14 plate permanently mounted on the tripod...the whole rig comes off in a couple of seconds and on your shoulder

Indeed. It suits my run/gun doc stuff quite well. Pany does as well, but the Oly feels more comfortable for the long haul. Of course, the gx85 is cheap too. Best value for $ I can think of right now. --And I do like shooting stills on the Olympus and the X-pro2. On the other hand, I took out the Fuji the other day for some motion picture shooting just for the heck of it, so it must be growing on me.

Settings are almost by default, the only DR profile is active, WB auto, sharp, contrast, etc.. by default. NX1 is a real pleasure to work with picture-wise. the light is inexpensive Amoran led.

This is the first I've heard from them indicating that their testing methodology may have been less than comprehensive, but it's a welcome admission.

I am going to start that next, just do not have the time right now. "TV" is the new cinema, it seems like everybody does episodes for something. It is a great medium to tell stories that can exceed the 90-120 minutes of an average movie, while the budget (in the good ones) are still there (Westworld, The man in the high castle, The expanse - which season 2 plays right now, etc etc) and through the new technologies, the audience is the whole world, mostly instantly. Taboo was the last good one I watched recently, didn't deliver 100%, but technically was awesome and I liked the rhythm and the acting, scipt-wise there were a few black holes, but overall it was a very good experience.

Here's the video I shot with my anafake mod + some vashimorphic. [in hungarian language]

THis thread has a wealth of information on hard lighting techniques: http://www.cinematography.com/index.php?showtopic=67478&page=1

I just finished watching the first season of Taboo and I am surprised how much cinematography is going into these new shows. TV are almost exceeding movies nowadays.

Sorry Mental Lapsus, it's a two stop jump like you said,when I read 4x I thought you ment jumping 4 stops. Anyone who does't get the equivalence thing might just compare a m43 and Fullframe camera in DXO charts, check the dynamic range chart.

I shoot both , it depends on the job , my handheld footage is on a shoulder rig and I add lead weights to the back to make it as heavy as possible so no micro gitter -tearing of frames - which I hate , I like smooth hand held not Jason Bourne /Paul Greengrass /Oliver Woods hand held wobble cam which can be a bit much on certain jobs .

No worries mate, there is a learning curve to this stuff... Yes, a diopter would fix this (that's more or less the point of a diopte), however you lose the ability to focus at infinity. Suggested read: http://www.tferradans.com/blog/?p=7282 (and everything else that Tito put out :-p)

Blur does indeed reduce the reproduction of details, if everything is blurred you will see the same details in 4K than on 1080p.

Nothing major, so I can't think of any names. Mostly indie stuff I've seen online that looks+sounds good and mentioned having a budget. That and ads, lots of ads as a scroll my FB feed. I have nothing against handheld. I like it when it works, and when it's physically done well. When it looks like a heavy camera that someone is doing a good job of holding pretty steady. Not the jittery, excessive I stuff i see often today.

In the video you stated 'equivalence', which means you try to set both cameras to match per the equivalence math, right? Are you saying that the full frame camera you used couldn't set the ISO ~4x what you set the M43 camera? What were the two cameras?

The difference is quite big but the GX85 fullhd is also good. You have lots of movement and soft backgrounds so the resolution difference is not visible all the time. I shoot a lot static or slow moving sharp nature clips so the clean resolution shows better.

Well, check out my latest to videos on vimeo on your TV. bahamas was shot in 4k, hoge veluwe in 1080p - do you see the night and day difference?

Referring to the Equivalence test here at 4:02: For example, if the crop factor is 2 and the ISO for the crop camera is 800, the FF camera should be set to 2^2 = 4*800 = ISO 3200. That's why the full frame image is darker. Mattias states he doesn't believe in equivalence (including in the video), then does the test wrong- what's the point?

I'm using the Sigma 30mm 1.4 with a speedbooster XL 90% of the time and continue to find it pretty wow

Pana 12mm f1.4, Oly 25mm f1.2, and Pana 42.5 f1.2 is a prettttty hard trio to beat if you want sharp, shallow "wow" images- and the cost is a a bit "wow" too. But you haven't told us anything about what and how you like to shoot, so it's hard to advise on what would work for what & how you like to shoot. Not everyone's style or shooting scenarios work with only three primes.

Now that's good to know, thanks Kisaha for sharing that. I would also use it for slow-mo mainly, and some of my full frame still lenses have that magical look that goes missing on the BMPCC so I could stick those on the Sony with a Speedbooster from time to time. I love how my Helios 58mm looks like on full frame: strikerartur.com/archives/projects/hitchhiking-to-italy I shot with it on film my whole life and I would love to have the look back in motion. The 8bit and jello on the A7 line just doesn't cut it for me.

@Andrew Reid I registered here in 2012, and was lurking around here since before that. I used to read a lot of the other people & sites like Nofilmschool, Philip Bloom's & Dave Dugdale's blogs. Been reading most of them for years and have since abandoned them, but I've stayed on this site not just because of the excellent forum, but also because I've loved reading your articles. I get that it takes motivation, time and effort to write your articles. But I for one would be happy if you didn't stop! My own favourite articles and what gets me really interested is when you review cameras in the 500-3000 euro range. I've learnt a lot about the video quality from those cameras from your articles. I visit the other video related sites max once a month these days. EosHD is the only weekly video-related site I can bother with (no click-baity headlines, proper articles instead of the copy-paste type of content that exists on nofilmschool today...).

Idk, the problem with native lenses on micro 4/3 is they lack character. They are very sterile and perfect. This is fine if you enjoy that look. But with so much interest in the LUMIX line of cameras many videographers work ends up looking similar. However, they are very light and small which is a bonus... But the focus rings aren't that great for manual focus unless you are spending a ton of money... and some of them are more expensive than a used Zeiss Super Speed... So, that only leads you with OIS and AF as a major benefit IMO. Since AF is only really good for getting a quick initial focus, the native lenses lose another point in my opinion. And now with IBIS, the OIS becomes irrelevant as well, so I am unsure if I see much benefit in spending all of this money to invest in a plastic lens that could be broken in a year or two. Again just my opinion on a cold, Sunday afternoon. To each his own in the end.

@Oliver Daniel I strongly agree with all your points... but it is easier to say those things when you have an FS5, which is the most perfect all round video camera I can think of at the moment... and also out of a lot of people's budgets here. Most people here seem to be in the sub £1000 or £2000 category, so the long debates all revolve around your a6500's, g80's, BMPC's, etc - which all have their pros and cons.

I bought it new but from Texas Media Systems where there is a 20% restocking fee, so that would tank me like $1000. VS just selling it. And plus , after the initial fiasco of the ursa mini 4.6k sensors, I don't 'think I would buy the pro right away - I would still wait like 3 months for them to "beta test" it. Motion cadence is fine - I'm used to that. Still the BM pocket is silky smooth but but I like the super35mm FOV and I don't have to frankenstein a rig together. The fixed pattern noise is ugly - but this is a $6k camera. The imagery with enough light is a tiny alexa. It has beautiful color and skintones and sharpness. It blows the dirt out of the fs7 image and the c300 ii image. It's all in 6k- well you get a battery mount and top handle and it's like $6500, and boom, you are off. But compare that to the FS7 which - you are forced to shoot everything at 2000 ISO right? And just has that Sony ugly weird orange skintone thingy. The sensor on the one I have has no issues that I can find - haven't seen a magneta cast. I think they solved that. Customer support - for a small company in Australia - you get what you pay for. You basically can buy 2 for the price of one c300 ii. that should solve any in the field tech support issues

I changed my mind about getting a Sony A7s, Im going back to Leica instead (fingers crossed on finding a cheap SL). Therefor there was a risk that review would just fade away and never get done (don't have much time for YT anymore). So I decided to just finish it with what I have so far and when I do get the Leica version and have tested all my lenses and such I will make a revisit review. Do I think you should you buy it? Well that depends. Im certainly very glad I have it. I love it. Like seriously, Love It! For others I say: YES if you are an analog MF shooter that has lenses. YES if you are an A7/Leica shooter that want to get into analog MF as well. YES if you are an A7/Leica shooter that loves vintage glass and experimentation. MAYBE if you are primarily a digital shooter that wants some fast portrait lenses or just happen to have $500 burning a hole in your pocket. NO if you think DOF is everything. NO if you think megapixels is tha shit! Pros: The awesome MF lenses! $500 isn’t much to give another dimension to your camera. Quality is great. 80mm f1.9 at x0.7 crop is awesome. Its the Medium Format Experience on the cheap. Cons: If you don’t have an interest in MF film it becomes niche. No AF. Some MF lenses are quite big. Not all MF lenses focus to infinity (according to rumor, all of mine does). $500 is still $500 and used once aren’t gonna be very common.

If you want to try cheap LED fresnels there's a few options: - Godox SL series (unsure of actual CRI values), must buy fresnel attachment like Nanguang NG-10X or Aputure fresnel. - The similar model is Jinbei EF series (I think they have lower CRI though) - Nanguang CN series - More expensive = Rayzr 7 - Smaller, cheaper, and might work if you are very close are the Came Boltzens and Fotodiox J-500 - Other stuff in UK, I'm in NA so I didn't look into them like the intellitech or whatever. I am taking a chance on the Godox series because they are the cheapest lux per $. But you have to mod them by replacing fan because it's relatively loud. Hopefully someone will measure the actual CRI and TLCI at some point. I am waiting to find a good deal on a spectrometer. The Boltzens stats also seem very competitive so look into those too, but I am not sure how they measured the lux values, it seems to be an open face measurement. If so when spotted down should be really bright. The Fotodiox seems to be very weak based on their stats. All you need is a point light source. Even a small LED panel casts some pretty harsh shadows if you put it more than a few feet away from subject, but they usually have low output and can't compete with ambient. The monolight design with reflector also works if you don't want to get the fresnel attachment, but the fresnel really helps focus the light and boost output when spotted down.

Thanks for all the posts asking me not to quit EOSHD. It's been a long time running this blog by myself - 7 years now! I am completely disillusioned with the industry, the direction it is headed in, the lack of creativity, the focus on pros, the lack of quality online rivals, the bitterness that exists in the blogging community and the amount of clickbate out there. It's going to take a miracle for me to get my passion back.

Well, that was a pretty nasty little article. Why bother ? The guys over at Cinema5D are trying hard just like everyone else. Andrew, you talk about them basically as if they were corporate shills, but on the other hand I remember very clearly you promoted the Zacuto eye, saying what a great small EVF for small DSLR cameras and when I pointed out repeatedly that it had no HDMI input (only SDI so really not adapted at all to those cameras) in your forum, not once ever did you respond. The point is that your criticism can be extremely harsh, yet I don't see you holding yourself to the very same standards you ask of other people. It's obvious that not once did you try the product with the DSLR's you mentioned or even consider such a glaring error, so what was that article? Nothing but an empty promo in the end, right ? I don't point this out to shame you, but merely to say that your article seems harsh, strident and unfair. You really seem to have a chip on your shoulder. You could have just as easily rebutted their findings with the points you made in a more gracious manner. In the current climate do we really need more harsh hate filled rhetoric these days ? Maybe they got it right, maybe they didn't on the GH5, but it's important to cut everyone a little slack now and then.

Lol! Clearly, you haven't shopped for many lights. Aputure are dirt cheap compared to Kinos, HMIs, plasma, and most comparable LEDs.

You don't mention whether or not you want the windows in shot whilst you light the talent with hard light. If you don't, then simply close the curtains, hang a drape over it, or use bin bags and you are good to go. If you do need them in shot then buy a roll of neutral density gel from a theatre lighting place and tape or blu tack over the windows it in order to bring the level down to the point where your hard lights are the dominant source. ND gel is cheap and reusable. I once wanted to buy a sheet (I design lighting for dance and theatre) but ordered a roll by mistake. It was so useful I kept it.

Hi Ikslim, the crowdfunding is close and the crowdfunding email do not work. write me by message here. Take it easy, I ship your NXL today (fast ship for Eoshd Friend ;-) ) This is your NXL with serial number and new front flange with 6 screws!! In your private email I send you the tracking number. Enjoy! Luca

Thank you so much! Those overlapping dance scenes are my saving point...I always have a terrible time to edit the "party" section of a wedding, thats why I do it that way, it saves the whole thing!

Canon 1DX MKII canon 85mm 1.2 wide open with auto focus and color straight out of camera : Anyone want to buy a 1DC? let me know.