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After the DVX200 came out, I bought it. To be honest, I wasn't experienced at that time with settings, tweaking and getting the best results of a more advanced camera, but my experience was a desaster: horrible, piggish colors when speaking about footage out of the camera ("as it is"), though Panasonic advertized the device as good for news gathering and documentary shooting though I am not a pixel peeper, the DVX200 had horrible - and visible - noise even in daylight footage and good lighting (without contrasty situations like contre-jour), e.g. in tree bark and leafs... After seeing in some forums many other people facing the same problems and a Barry Green first claiming the people complaining "have to learn to handle the camera" and - after many complains of pro and broadcast shooters - claiming, that filmers have to use V-Log to get usable results, I was shocked by such brazenness when speaking of a camera (that time) costing about 4.500 Euro in Germany, advertized for what I did. I returned it after 6 days and I was not the only one who did this. Never looked back. After some firmware upgrades, they made the DVX200 better, noise got less and the color science (OOC) got more pleasant indeed. The attitude of companies pocketing immediately buyers money, but claiming to deliver the advertized features with an update later or in "next future" is unacceptable in my eyes. Though I still use two Panasonic cameras, I am done with this company in regard of buying a professional film or video camera from them without testing it excessively. Buyers are NOT beta testers for impertinent PR morons and marketing liars... @Marketing morons: Don't praise too much theoretical specs and bells & whistles - show me the advertized features, ergonomic, handling and results first, and then I'll give you my money.

@NewFilmMaker show us some footages instead of "rate my setup"

Nice stuff. Funny that Variety targets it for Facebook content creators... LOL http://variety.com/2017/digital/news/dish-slingstudio-hardware-for-facebook-live-1202392811/

That Slingstudio system that they're talking about is very very interesting. I've just been tearing my hair out trying to devise (i.e. cobble together) a more cost effective version of multiple Terradek Vidius and switching system to do some (very) small scale multi camera live outside broadcast stuff and going backwards and forwards with different permutations of small hardware switchers, software switchers and no name hdmi to rtsp encoders. This thing seems to do it all as one integrated and much more cost effective system. https://www.myslingstudio.com

if they could hack the nx1 to do 6.5k video and/or cropped 4k then it would extend it's life another million years.

Yes, he's pricing the NPfs at $30 a piece by the looks of it. So 2 hours means he's using 2 x NPF at $30 each and the adapter at $50 so $30+$30$+$50=$110 And then every additional 2 hours of power is $60 (2 NPF x $30)

From the original post on Cheesycam, someone ran a test on another LED light between a real v lock and two NPFs on the adapter. Won't be absolute in terms of how long they will run this new Dacast of course because its on a different light but the comparative figures will be a good guide. The advantage of the NPFs is obviously cost but also that they'll do double duty as there are numerous low cost powering solutions for cameras like BM and field monitors/recorders that use them. From the original thread >>> "I did a test on the CN-600s with a Beillen 150 Wh V-mount battery, and it lasts 3 hours. The cheapest 150Wh V-mount battery I see on Ebay, Lanparte brand, is about $200, and the Beillen --also Chinese-- is about $250. The dual-NPF solution is much more economical. 3 hours v-mount=$200-250 2 hours NPF+adapter=$110 4 hours NPF+adapter=$170 6 hours NPF+adapter=$230" ------------------------- http://cheesycam.com/v-mount-adapter-for-sony-l-series-np-f-batteries/

I am this weekend in fact. Shooting a music video with both. It's mostly anamorphic, but I'm going to shoot a couple of takes with our actress using the Sigma 18-35 on both the GH5 and UM46K.

Well, you've said it yourself... the LS300 adds so much, just by having a different sensor size. Plus, maybe the GH5 has a little bit better highlight roll-off, but its dynamic range still sorta pretty much sucks (but I'm glad to take the penalty and try to make it work, because it's so damn small and lightweight) and if you want to go from shot grabber to cinema style, it really helps to have that dynamic range on your side. IBIS... surely would be great, but I highly doubt any of these type of production cameras will have it anytime soon. I'd probably keep it tripod bound 90% of the time anyways, to be honest. That's also why I think it's a different beast from the GH5 that you would in fact use more handheld and for getting all them angles. Like I said before, the GH5 now has that XLR unit and you could use the Aputure DEC vari-ND, but surely having that on the camera itself alreay can't be the only thing it has to offer. Everybody's so obsessed with Blackmagic, because you get thick material with tons of dynamic range that can be pushed around quite a bit. Now, straight-up internal ProRes/RAW might be a litle too much to ask, but if they can deliver lovely images from a S35 sensor... then man, this is a force not to be reckoned with! Answering your question for me requires the knowledge of the price this thing will be labelled at... if it tries to compete with all the others at a fair price, it has to come with that S35 sensor. If it's merely thought of as a production style GH5 and priced only at a fair up from the GH5, like similar to the DVX200/LS300 at around $4k, then the sensor size isn't a dealbreaker. I've also been saying* that they should release two cameras. The GH5 and then the VC5, a VariCam version of the GH5 that's production ready, so actually, they might've listened to earlier me and are now walking around with dropped jaws because I'm telling them to do S35. But again... depends on the price. But they're the ones that are showing this with a Sigma lens and not promoting their new line-up that has an improved iris for video and whatnot, so... they brought this on themselves. There's certainly something to say for S35 and frankly... I would love it. But here as well. I've always known what's up from the GH4, yet, that never let me to buy a Canon Cx00, URSA Mini, FS5 or anything... priced attractively... and I really might. Again, if it wants to compete with the established guys in that corner of the market, they need to bring it. But I think there's not really going to be much that will separate it from the competition... but the thing they can do is fill the gap between your GH4, GH5, NX1, X-T2, A7S, A7SII, A7RII cameras and those other guys at over $5k and compete on price. I think that would be the move here. But we'll see I guess. * 7 months ago... First thing this year: Just... the GH5 might've been an awesome step up, but never really went all-in on the VariCam-heritage and productivity I was hinting at. They've put it right there on 1999, so that kinda reflects that. But it's really exciting to see that they're working on something up from that. It really comes down to pricing for me now.

Under the key menu after applying a LUT to a node:

This is pretty cool: the OFX plugin architecture used by Resolve (and other high-end tools) is relatively simple and clean (unlike Adobe AE/PP, which is a unfortunately a mess (at this point, disaster is perhaps a more accurate description)). Third-party developers can have empathy for Adobe's in-house developers who have to work on the core product: it's no wonder there are so many bugs and development progress is slow. For years I had asked for example HW acceleration examples from Adobe which show a basic plugin which can directly access GPU memory, run GPU code, then store the result in GPU memory. All that was ever provided was a pointer to ancient/obsolete code which used OpenGL, and required copying the video frame from CPU RAM to GPU RAM and back (which makes the whole thing just about worthless). In 5 minutes of googling I found an example OFX plugin which does everything I had asked: processes everything from GPU RAM (no copies to CPU RAM and back), has complete examples for both OpenGL and CUDA, and the overall code is clean and relatively simple. Very cool! https://github.com/baldavenger/SoftClipV2.1/blob/master/SoftClipPluginV2.1.cpp . https://github.com/baldavenger/SoftClipV2.1. This is exactly what I'd found for plugin development for AE/PP: https://www.eehelp.com/question/gpu-accelerated-the-development-of-ae-premiere-pro-plugin/ (bold emphasis mine): This is a joke, and explains why third party plugins for Premiere never ran anywhere near as fast as Adobe's internal plugins/effects. Premiere and After Effects are at least 10 years past due for a complete rewrite. It's kind of impressive they've kept it clunking along all these years, however they'd be better off (if they haven't already started) doing a from-scratch rewrite, just like Apple did with FCPX. Maybe even switch over to OFX for plugins/extensions. Keep the clunky version of AE/PP around while the new version is beta released and developers port their code over to OFX (unless it's somehow possible to make a compatibility layer and load old plugins (probably not worth it given the ancient convoluted design)).

After trying so many different lenses (both anamorphic and taking lenses), I believe this is the best out of what I own....... Voitglander Classic 35mm F1.4 MC Bolex Moller 19/1,5x Raynox Wide Angle Conversion Lens 0.66x Zhiyun Crane Gimbal Version 2 Wide angle - Around 24mm View?? Image are sharp and it looks like that anything beyond 3ft are all in focus when I stop down to F4 Please let me know what you think and show me whats your setup!

I'm pretty stoked about these. Nice that Forrest Schultz (and Dan) really nailed the coating and flare. These are the first relatively affordable anamorphics on the market with a proper 2 x squeeze in PL of EF. I'd love to hear your opinions on these. I know these are still high priced for independent film makers to purchase, but I think the price at rental houses would be very interesting for all of us. https://atlaslensco.com/

Amazing. I've put DaVinci 14 Public beta on my old Macbook Air 3,1 (late 2010, the first version of the small Air 11") just for fun, and it works pretty smoothly (apart from the rendering, of course).

That's why it will make more sense in the future if you pick up a crate of vmounts for a shoot from a rental house instead of a genny with a truck and operator....as LED lighting improves, so power consumption needs go down...but owning a bunch of vmounts become expensive and they have to be maintained and charged regularly, even when not in use...that kind of thing is ideal on the gaffers truck, with lights from a rental house

I get that, I was referring to independent DPs, not those with huge budgets to work with. Never working with anamorphic and then renting a set for an important shoot isn't really advisable. The way you compose a frame is just different

The sooner the better. Nothing like doing simple editing in Premiere Pro and having the program stop in the middle of rendering, then the program closes itself. PITA multiplied by about a million. And Photoshop is starting to screw up too, I've had to restart that program when it just does what it wants to do. At least I can save my work in Photoshop then restart. Premiere Pro just stops and that's it.

Hallo, F stop was 2.8, all shots at the same Fstop. My sample might be faulty in the regard of the lightness in the middle of the frame. It´s a fun and beautiful lens for s35 crop video. Also got a Tamron 20-40 waiting for its EF to Fmount adapter to put on my EF china booster:) And waiting for a Tokina 25-50 F4 and a Sigma 35 70 2.8-4 to arrive! I´m becoming a sucker for these small zooms. And I bought a beautiful Kiron 28 f2.0 in Contax mount, my 28mm F2.0 Zeiss substitute

(Just for the record, I sold the Iscorama in my above post)

Hi Ki, You can go take a look on http://timelapsenetwork.com/ I'm a contributor there. Basically the key of hyperlapse is the shooting phase, you must be very accurate. For post processing use the tracker in AE. There are tutorials on youtube.

Yes, but I mentioned it when I asked, if you think M43 looks 'robotic' in the out of focus transitions, where does S16 come into it for you? A smaller sensor, so the transition between focused and unfocused areas should be more sudden than even M43, but no one would call it 'robotic' or say it isn't cinematic. There's no reason for the 'robotic' thing you're talking about. M43 is nothing but dimensions for the size of a sensor. I challenge you to point to footage that exemplifies this look you're talking about.

Thats a real let down isn't it? As you say, all the ones I've seen seem to operate panels no problem but no consolation. Its not just the batteries either, the chargers can sting a bit price wise as well. Cheapest way in that I've seen are the batteries where you get the direct tap charger included. Though whether I'd budget for a fire extinguisher to go with it is another matter! http://www.ebay.co.uk/itm/FENTION-FS-BP150-V-Lock-V-Mount-Rechargeable-10-4Ah-150Wh-Battery-Charger-Kit-/361957152174?hash=item544653d5ae:g:rsQAAOSwmCVY9dAy

Wonder if a trend will develope with rental houses where they will be renting milk crates of fully charged vlocks and one will have the bliss of true silence while shooting away from AC sources...Aperture just released a light (300D??) that they claim to be equal to a Joker 800 or 2K tungsten...whether there yet or not, this seems to be where the future of development in lighting is going. Owning and maintaining that many batteries seems impractical and expensive though...and a lot of work if they're sitting idle

Always used generators for outdoor shooting but thinking about just using leds on the next project so curious how these batteries do time wise compared to each other for an led light like this. If the v mount is considerably better maybe buy one for each light and then rent batteries for long night shoots since you can just use ac indoors rather than dealing with several npf's for each light.

Curious decision at that price point to use V lock batteries. I know Dracast do their own V locks so they'll be happy to sell you some to use with it but they're more than the price of the light itself. A cheap light for a pro if you've got v locks kicking about already but not having it use NPFs makes it less so for everyone else? Has anyone tried one of these NPF to V lock adapters? The no name ones I've seen on Amazon seem to be supplied with a suspiciously large number of spare fuses!

Dracast is releasing these bi-color 1x1 v-mount flexible leds cri and tlci of 95 for $199 and a set of three for $499. Exciting lighting options for budget filmmakers coming out of nab this year. Great times for doc and indie shooters.

It is good news the GH5 shutter is quiet. My GH4 shutter is disturbingly loud in many situations and causes soft images by shutter shock.

I'm going to have to remember that interesting turn of phrase

Actually it's just another representation of the color range, like an earth map compared to a globe. Once you get accustomed to it, it's even more intuitive to use. I always complained about the 0-100% acuity of the sliders. In the end, if fast CC is asked for, this can be an advantage. I am defending it only to this extend. Apart from the quick wysiwyg-approach, it feels too much like iMovie. They should make the tool more precise. You probably heard that the Dashwood effects (360°/VR-tools - a hint for 10.4? - , but some other FxFactory products too) recently became free, because Dashwood was hired by Apple. I installed them and tried White Balance. Too simple. Already existed within the color board (it just doesn't tell you how much in Kelvin you had shifted the balance), like the majority of third party CC-tools. The color board also has the advantage of being as well an effect as a clip property. If you open the color board window with cmd 6, you can jump from clip to clip in your sequence, and the Color effect is automatically applied to every clip you changed. I see Color Finale as something in between the color board and Resolve. More precise than the first, but not as powerful as the latter.

This. Those of you who are still ragging on FCPX based on the release from 2+ years ago owe it to yourself to try it again. There have been many, many improvements in a series of major releases since the brouhaha of the first release way back when. If you can get over fealty to past models of nonlinear editing tools, you may find that it's much more efficient and speedy than other nonlinear editors (especially when it comes to Pro Res codecs). And with the addition of the Color Finale plug-in, you have an amazing color-grading and LUT tool that makes up for FCPX's biggest weakness: that awful color board. I haven't tried the latest version of Resolve, but I will give it a go on my next personal project. But I have used Premiere and agree with Andrew. It's just a kludgy P.O.S.

Samples from my Tokina 24-48mm 2.8. I think it has a little optical flaw, like there was a light leak in the middle of the lens. This only shows, when contrast is hightened in post. Otherwise, beautiful lens, for which I would estimate a TStop of around 3.3-3.8 across the zoom range. Measured it against an Oly XZ10 with its fixed lens starting at f1.8. With focal reducer the Tokina becomes another stop brighter fortunately. Screenshots from gx80 in 1080p 24p with IBIS + electronic stabi. GX80 in HD seems not up to the nice HD resolution of the older m43 Lumix cams like GH2,3,4 and G6. Maybe it is caused by the additional electronic stabilization.

Well there is nothing saying Panasonic, along with Leica, can't make APSC lenses. Why not? Couple of primes. couple of zooms, well you are off to the races!

I'd be interested to see them side by side to be honest. The versatility of the LS300 has had me wetting myself but I'll reserve judgement over the image quality for a while. Yeah, I think this is where they should be heading myself at least in the short term. There is a big hinterland between the SLR form factor cameras and the FS5 etc Thought it would be an area for BM to dominate but they seem to be leaving it alone and going after the £5K+ area. Who knows, there might be a very good reason for that in that people like the idea of a production style GH5 but don't actually like the idea of buying one in the end!

Video AF yawn speed during 6k photo I think. That's why you should use mech shutter continuous mode afc for that task. h265 intra it's fine. The shutter is really quite quiet. I'm very impressed with it. Not sure what you're trying to say. Do you take a lot of photos of lions that are upset by the GH5 shutter sound while they are doing star jumps? Most wild animal safaris I've seen have swarms of people with very loud shutters. I'm just trying to figure out where are all these really fast motion scenes that are really quiet. Which is to say, there will be a camera on the market somewhere that does exactly what you're after there. An 18MP global e-shutter type of thing but with fast AF. Ok maybe not but what about the Sony A9?

@BTM_PixYes, of course. The aforementioned JVC, that I so much respect and use lately, has a S35 variable sensor. You can't compete with the C100s and FS5s of this world with a smaller sensor. We are using S35 for so much time, and I personally love it. No full frame, no m43; S35! The solution of course is the variable sensor, pleases everyone (including you and me!). DVX-200 still costs 4195$ and has a sticker saying "Top Seller" on B&H!

It seems the quickest, easiest and probably lucrative thing riding the crest of the GH5 buzz would be to swap out the GH4 sensor from the DVX-200 for the GH5 one and take the lens off it. And not paint it red this time. I picked up a used LS300 a couple of days ago and its a very compelling package with the combination of sensor size, the versatility of the mft mount and some smart stuff from JVC. I've had native mft lenses on it (which you can use way beyond the 82% scaled coverage that JVC recommend for mft by the way), PL cinema lens, long Nikon primes with and without speedbooster and small Contax primes which it can magically turn into par focal constant aperture zooms complete with a rocker switch! All with the convenience of built in NDs, physical switches, XLR's etc So it can go from stripped down shot grabber to cinema style to sports and wildlife broadcast camera and all points in between within a few seconds. That type of functionality with the goods on offer from the GH5 like IBIS and 10 bit and so on would be a pretty incredible camera and theres no reason it couldn't come in at the same price or less than the DVX-200. With all of that capability, would the sensor size be an absolute deal breaker?

I found their picks interesting:

For sure. I like the idea of a Panasonic Cine cam, but I wouldn't buy it over a GH5 for my needs. I think the Panny Cine Cam plus GH5 would be a good combo.

Seems to be a pattern where people hate it, dismiss it... then try it, and slowly fall in love. If I had a mac, I'd be all over this, especially for smaller gigs.

No sign of Wasabi or Watson batteries in EU. I just ordered from Amazon US and will have to take the hit on import duties. Still a fraction of the cost of OEMs.

Cheers for posting this, i learned a lot! It confirms what I thought... they're just building up around old code. It's a bit like the Kowloon walled city, there's only so long you can keep adding to it until you have to start again for the sake of everyone's sanity... RESOLVE QUESTION: One of my favorite things in Lumetri in Premiere is to add a LUT and using say 40% blend of it. How would I do this in Resolve? It's one of the few things I've not worked out yet.

You can't just put the GH5 into a bigger body, slap a huge price on it and call it a day. I mean, you have the XLR unit for on top of your GH5 now and can use the Aputure DEC vND EF-mount as well. BOOM! Done. They also can't create a Varicam LT with the exact same specs in half the size and price. But to give it some proper production value the S35 is just about a must. It will especially help to more easily get some great dynamic range and lovely colors going for it, the thing we all expect to see out of a camera like that. Of course, it would also be one less reason for people to look at other cameras that are in fact S35, which kinda is the production standard. Should help with the crop and in turn to easier establish a shallower depth of field as well I guess (nice with S35/APS-C lenses, but I do see an issue here if it does in fact come with a native EF-mount, because... how are we supposed to speedboost fullframe lenses then??? So yeah, seems to me it makes more sense to bring out cameras with the shallowest mount possible for most flexibilty, E-mount would be ideal here, since that even adapts MFT, but you know...). So... I think dynamic range & color science is what people will really appreciate. Other than that, just to have something that's all-in-1 and covers the basic conveniences such as ND filters (evND?), XLR interface, more controls, awesome flip-out screen, long battery life, ability to run it offa external power, things like that. No more frankensteining with little cages and coldshoe mounts, external monitors, magic arms, ballheads and cable jungle. Just drop it on a tripod and hit record. Speaking of which... for a recording media it might be interesting to pull a Videodevices on this... see, they have the PIX-E5 recorder and use a so-called 'SpeedDrive'. They will sell you empty enclosures which house a mSATA drive and functions as a USB3.0 thumbdrive. You can buy like a Samsung 850 EVO 250GB mSATA drive for about 100,-. You'd just pop it in your camera and once you're done: fuzzless and speedy offloading onto a computer. The mentioned Samsung mSATA drive is rated at 520MB/s writespeed. Should be no problem for high-bitrate recording anything I imagine. Concerning that, I'm guessing this will write away files similar to the GH5, but can do it all internally. So... you get that 4:2:2 10-bit 60p at 400Mbps and FHD slow-mo at up to 180fps. The big difference? It would additionally support RAW output to an external recorder, though it would of course be great if they could manage that internally or give us internal ProRes. Just... probably not. Anyways. Legit reasons to get one, but no groundbreaking ones. It wouldn't really be innovative or do mind-boggling things. But it would be a superb step-up for people with GH-range cameras. Because that's always been the question... where do you go from a GH-camera? But then it all comes down to pricing... they're not suddenly going to sell a ton of these if they're exactly in the range of Blackmagic/Sony/Canon/Kinefinity/2nd hand RED/etc... these are systems that will get you far north of $5k, more like 10k once you're fully configured and accessorized. If it does nothing that hasn't been done before... why bother at all? That's where the price comes in. If you're a small production house, maybe just a single dude or dudette doing his/her thing, 10k is quite a stretch to up your productions from the GH5 to something with a little more oomph. It's far more likely to get people looking for a step-up from their GH-range camera interested in something like a JVC GY-LS300 or something 2nd hand perhaps. But... if you can get a camera as described above... for a little bit more than say the launchprice of the LS300 or DVX200, so perhaps 4995,- then I forsee a bright future for it. So for me, I'd be pretty stoked to see, whilst being fairly realistic about it: S35 sensor with great dynamic range and color science a fairly compact professional body with ND filters, XLR interface, plenty of controls and easy navigation/menus GH5 resolution/framerates, all capable of being recorded internally RAW output $4999 Like an AG-AF100 successor with 2017-like Panasonic specs. A mash-up of things I like about the JVC LS300 & Panasonic DVX200/GH5/AF100. Not a hardcore cinema camera, more something to use as a production camera, where the GH5 would start to feel a little out of its element. Still great options with the GH5, though. And it does have that 5-axis B.I.S. and all that good stuff that makes it the most perfect B-cam. They should compliment eachother rather well. Should this come in at 6999-9999, well... tough...

That's a fair price for it though. So good on you! I love mine. This is the first time in a long time where I haven't felt like an incompetent shooter/colorist... so I can only imagine what some of you guys can do. Also looking forward to testing the 4K Raw next week.

Small HD 5" monitor caught my attention. I am not in the market for any camera bodies or lenses, mind.

yeah, keeping it all. bought this 5D3 for $1600 from a woman in venice ca that says she bought it to vlog with, but barely used it since purchasing it 4 months ago. came with 3 canon batts. not a mark on it. still *smells* new. today, I need to downgrade the firmware. CF card arrives tomorrow. primarily wanted this to go with a set of Contax Zeiss lenses I'm having modded with fixed 2x oval apertures because full frame mimics the field of view once would expect shooting actual 2x anamorphic.

I've been using resolve on and office the last 6 months - I definitely think it's better than Premiere (which I find to feel a bit ancient in terms of it's usability and UI). I saw in your post you haven't tried FCPX in a few years.... do you know the version available today is much much much better now? Give it a whirl! I like the way Resolve is evolving and some of the features are unique (grading, audio editing, CDNG), however because I find FCPX so much faster and enjoyable to edit with (like the Magnetic Timeline 2) - when I edit wth Resolve I really miss the modern fluidity you get with FCPX. Resolve really needs more plugin support from third parties, plus a few cool tricks on timeline editing to challenge FCPX's "scary at first, but really awesome new way of editing". That said, Blackmagic are probably the most interesting and exciting video/film industry product company in the world right now. Top job.

I got another reason to dump Adobe. There's a bug in the newest version where it'll delete all of your media files on the drive with the media cache folder. Happened to me on one drive. Assumed the drive was going bad, so I brought a new one. Moved the media cache folder to a different drive, and it happened on that one! Folder structure stays intact but files get deleted. Lots 2+ TB of data in both cases. Luckily I was able to get it all back with recovery software, but the time it takes to transfer/format etc.... I mean, good god. https://forums.adobe.com/thread/2306406

You guys don't seem to understand branding. You can't just throw something away you've spent the last 6 years building and people trust the name. I happen to like "EOSHD" as being a camera and video associated acronym you immediately know what the website is about and everybody has heard of "EOS" in relation to cameras. If you want to read your own meaning into it you can, it can stand for Electro Optical Super High Definition. If I'd taken advice from a couple of people it would be LumixHD by now... Meh Cinema4K would be too generic and AndrewReid dot com is taken by someone else so I am sticking to my guns!!

It'd be great if e-shutter only could be enabled for nx1. I'm pretty sure it could do at least 24fps in that mode, at 4k or even 6k.