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Finally got around to editing some clips together.

I will say I had a few issues with the files from this test. There were some black flashes in some of the video files and the audio went in and out. I am hoping it's the exfat issue. I updated my computer to Sierra and I think I may put ML on a different SD card as well. I'll also probably keep a spare SD card with the ML files on it in my camera bag, just in case something goes haywire in the field. I edited around it for the test but a lot of great clips were ruined. I also had audio go in and out and a high pitch beep appear in some of the shots as well? Has anyone else experienced any of this? Could it be a setting problem or the fact that I haven't been able to format my cards as ExFat in ElCapitan? I am so happy with the footage I've been getting that I really need to figure this out.

The image quality of that profile shot of the actor is amazing. So much nuance to his skin tone. Looks like it was shot on a high end camera.

- False color. - Does it have guide lines now for different aspect ratios?

I don't think Panasonic anticipated all this fuss about AF, so the settings and the manual aren't that well thought out. Frankly, neither did I. Can't believe the % of attention this camera is getting that's going into this. Personally, I don't give a rat's ass about AF even if it could be a nice extra. I rarely use gimbal and can live with deep DOF or keeping appropriate distance and just tapping on my phone attached to my arm when I need to refocus. Now, with IBIS (which is truly amazing) I'll use gimbal even less as I don't mind slight handheld look most of the time. FWIW, I think the Panasonic's excuse for not implementing PD focus because it degrades IQ is bullshit though. I reckon it was a commercial decision they had to make as clearly there is a limit of R&D that can go into a camera at this price.

Anamorphic desqueeze. No drop in exposure when using Shutter Angle for slow motion.

1-AREA lolol

my favorite thing ever was when zach said his brother had "sophisticated taste" i was like

Yes.

I am sure the Alexa 65 is a lot more of a polished product. Arri does not just jump into anything! They have a Long track record, and it has always been quality before quantity. The Germans seem to just take stuff a Lot more serious than others do. They have been around the block a few times. Shame they have such a high entry price for their products. I know you pay out the nose for quality, but it does seem a bit steep to me in this day and age. Though I don't imagine they sell as many as one would think to re coop their R&D costs. Interesting fact on Wiki, Controversy In 2011, it was alleged that Michael Bravin, an executive of the US-based subsidiary Arri Inc., had unlawfully accessed RED's CEO Jim Jannard's email account. A suit was brought before a US court and in September 2011, Bravin entered a guilty plea.[48][49] Arri Inc. denied knowledge or gains from Bravin's actions,[50] and a separate lawsuit against the company was dropped as a result of an out-of-court settlement.[51]

Thanks! I have the camera and the low hanging sun to thank for that. Even with the hiccups, the 5D3 is the smartest camera purchase I've ever made.

Are you sure it wasn't all of the times I shared every failed color test from my Samsung NX500?

Just hit the display button ... clean screen without the scopes. Bob

Respect to the guy for creating a style. Respect for filming every day. Respect for using every available tool at his disposable and getting rid of it if it doesn't work, for putting himself out there and being so open to criticism. It's not my thing, it's not my genre, but I really can't help but have a lot of respect for the guy. It's always easy to dig on folks because they're popular, and a million times harder to get to that level. Casey represents one side of filmmaking that I suck at. Marketing, being inventive and making shit work if it doesn't go your way, finding solutions when it'd be easier to just say it won't work. I like that, and I'll drop by his channel sometimes to get some inspiration and motivation. It's refreshing to take a break away from conversations about bit rates and colour banding and things that aren't at all related to just telling a story.

I think I'm finally ready to spend big bucks, just not sure what to spend them on.

I'll throw in the first suggestion: Be able to toggle on and off the vector scope and the waveform while shooting--like Sony cams can. And also show the vector scope and waveform on an external display--like Canon does.

Hello everybody! This forum has been a place of great discussions. Learned so much. The most fun has always been to discover about obscurities and oddities, fi. regarding lenses like the 28 85 f4 Tokina flare monster. Or the secrets of getting 60p on European Lumix cams or the odyssey of a young filmmaking kid Zak with an obscure lens for his beloved Canon Ti. So much passion and possibilities of discovering things. All the great fun stuff beyond the ordinary 3 light setup for video interviews! I would love to see more of that from all of you great contributors! Thanks so much for everything and please keep the tasty tips n tricks n awesome ideas rollin! Hope Zak is doing great and chimming back in some day, if he likes to do so! cheers, Marty

I found the original Red (pre-MX) to be borderline broken. I think I used one of the first ones a few months after it came out and everything about it was awful, ergonomics were horrible, color was a complete joke, incredibly noisy except when rated at around 250-400 ISO which meant it clipped faster than a Canon dSLR and it did not produce an acceptable image in tungsten light color because it was too noisy under any conditions when starved of blue light, very soft OLPF that made it softer than most 1080p cameras today, and even when they fixed the color processing in redcine it still had a green tint to tungsten light. I would rate it at about the same dynamic range as a 7D and much slower, but with a good smooth image with nice tonality and absolutely zero aliasing. In full day light you can get a nice image from it but with very limited dynamic range. But look at the Informant, every tungsten-lit scene is bright orange for a reason, they had to process 3200K-lit scenes at 5600K or else the image would have been unacceptable. That said, the movie looks decent overall. With heaps of light it had a better image than you get today from dSLRS etc. But it was essentially broken out of the box, which makes it more impressive to me that the Dragon/DXL is pretty darned great now (minus some color issues that remain, but which a talented colorist can largely fix)! The Red has a bit of a more digital look than the Alexa and I think in the long run the digital look will be more popular than film, sharper and punchier color, more familiar to YouTube audiences while still very high end and impressive. The new Red stuff has a more digital look in arguably a good way, just not my style. I also feel the Red One was harder than an Alexa or F55 for a one man band to operate (I think two people could effectively use an Alexa on a slower-paced set, you just need a full team to move as fast around a narrative set as possible) because it takes 90 minutes to boot up and has short battery life and crashes a lot. But with new firmware, etc. I bet it's usable now. I think you can get a slightly better image than a GH2, for instance, under similar conditions, but that it's not worth the effort. I would rather have a CX00 or any Sony cinema camera that shoots RAW or at least properly implemented 10 bit SLOG3/SGAMUT3 (because their color is broken on their cameras that don't) by far though. The F5 and F55, neither of which I particularly like, are orders of magnitude better than the original Red, and slightly beyond the MX. Their RAW is competitive with the Dragon, even. The Alexa doesn't need RAW its image processing is so advanced and refined. The Red MX, while still clunky to operate, is still quite formidable, however. Social Network looks good. Fincher processes all his films through a very expensive post process (Lowry process) that costs up to seven figures per feature, and that's one reason those movies look so smooth and so good and clean, but he still shot them on just a regular Red MX. The image is nearly on par with the C500 but it is softer, with worse color, etc. but also a little bit less of a digital sharpening edge. I wouldn't want one for free lol but other people like them! The Red One MX is a pretty solid performer, however, and potential bargain for someone with the time to babysit a slower-to-operate camera, you might love it. The original I think is just too clunky.

@webrunner5 Some software, like Vegas Pro rely much more on CPU rendering than GPU.

yes seems a lot faster and more accurate than the Canon 750d Iv'e also got...haven't tested it thoroughly but so far am pleasantly surprised

I actually have an Iscorama pre 36 plus Tokina 0.4 achromat for sale. PM me for details (I haven't gotten around to photographing it yet).

Nothing there without the low pass filter that I could not live with...the Veydras look lovely!! I have literally never touched AF on my GH4's since 2014 lol...who could have thought!!

I miss Zach - maybe because, at times, he made some of us look a little less sane than we thought we were. Absolute star! I bet he turns up having made some crazy ass doc, in the style of Nick Broomfield, which everybody raves about as being pure genius - all filmed on his T2i! Don't miss the 60yr old filmmaker from Egypt - he used to piss me off no end with his constant BS & chest puffing. Funny that it took a scam to rumble him, not the fact that no one here could name an Egyptian filmmaker if they tried & would trust his word on everything! Miss maxotics too!!!!!

Orangenz, I do that all the time, don't I! Dang!!

The iscorama is the lightest, widest and most compact setup. You can go 40mm with a pancake on full frame, and nothing quite beats those warm flares. The only issue I see is close focus, but that is also workable with regular diopters, since you have a 72mm front, which is easy to cover. Oh, and the 49mm threads at the back are also super easy to mount to taking lenses.

Yeah, that controversy is pretty crazy. From what I recall the fall out of it was even weirder I forget what happened exactly. I agree, I like the Alexa best. I work with a lot of footage from every manufacturer and it's always my favorite on set or in post (if you have the crew to use it properly). But if you need higher resolution and can't afford the Alexa 65 (who can?) the Red is a good option for 4k or 8k or whatnot I think. Netflix requires 4k and won't take Alexa footage and I think there are more 4k finishes these days (on higher end stuff than I work on). The Dragon isn't bad, it is a step up from the MX and I suspect the DXL is a step up from both. Neither is the F55's RAW bad, fwiw, it's really decent, and I think Sony might be doing some good work putting RAW into the smaller bodies now. SLOG3/SGAMUT 3 is not bad! Used Alexas are under $20k these days. Rentals are pretty cheap, too. Given that you need a whole camera crew (at $400/day per AC, conservatively, then an operator at $800/day if we're talking union) to use one properly, it seems fairly priced. Even $60k for an Amira, which could be used by a team of two, is nothing next to the lenses and support gears you'd need to properly support it. I think it's priced about right and I'll often see companies buy an Alexa body but no lenses (for that reason). Even the Mini is a beast to operate, not for the faint of heart. I wish it weren't so expensive, but I also wish I could get the same thing in an owner/op style body... and I can't. So I'm less concerned with not being able to afford it.

@mercer i had some weirdness pre-exfat too – i dont recall the details cuz i was brand new to ML altogether but it may have happened lol. and i formatted the card in sierra no problem me neither

There's a write up on the DXL and it seems like there's a lot of custom work being done with the grading presets in particular, and of course the ergonomics. Panavision has a history of renting rehoused lenses, Leica lenses for instance that are simply rehoused still lenses, and the Primos are Leica-based in their own right if original designs, so it's not unlike Panavision to do this. (I have worked with both on set and they are nice lenses!) The red and green chromaticities are too close on the Red cameras and they will always have a ruddy quality I personally find quite objectionable, but the images from the DXL are much improved in this regard and as regards saturation roll off. Light Iron has done some very good work with the camera in terms of default grading profiles. (I've had a lot of stuff I've worked on graded by them recently, and they always do a good job whether with Red or Alexa-originated footage.) Panavision has never sold cameras or lenses, their model is and always will be rental-based, so it's no surprise, but I am disappointed that they use the stock sensor when it has problems with color rendering inherent in it. I too would rather have an Alexa 65 any day. A fancy Red is still a fancy Red. But I suspect the ergonomic changes and world class support are the biggest improvement, even more than the color. Panavision has a history of doing great work but I do agree it's too bad their large format project didn't make it. :/ Also the last two times I used Panavision kits the gear was beat to hell; it was their ultimate discount stuff and it did work and get the job done, but it was a bit disappointing. The Primos are marvelous lenses, though, very Leica-like. In fact I shot with one of the first Panavised Reds so in a way this is no surprise to me to that extent, though the last feature I did with Panavision gear (4x3 Alexa C Series anamorphic then graded by Light Iron) was an Arri show all the way. I was not on set for that (I was just doing post) but believe the gear for that project (higher end was it was) was world class. I think Panavision is getting it together, or so I hope, and I wouldn't be too put off by this camera. What matters more is the support they offer their clients, and that seems to be quite good despite my few bad experiences with their cheaper gear (which was still a great bargain, to be fair).

False color would be great. I'm so glad they included a vector scope!

Re: tap to focus. I'm assuming you mean during recoding. Tap to focus is a bit stupid right now, they should add some options in menu to customize behaviour. A6500 makes sense - you tap, it moves focus point and focuses (let's not talk about the other stupid things with it). For gh5 in M mode - you tap and nothing happens. You have to drag the current focus point to make it work. And then to add insult to injury it doesn't focus as smoothly as af-c for some reason. In af-c mode it's worse. You can tap or drag, but then there is a delay, and it changes to the adjusting focus point screen. Then you have to click set on the touch screen to finally adjust the focus point (if you don't press anything it will focus on the new point but you can't get back to regular display without pressing set or cancel). Oh and by the way the "set" button is all the way in the bottom right corner. Hopefully they make this less clunky in next firmware.

This shooter is getting "3.5k 60fps 8 bit 60mbit/sec"... https://bitbucket.org/hudson/magic-lantern/commits/2028d73f6f34dcdaaa4c241824e538d0e0e47267#Lmodules/mlv_lite/mlv_lite.cF2996T3033 8-14bit lossless... https://www.dropbox.com/s/pj7db1izytkj3zj/8_10_12bitslossless_samples.zip?dl=0 GutterPump from magiclantern forum provides dng for 8, 10, 12bit lossless

@jonpais Thanks for sharing the gimbal video. Did you just manually set the focus before shooting? @webrunner5 I saw Paul write in a post somewhere that the results are supposed to be darker (to preserve some aspect of the image) but the brightness can be pulled up in post.

Maybe Zach is doing the dpreview forums together with Dr Ebrahim and his son/grandchild

I don't have the GH5 yet, but here's a wish list and things I wish my GH4 had done: 2.7 or 2.5K up to ~80-90fps, at 10-bit 4:2:2 Focus punch-in while recording Assign audio levels to one of the dials Let us choose which settings C1, C2 etc change, and which are sticky/global. So that we could for example change between regular and overcrank framerates without having to reset white balance, picture profile, etc. Let us choose which different options the Display button toggles through- for example I never use the Info screen (black grid with settings), and I'd love to not have to cycle past it when I'm trying to switch between the clean preview and the preview with settings. A smart UI overhaul that makes better use of the touchscreen- more smartphone-ey I guess. Like the newer Blackmagic firmwares- swipe to bring in different displays, etc.

Thanks but that's not 3K Raw. Just 1080p. I haven't tested the 3K Raw yet... YET! I did shoot a test for my short next week, but also on 1080p and with my new Canon 24-70mm f/4 lens. I'll send you the link in a PM because I don't want to keep bogging down this thread with regular ML Raw.

V-Log with an additional no processing mode (no sharpening, no noisereduction etc.). Just a clean output.

AFC in VFR mode V-log activation code by email Anamorphic desqueeze Full screen mode on the mobile app.

Well I don't have a GH5, but I can tell you from all the Olympus, Panasonic cameras I have owned and it probably total close to 10 of them, AF-C sucked on all of them. Now AF-S was pretty good on all of them. That has been my experience. YMMV. My Olympus EM1 was hands down the best focusing m4/3 camera I ever owned. It was damn good. But not great at AF-C.

Trust me, it isn't a camera thing, it's a world wide phenomenon. Trump v Hillary, United v screeching man, gender v genderless, sjw v everything. It's not critical articles that are different, but the reaction to them. All or nothing in a world of grey, anything to lift people out of a feeling of mediocrity and give them a pretend sense of both self importance and relevance despite become even more irrelevant. Even Neistat programs to them with the idea to boycott. Sigh. I've got a very big list of very small things that I either don't understand (usb-c but no power) or think are fishy and will be fixed (live view not working in hdr with angle/iso set) and about 2 things on the good list. And the good list still wins. By a long way. Loooooong way.

"Sony A7S2 vs Canon 5D mk3 ML RAW 3k crop" Does anyone know if the 3k is getting live-view now? And possibly hdmi out?

@fuzzynormal while I still prefer Canon as it's less work for me in post (for example the video I just posted for the Focal Listen headphones audio mixing only needed an ARRI LUT and saturation boost), I've gotten decent results from Panasonic and Sony, but with more work in post. Before I learned how to work with the A7S II, I did prefer Panasonic over Sony. However, once I figured out the A7S II settings and post workflow (which I posted here and elsewhere- I've seen similar settings posted based on what I discovered and/or others found the same settings worked well for them too), I then preferred Sony over Panasonic. The issue with Panasonic is that while I could get decent skintones, the result was somewhat thin color, almost sepia or B&W and not a lot of subtle skintone tonality that I get with Canon and properly edited A7S II footage. For example, @noone's second image above looks like Panasonic to me with limited tonality in the image, especially skintones. Additionally the highlights on the hands look like Panasonic- video-like, vs. what I can get wth Canon or Sony when I shoot Canon Log 2 or Sony Slog2. When I edited some GH5 footage shot in VLog I was pleased to see much better color and highlights over the GH4, so they've improved a bit. That said I still prefer Canon and Sony color. However, I do like the GH5's fold out screen and the IS is also excellent. So for some uses a GH5 would be better just to get the shot where color isn't the priority.

GH5 is perfect for his computer with USBC. Better battery life. And it's a newer sensor with better processing. Battery life for me is the killer.

+1 The guy is making $120k/mo off his channel and he's pulling in $$$ from Samsung, CNN and others along with getting tons of free shit to review or just get mentioned in his videos. He's creative and his stuff obviously resonates, kudos to anyone that can carve out a niche and make a living doing what you like. I'm still amazed that people making videos of themselves playing video games are even more popular, or applying makeup, or many of the things I don't do that seem mundane. While searching for guitar technique videos, I stumbled across videos of a beautiful woman with a big rack that just plays covers on a guitar wearing low cut tops and she gets millions of hits. I'm on her level guitar wise, no way I'd get more than a few hundred hits. Go figure. Cheers

I'm on my holidays, otherwise I'd be all over this. A1ex just posted" "new build posted (minor fixes + experimental 8/10/12-bit lossless)." Gamechanger? Somebody please load that up right now!

Panasonic cameras are very cheap, and offer the world! In a sense, Sony cameras have all the specs too (though, do not exactly deliver). I am not sure that your statement stands, NX1 had the same price as all the competitors back then (even though vast better performance, of course), but in 2017, I do not see what a NX2 would have against the GH5, it would be close to 2000 for sure, and I don't think it could possible had 10 bit, even though it would have IBIS and the rest. NX1 became cheap, because end of 2015 it was obvious that Samsung is leaving the market, not because it was super cheap in 2014 and 2015. It is a pity though, let's keep the spirit alive, and someone pull a magic lantern raw out of this camera!

The NX1 beats every other body at hijacking threads, but joking aside, there were tests showing that the NX1 can't write the fastest UHS-II cards at more than 60MB/s, so it's not ideal for RAW recording.

i was jk lol i support freedom of speech 100% ?

The DSLR is dead. Long live the DSLR.