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@jonpais In our nowadays (social bullshit driven) lunacy society, general experience, facts and pure common sense are no longer respected: "Monkey see, monkey do". Without any feeling for special circumstances (lighting, etc.) required in every single scene. The gearhead driven brigade likes "global solutions": One single profile shooting, then applying a quick lut on it, get ready... Real deep education and self criticism are not the strongest skills of militant gearheads, driven by ignorance, inexperience and ugly, "LUT-centered" mentality. If "other guys" shoot in X-log, they do it too - Monkey see, monkey do. Even if it looks like shit. It's a kind of mass desaster, having nothing to do with artistic aspects. Unbalanced BS colors and violation of elementary visual principles have nothing to do with art. This is NOT an artistic choice, it's a result of an uneducated and unreflected, superficial crowd, just trying to copy & paste assumed success methods. The bad thing is. It doesn't work, as long as you don't know what you do. Great visual masters don't have standard methods, settings or luts for shooting in different scenarios. They try to apply individualized methods to every single scene or circumstance. BTW: I've tried this too. It didn't work for me - and THIS is good news...

Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds. For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness. Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look. I zoomed in digitally mostly around 20% - and it still was too sharp of an image. Why not shoot it anamorphic instead? Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. Let me know what you guys think of this.

According to my experience, with (GH4, G80, GX80, GH5) Expose maximum to 0 ,but mostly better slightly negative, If even slightly overexposed the colors disappear and the predominant yellow (waxy skin) , and mainly in combination with negative contrast ! In this test it is clearly visible, exposure +1 and red from the skin is out ! http://www.thehurlblog.com/panasonic-lumix-dmc-gh4-vlog-l-latitude-test-cinematography-education/ my exposure Zebra max. 90% in skin My current setting GH5 : Cine D 0,-5,-5,-5, 0 iDynamic : standard WB : Auto A:5 M:4 and 0 and mostly slightly negative exposure. Panasonic and ETTR It does not fit me, sorry... Before that I had the Sony, and that ETTR was ideal. (a6000, a5100, A7S , a6300)

Yeah, with the GX85, there's a lot of good info in the highlights. FWIW, I just expose "normal" and take it from there. I like it okay too. For me, it's not the most useable camera I've had, but it's solid and will get the job done. It's a truck: utilitarian and incredibly useful. Sportscars are more fun to drive, sure, but you can't haul a load of wood in 'em. Sometimes, if not most times, you just need to haul wood.

I'm developing a mocumentary project with the style of 16mm documentaries like Crumb and American Movie, so I tested my Fujinon 18-108mm c-mount zoom on the Panasonic G7, in CinelikeD with Super 16 Gorilla Grain. I like the results so far. I was pleased that the Fujinon barely vignettes in 4K, only really when it's focused close. It seems to work better if I'm 5-6' away. This was mostly shot wide open at f/2.5, with maybe one or two F/4 clips. I still need to test this at more f-stops and distances.

So...... A bit of an update I've spent the past few days redoing this from the ground up and there's been what you might call 'a bit' of progress. The camera functions are now controlled by a gamepad, which gives a bit more scope in terms of buttons etc. By separating out the part that does the actual talking to the camera, this means that that can be smaller for mounting and the choice of the input device is now far more flexible as it can support pretty much any USB device that can be attached to it. In this version, the gamepad itself is wireless too so not only is it a lot neater but it can also be used to extend the overall distance of wireless control (its range to the control box is added to the range from the control box to the camera). I can also make it support multiple devices so you could have something smaller just to do basic control (or a USB numeric keypad would be quite good for that actually) and then use a more elaborate one when needed. Or do both simultaneously if you want control of exposure and someone else to do focus etc. Speaking of focus, this is now controlled by an analog stick so has a bit more feel to it (ignore the transitions in the video, the debug mode makes the control much coarser) with a press in the centre of the stick activating a one shot AF. If your camera has a powered zoom lens (hello LX100 etc) then this is controlled from the same stick by pushing forward and back. I believe that this will also work with those MFT lenses that support power zoom but I don't have one so I can't confirm that. I've made a drivable AF joystick point mode which you activate by pressing in on the right hand analog stick and then using the D Pad to drive the focus point around the screen and then pressing in the stick again to action it. There will be more focus enhancements coming......... The shutter speed and aperture are now controlled by the shoulder buttons on the gamepad and the ISO is now also directly switchable on two buttons. I've got a few more enhancements coming over the next few days as well so I'll keep you informed. In the meantime, here is a video of it controlling a GX80

Yup +10 for this thread. A few months ago, after I sold my GX85 and before I bought my 5D3, I was unsure what route to go, so I was just shooting with my humble D5500 and I found it liberating to try silly shots and experiment. I missed the GX85's 5-axis so much, I used my Benro monopod, the one with the swivel ball feet, and pressed it against my shoulder as a make shift shoulder rig. With that freedom, the low hanging sun of mid winter, 60p and a fast 35mm lens, I started walking around and shooting. This what I came up with... There was something interesting within the way the bokeh and the branches and the sunlight/shadows worked within the confines of D5500 slow motion... obviously it's just a little slow motion, who cares, but I found it pretty fun to push one of the cheapest cameras I have ever bought and I may be the only one, but I like what came from it. Disclaimer: it is long and possibly boring... so proceed with caution... ?

@Chris Oh...I just got my GH5...the IBIS is almost eerie, it's so smooth...so if stabilization is something you're interested in, I'd opt for the GX85...it looks tiny but some members on this forum have posted amazing footage shot with it...also there's a member here who figured out a profile matching CineD for the camera....cost more than the G7, but maybe more fun too!...have to say I love the look of the camera itself. Edit: Lol @BTM_Pix who posted above me, figured out how to do CineD on the GX85, so you're in good hands here! I'm actually surprised how cheap cameras are in your neck of the woods...not crippling VAT or anything...why the huge price difference, or are these grey market cameras?

This has so much nice texture to it. Curious why you decided to go with the Micro rather than a digital bolex? I know they're cheaper and you get 60p with the micro, but the Digital Bolex is pretty special. Shot this 3 years ago. The movement you get on Super 16mm zoom lenses is one of my favorite things ever. Svitar 26mm 1.1 C Mount Lens and a Som Berthiot 17-85 f3.8 Compact Zoom Lens. I really recommend the 26. Razor sharp at 2.8 and on, but a really cool look if you shoot a 1.1 wide open.

If you've got the Zoom to do external audio anyway @Chris Oh then the GX85 with the Cinelike D hack would edge it for me over the G7. With the hack and the external audio you've matched what the G7 has the edge with and gained what it can't do which is the IBIS.

If only there was some way to have bigger and more buttons to control it with

Yeah that was the D5500 with the Nikkor ai-s 35mm f2. I just bought the 35mm 1.4 ai-s. So I'll probably sell of the f2. The GX85 is a fun little camera, but be warned... it is pretty small and the buttons are tiny. If that matters to you, the G85 may be better. But the 5-axis is a blast. It's hard to go back to using tripods after having it.

Only had a minute at work to glance at this and I'm glad I did. It reminded me of how Milton Bradley commercials used to look in the 80s.... instant nostalgia... nice job.

Thanks for posting this. It's interesting to see exactly how he came to those conclusions. When you have controlled lighting, definitely worth thinking about. But that is just one controlled test, would have liked to see his results by performing the same test outside with natural light. As is, there seems no reason to doubt his controlled test using a light meter.

Nothing to say about the GH5, but really about your post....and your monkey see monkey do comment (spot on!!!)...there is a weird kind of Hive Mind mentality at work these days...I see this both in politics and as a frequent visitor to forums....members claim to be merely expressing their opinions, but in reality it's the same tired phrases being repeated over and over...hardly an original thought being expressed and in the case of the GH5, both a well loved and hated camera it seems excessively obvious...but what's also more obvious, is that we increasingly act like a herd of sheep stuck in some corner...bumping into each other...mulling the same thing over and over as if it came from us, as an original thought...now THAT would be an opininion...but THIS... is this loneliness?....is it a complete lack of intellectual curiosity... what it's not at allabout, is about cameras....@mattiasburling just posted a very interesting guess the camera thread and really nobody had a clue about the camera...so why the same old tired refrain that would be laughed off any movie set?...I really have no clue...

Using the GH5 for quite a bit of photography and some little video clips. Using it with a combination of the (really great) Voigtländer 17.5mm f/0.95, Olympus 12-40mm f/2.8 and the Samyang 35mm f/1.4 & 85mm f/1.4 both on a dumb adapter and a focal reducer. My personal opinion: it's maybe one of the least emotional/passion inducing cameras I ever had, I don't feel any excitement about it... but... it's probably the most usable camera I ever had. Can 100% approve and would recommend to 95% of all DSLR/MILC users without hesitation if asked. It doesn't have mind blowing dynamic range, the low light is just ok, the colors are good but not Fuji good, it's comically big for a camera with such a small sensor. But it just is very well thought out (nothing is perfect). The swively screen, high quality EVF, touch screen works well, WiFi function very usable, AF-S perfectly fine for my photography uses, focus peaking & magnification very well implemented, rather good battery run time (eh, I come from Sony!). I had none of the issues people complain about on the internet so maybe I'm just lucky. I think the only drawback is the native lens system if you come from an APS-C / FullFrame system with a good choice of fast native lenses and are completely set on that look.

A link to some of your own underexposed GH5 footage and then corrected in post would be the obvious way to go here.

@jonpais I think it's a little more complicated than that. What really matters is what you expose for, skin tones, skies etc. And it's really difficult to get it spot on without a light meter and a monitor as Curtis mentions in the video. It's a lot harder to expose v-log than cine D with just the camera. I mess up the exposure to often when I shoot, but I agree with @kidzrevil that the colors look better when they are slightly underexposed, and corrected in post. You've probably seen it before but I'm really curios to hear your thoughts on this test by Shane Hurlbut? http://www.thehurlblog.com/panasonic-lumix-dmc-gh4-vlog-l-latitude-test-cinematography-education/

This is a cool hack, kudos to BTM for the work.

Just for the heck of it. Here is the same cameras doing what cameras do best.. pet pics Fuji XT2 Sigma DP2 Sigma SD Quattro (BTW click on this one and full ress. The colors.... yummy..)

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

Now do the same test in a high contrast scene, with a human face and harsh highlights.

Oh my goodness! Do they ship to the USA?

There is just something about that BM Super 16 sensor that is magical. I look back at stuff that I shot with the Pocket and think "Damn that was one of my favorite looking videos."

I just listened to an hour long podcast with the DP of Fargo season 3. I've been really digging the look of the season. He gave some insight to his color profile, so I decided to make a LUT for V Log L based off of Fargo Season 3. By no means is it perfect but have fun: https://www.dropbox.com/s/gtpwt6gxczfnyrf/FargoSeason3VLogL.cube?dl=0

jompais and Bioskop.Inc ask about the contradictions in our statements. You work on very long features, mine never are longer than 10 minutes (weddings). I usually have around 100 - 150 GB of footage for one day's shoot, between 100 and 300 clips, and external audio. I optimize my selections on import, just in case. I never multicam, just tried it once in FCP X out of curiosity with old FCP 7 music video footage (ProRes). My machine isn't configured for that anyway since I have the 256 GB flash and my TB raid (Pegasus with HDDs) reads just below 500Mbps. Ever since I began editing in 2002, I never had the fastest computers, and additionally the old FCP could address only 2,5 GB RAM. Therefore, longer features (beginner's mistake) had to be split into chapter-sequences or else FCP became slow and would often crash. That happened most reliably when you scrubbed the playhead rapidly over a long timeline. These two habits - structuring a story into sequences (even for ten minutes, I'll have three or four) and not skimming rapidly in the timeline (if at all) - I kept. I limit the number of clips FCP X has to access at once - by filtering in the browser and by compounding chapters. I disable background rendering. CC, effects with seldom used Neat asf. I make the last stage, and once the edit is locked, I don't care too much if I lose realtime. I render selected and that's the extend of it. To evaluate the usability of a system one has to know the workflows and demands of the people who report bottlenecks or not. I never found benchmark comparisons particularly useful for my stuff. With performance I just mean smooth playback and overall responsiveness, I just don't care if the final export takes an hour or a half. I don't sit there and stare at the progress bar.

Test many cameras by all means. Don't let the site be a grand rationalization for Gear Acquisition Syndrome though. It's unprofessional.

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.

Maybe you should just be happy with one camera Andrew

Holy crap, never heard of this lens, physically connected manual focus is a huge selling point.

That's some pretty intense chromatic aberration.

Holy crap. That's horrific and a huge mistake from Canon. The rolling shutter on the A6300 is TERRIBLE. The fact that this is worse blows my mind.