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The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera. Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

The detail is pretty good in the 5D3, huh? I wasn't expecting it to hold up so well against the GH5's Cinema4K res although I can't really see myself shooting in 2.67:1 on the 5D just to eke out the last few pixels of resolution. For me the biggest giveaway between the two is the difference in lens contrast and flaring, rather than the usual concerns with resolution, dynamic range or colour. (Although, the GH5 has more usable dynamic range - at the same exposure there seems to me to be 0.66 stops more info in the highlights and 0.66 in the shadows.) And of course the preview on the GH5 is real time!

There actually is a Sony to Sony speedboster, obviously Sony A-mount to Sony E-mount... and Kiwis do fly, mostly with Air New Zealand and Qantas

Exactly. Classic Canon. Overpriced. Under delivering. I wouldn't say no to buying a Canon camera, but only if I get it at waaay under market price. Which is how I purchased my Canon 50D

I've been using 5DIVs where I work and just shot a rallycross race last week with them. The touchscreen and DPAF is great, and so is the 1080p 60. The rolling shutter in 4k is baaaaad though, especially for something with fast action like a car race. The 4k crop does come in handy when you need reach.

If you keep your camera locked off it should be fairly simple. If you're in a natural light situation make sure you film both takes within a few minutes of each other. Get a stand-in that looks similar to the talent to act out scenes for eyeline. Also if you need to do over the shoulder shots it helps to have a stand in that looks like your talent (back of their head, shoulder area).

Agreed!

Used 5d4's are selling for $2750 on Fred Miranda. Personally I prefer the 5d form factor over the 1d - but that's a personal thing. A newer sensor, more MP, Clog, touchscreen and DPAF would make it a significant upgrade IMO.

Sure, any other laws of physics you'd like me also break for you? Faster than light travel? Apples to fall upwards? Kiwis to fly?

How about the ability to have baked in LUTs? That would give amazing color control and also produce better results than doing it in post.

You gave away a very important clue lol. However I could tell just from the image

Sorry, but I wouldn't exactly second that @Zak Forsman too : ) https://www.youtube.com/watch?v=ScC8wlxGNIQ&lc=z13xttyhdpedf1md023ihv5qgoqhco4s.1494023396652296 18-35mm = 23,04 - 44,80 FF 35mm equivalent on XL (0.64x) and 25,56 - 49,70 (0.71x) on Ultra versions. :-)

Contrary to popular belief it appears that this is actually possible although I do not know what the maximum fstop acheivable would be. It is called a wide converter and was patented by kodak about two decades ago. We have never seen one since Kodak owns the patent and never produced one themselves. https://www.lens.org/lens/patent/US_5499069_A

Or cut back and forth and use a green screen when on screen at same time https://vimeo.com/cosmicflow/delta#t=426s (A7S I (on location + background plates), GH4, greenscreen).

Loads of tutorials on YouTube.

Yep, and still it could be too expensive if it is indeed aimed at the C100 MKII/ FS5 crowd. Unless we see some extra features like high framerates and so on, I doubt the Varicam badge is incentive enough. For that price you are getting close to the FS7 or FS5 with Raw recording... not to mention the gap with the C100 or a rumoured C200.

Olympus looks amazing Jon...what a lens!...you are collecting an enviable selection of lenses!

Has anyone got one of these? I'm in one of those flip flop decision modes between one of these and the Metabones speedbooster with AF. To be honest, I'd have bought the Metabones already if anywhere had them in stock but now I think the lack of availability might have done me a favour. Basically, because of the amount of Nikon glass I have, I have the original Nikon speedbooster but now I need an EF mount version for the LS300 and also for my other MFT mount cameras and obviously the AF was a big attraction. (for Face Detect AF testing natch ;)) Not being able to get hold of one has had me revisiting the idea of the Lens Regain and weighing up the pros and cons I'm now leaning towards it and forgoing the AF. Aside from no AF, one downside is that it has slightly less of a reduction than the Metabones (0.75 vs 0.71) but on the LS300 that is less of a concern because of the S35 sensor size. The bulk factor is another issue that concerns me, particularly as it appears that you have to have the handle active to change aperture. Again, less of an issue with the LS300 as stealth isn't really its strong suit but it is a concern with the GX80 ! The upside of it with that really nice controlled A/B focus pull and being able to operate focus remotely if the camera is on a gimbal or jib is probably far more useful for me than an AF capability. The other upside is thats readily available unlike the Metabones and the £200 saving wouldn't go amiss either. With that £200 saving it gets me most of the way to the Kipon Baveyes AF reducer so I could have the best of both worlds albeit with two pieces. So, has anyone got the Lens Regain and is it as good as it appears? And ditto, has anyone got the Kipon and is it a decent performer?

What I think some people are missing is that there are three main modes of image stabilization. 1. The default "stabilization" is 5-axis IBIS - as in, physical mechanical movement of the sensor to compensate for unintended camera motion. 2. The "dual-IS" modes use the physical stabilization of the lens (usually 2-axis) plus additional stabilization of the sensor (usually the other 3) to accomplish the same thing, but because the lens handles some of those axes optically the correction can appear more natural. 3. E-stabilization is nothing more than applying something like 'warp stabilizer' to the footage coming off the sensor digitally, just in-camera. As a result, all of the issues with that sort of stabilization (including the crop and focus issues, if you're pulling very tight focus) are going to be present, because you aren't physically moving the sensor. This is true for all Panasonics with 5-axis IBIS in-body. Combining e-stabilization with physical stabilization is not usually a good idea, as it can introduce these artifacts. On the other hand, if you absolutely need the centre of your shot to be as steady as possible, combining the two may do that in some cases (but I can guess, though I don't have proof, that in some other cases it might make the problem worse). Usually the only time you really want e-stab is when you are turning OFF IBIS, e.g. because your lenses have a very small image circle and the IBIS exceeds that. In that case e-stabilization can be better than nothing, although honestly most of the post solutions are likely to be more effective and allow you the option of choice of stabilization method before baking the image into your file.

Plus then you could just keep stacking speedboosters and use the same lens for any situation (as shown)

One major warning: Regain steps focus motor. It's not as smooth as pulling mechanically. Do not for one second think this is a good substitute for a wireless follow focus. I made this mistake and ended up selling my set, as the focus transition looked ugly when focusing short distances.

I want a speedbooster that will let me use PL lenses on my iPhone.

Yes! The 5D stuff came through Adobe Camera Raw with the Cinelog-C DCP profile. I'll upload some stuff later so people can dig around for themselves in the files.

If only there was a second vertical guide!!!

Wolfcrow provides a workaround to get approximate guides for different aspect ratios. http://wolfcrow.com/blog/how-to-get-frame-markers-or-guides-in-the-panasonic-gh5-no-tape-or-purchases/ Is there a reason why Panasonic doesn't provide this on their gh series? I have this on my iphone and rx100 iv.

It's actually pretty simple to figure out why it's not able to get balanced. Since I suspect a CoG problem in the vertical direction, you can try shifting the base plate to the front a little bit, maybe to the front end in extreme case, then point the camera upwards, and hold the tilting motor housing in its place. Now pay attention to where the camera falls: If the lens goes forward (tip down), adjust the slider on the tilt motor backwards when camera is pointing up If the lens goes backward (tilt up), adjust the slider forwards If the slider is already at the very end, then your CoG is out of range. In this case: If the lens goes forward, you need extra weight on top of your camera If the lens goes backward, you need extra weight at the bottom of your camera If you make it balanced, then put the camera horizontal, then balance it with sliding the base plate backward. After that you can balance the roll motor, then pan motor. The tricky thing is, that there are two degrees of freedom for the adjustments of the tilt motor, so pay attention to which one is off and which one you're actually adjusting.

Lol - I think I spotted it! If not there were at least two important clues!

It has nothing at all about increasing resolution from 4K to 4.6K They changed to a completely different sensor

That's why I don't care when people praise the big boobies as the best when not the only girls in town. No Alexa will give you the mini-Varicam can. Once again, the best camera is that one in your hands when you're able to push the trigger. Don't impress too much on some opinions you read over here. I've read a few nonsense apparently even not from the usual suspects. They just want to justify their own choices. Dictated by their own circumstances, not yours :-)

Actually I think the LS300 may have the nicest 4K image under $3000. And some of the coolest features, but I shoot almost entirely guerilla style and I would be afraid the form factor may draw too much attention. But the idea of different sensor sizes sounds so cool. My c-mounts would love it and then to be able to use a Kern prime as a zoom... too effing cool. I have tested so many cameras over the past year and the images I come back to and really like are from 5D3 ML Raw, the D5500 and the CineLikeD with the FZ2500. So I should probably just stick to those. Although I did go through a Fuji phase and the color OOC really is spectacular.

There's a bunch of Tiffen Pro Mist videos on Vimeo, here's one example: These types of filters typically perform 3 main functions: soften image, reduce contrast / boost shadows, provide glow / halation around bright elements. One of the secrets to providing the film look.

Just got the camera, and found there is a little wrinkle in the workflow. The MXFs are being marked with a .9375 pixel aspect ratio in the re-wrapping of C4K files (4096x2160); this results in a slightly squeezed frame, into a 16:9 ratio. It should be a 1.896 ratio (1.0 pixel aspect ratio), and at the moment I am correcting it with 'interpret footage' in Premiere at the outset.

You are right, it works with Luma Corrector, but I cant get the information back using only Lumetri Color. Isnt that strange!? Looks like a bug anyway?

Or Blackmagic's Pocket or Micro Cinema cameras : ) a6500 is also a very interesting device, not a lemon at all. But I'd buy a GH5 :-D

Correct. The point is when people start to freak out and tell false reports such as incompetent AF, horrid aliasing and alike. I believe that's when we can't keep silent. Silence implies consent :-)

Only shortcomings by their own. I follow your fair concern but from your knowledge I'd risk to put my bets on your liking :-) We here must praise the potentiality of the gear, to learn with its limitations. DR is a way more limited on GH5 than processing there or the stupid AF mantra. People tend to exaggerate and lose accuracy on forgetting the right spot.

Indeed. I just don't think we should blame the camera. There's nothing wrong going on with the camera, but settings and operator's fault when happens.

Operator's fault. Let's not forget that's a consumer camera made for consumers to begin with. A pity indeed. Not actually better, but sharper. Sharpness is like alcohol for keeping the appearances.

Right. I would wonder exactly about it. I agree to disagree on that one. Nothing DoP skills (without mention post) can't solve. A filter will add the mojo people are so desperately looking for. No need for pessimism over here. Varicam is miles ahead in everything versus other single contenders.

Well, I'm no expert on such things but a lot of people believe you can just ETTR Log footage and all is good, but as I'm sure you know, not all Log curves are the same, so for most people, a simple Flat Profile would lend better results.

-5. I normally use a black pro mist 1/4 to help take the edge off. The UM Pro has the same sensor as the 4.6K so from what I understand its the same image, just enhanced features.

Good points, Don. I think we also need to consider that there is a modern "filmic" look that I think can be described as just as cinematic and very much liked by younger generations. There's this guy on Vimeo, a filmmaker from the Pacific Northwest named AJ Molle and he has been shooting filmic looking stuff since he had a GH3 and LX3. He then went to the GH4 and I believe he shoots with a D16 now, but his stuff has an intriguing mix of digital and film. Even Alexa footage doesn't necessarily look like film as we know it, but it also doesn't look like consumer/enthusiast digital video either. This is where low end Raw and Log footage helps. But also nailing your exposure in camera and using light color grading in post to keep the image from breaking apart but still giving it a look that just isn't quite reality.

Aaron already said: -5. I guess Ursa Mini Pro offers the same IQ. I just don't understand you, Dennis. I follow and share your concern on over processed approach, as stated. But you're a man of post, c'mon... Without mention the best GH4 outcome out there has come from your hands.

Done with likes for today, so here's expressing my public appreciation on your words, guys :-)

Try this with the Luma corrector effect to recover info that's outside of range - raise pedestal and lower gain.

Vlog is notoriously noisy at high ISO...not recommended when you're shooting in low light...as I don't have one yet I can't say, but I imagine in low light Natural or CineD would be better choices at higher ISOs

That would be an error in their post pipeline. There's no more banding in a ML DNG than there is in a RAW CR2.

Although nowadays GH5 and 5d 4k raw () are getting most of our attention, my partner GX80 doesnt let me down. Nothing special, yet another festival recap. This time however, I started getting used to color masks to remove the orange/green tint. Not perfect yet, plenty of room for improvement. Tell me what you think: