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"Hackine D" today test on GX80 and Pany 20mm 1.7 , 1080/50p By mistake Sharpness is set "0" :-( And it can be seen , I always set up for panasonic sharpness -5

Not thus far but my work on it at least is suspended while I'm doing the hardware controller. We've got a lead with an old version of the app that had the 'free' VLOG glitch but needs someone with a GH4 with the old firmware before Panasonic shut the door on it to try and do some exploring to see if it could be applied to the G7. Priority list for what I'm up to is the hardware controller, followed by Cinelike D on LX100 and then after that I'll revisit VLOG if no one else has been looking at it. I don't think the extra bitrates are viable using this method.

I really don't want to beat a dead horse, but what is your on camera monitor calling your ETTR shot? Because to me, that isn't ETTR and that looks like +/- 0. At 90% zebras, what f-stop did they disappear at? I don't think you can truly ETTR by dropping a full stop. Those zebras could have disappeared at any point during that stop drop. Plus, you ETTR your subject, so technically the zebras should have been pulled back from your face, not your shirt. Which is another problem with ETTR on these 8bit cameras, you end up with a lot more work in post fixing your exposure. Not a big deal for small videos, but another point any beginners reading should be aware of.

Make a great trailer, and I mean exceptional and compelling. I'm not talking about technical expertise, I'm talking storytelling. Make people interested in the things they see in that preview. If you feel you can't accomplish this on your own, get someone that can. When submissions come into our fest, it's super easy to see if a film has something to say, or not, based on the filmmaker's ability to present a worthwhile trailer. The preview is the first hurdle in a submission, so make sure you clear it. Also, I will say, based on what we do at our festival, if you acknowledge in your film synopsis that you are a film maker that will 100% attend festivals you're accepted to, that can help tip the scale a little. Thats for our festival anyway...others not so much. But again, know who you're submitting to and that will get you a long way.

Vimeo and YouTube have grown in visibility in the industry from what I’ve seen, even beyond festivals. But festivals let you pick and choose to whom you’re showing your content. YouTube doesn't. I've recognized that I don't have the talent (or maybe just the desire) to succeed at either. But I think what works well in the long run is submitting your work to venues that exhibit work you love. I have friends who've won big at Sundance but done nothing since, because they broke through with something really innovative and great. So great that it got into a festival despite being better and more groundbreaking than that festivals boring, staid, limited "brand." (Heck, I almost did this myself.) But then when they were signed to CAA, WME, UTA, etc. they had to abide by the confines of that agency's demands. They couldn't. They were artists. It's why they got into Sundance in the first place. It's also why they struggled so much after. So fuck 'em. If your work is great it's great. Show it to your friends. If your friends love video game commentators and you're a video game commentator, awesome, now your friends are most of YouTube. If they're quirky but still kinda safe, awesome, Sundance and Slamdance. If neither, cool, you're an innovator. That's way cooler than I can claim to be. But here's the big question: where do you consume most of the media you consume? Okay. Now submit there. In the short run it might be harder. Long run, more rewarding and a better fit. You think venues you don't like are better fits, because you see the flaws in their content and know that duh you can do way better than that. But what you fail to see are the merits that those venues' viewers see. (Granted, those merits could be stupid. But no one wants to know that they're stupid, either.) If you want to thrive on YouTube or Vimeo or any given festival, study its output and emulate it. If you want to just be you, just be you. I've been through it all. I'm old lol. I finally see that everyone is as insecure and unsure as you are. Festival programmers are the most insecure. Their only output is what films they choose from other people's work. They aren't even making their own work and yet they are the gatekeepers and kingmakers. They're insecure in their opinion. The audience is insecure in its opinion. The social aspects far outweigh the merit. It's like someone posting on Facebook that they like the Smashing Pumpkins vs. Billy Corgan. Billy Corgan seems way more insecure... but why? He's the innovator? The artist is in a difficult situation. Cooler when they're cool. But open to way more criticism. And generally more sensitive to it, too. So what can you do? You can choose to ignore it. Not let it get to you. And do your own thing. You're an artist. You're above YouTube. You're above festival programmers Their brand is what they like. They cannot create it. Your brand is what you make. You create it constantly. They're the slaves. You're the god. Stay the course. Stay confident. Fuck the rest. Michael Bay cowers before critics even if he gets great BO. Lars von Trier cowers before financiers even if his critics love him. You are only asking for bigger problems with more success. Know that. And know you're an artist. You're above them. You're the creator. You're the god. Forget it and you're toast. Act accordingly. Success just means your audience owns you. ("Your possessions possess you" - Fight Club. "If you owe the bank $10 million dollars, they own you. If you owe the bank $10 trillion dollars, you own them" - Someone way smarter than me.) Own you. Own your audience. Never let your audience own you. You don't need their approval. If they showed you their short films you'd just laugh at the pathetic attempts. Stay confident. Stay the course. You are their god. And so what if they get cranky, crucial, and indignant? They can always watch Pewdiepie instead. (And fwiw, I think he's pretty talented, other than the horrific antisemitism.)

Macroblocking in the shadows is the encoder deciding that noise is no valid signal and overly simplifying the area. In case of a H.264 master, that distinction is in the upload file already and only gets worse when the original is reduced again by the YT processing. There are three strategies against that: 1. Get rid of noise using Neat Video. The downside to this is that, no matter how well you know the expert mode of Neat, you will always also sacrifice texture detail. Which to protect by any means is the idea of 4k. 2. Dithering shadows by either keeping noise or applying grain. The first approach is unreliable and can't be fully controlled. The grain structure has been proven fail-save. The amount of the grain needs thorough testing, but you can do it before the upload. Philipp Bloom does this with FilmConvert. He also sometimes uploaded ProResLT, but this didn't make a huge difference - if at all - in my own tests on Vimeo. The grain (one can use the built-in grain effect of FCP) also reliably helps with fade-ins and fade-outs that can cause temporal banding. 3. ETTR. With less noise, there are less encoding errors.

Dear Jon, yes, scenario is the main criteria, be that climatic, experimentally motivated or commercial ones f.i. I don´t think it is ETTR what you are doing. I think it is getting the maximal amount of light before the nasties are appearing, in order to avoid noise, in order to get the maximum potential and not always immediately visible visual information. With RAW it is supposed to be ETTR big time. Taking pictures with my GF1, even in RAW, it is a no go. But exposing as much as possible is still desirable regarding quality of the signal. I think, it is that what you are aiming for. And sometimes that can be -1/2 dialed into the camera, because sometimes camera meters are different than others. In my bright sunlight scenario with huge dynamic range and plentyful light to feed the sensor, the risk of noise was much lower than the huge risk of nastily overexposed mess. That mess could have never been rescued afterwards, not technically nor in any pleasing visual manner at all. For the jerky movement with auto shutter, I can see it very often too. Just check my bicycle video, if you like for stuttery motion because of that. I filmed a little exercise two weeks ago, with auto shutter, -2/3, in softer GX85 HD and by accident with gruesome ISO 1250. But it turned out kinda pretty, because amount and even more the quality of natural light was beautiful. Regarding color shifts, that is even a thing one can try in Resolve. Pure white can expose nasty greyish purple if pulled down in post. So for filming or acquiring material, it sure will show how we expose. And getting the curves right in Resolve can be a tricky one too, sometimes a lucky one. Once I graded one of your G81 videos and it turned out awesome, because you had captured great quality light. Event though I dled it from youtube. In Glenns videos I never noticed stutter, neither in Jase´s. Only in mine, which is not fair! So I usually prefer to stick to a fixed shutter. I actually recognize stutter and jittery motion, with anything that doesnt involve faces. And on my HDMI monitor I can see the jagginess, I wasnt able to see on the VGA I have been using until only a few months ago. Tilts and Pans sometimes look terrible. It´s quiet an art to do handheld with these Panny photo cams. Was amazed @mercers videos because his camera movement always looked stunning. I wish you all happy shooting and experimenting.

https://***URL not allowed***/apertus-axiom-beta-your-open-source-camera-an-update-and-recent-footage/ Footage is looking better than last time Sorry if this is only news to me

Another little Musicvideo i shot on the GH5 with speedbooster and sigma 18-35. Due to the short turnaround ( 3 days) the footage is not graded. Noise is heavy in the slomo shots - luckily youtube smoothens it automatically. :-)

Ooh yeah that is bad. Not as bad as I get by doing a crash zoom with a similar lens but really ugly. You can see someone using it on a C100 mk II here but the aperture racks when he zooms. That said.... no flicker. I wasn't considering this but given the cheap gray market availability of the lens and second hand market (since it's a kit lens for so many cameras) I might have to sell the old hvx and pick one up. 18-135mm is also the most useful range for video IMO and outdoors I don't need anything faster than f5.6 whereas my prime kit is really heavy.

"The only thing you have to turn on is the "High Quality Playback" setting. Once that is on you can select different playback resolutions like 1/8 and it will reduce the quality and it won't zoom in." Found this in a Facebook group but haven't tried it yet.

A short comedy film with the GH5. Very heavy grading, but still holds up very good IMO.

Haha, glad we're finally on the same page! Your test's have been very helpful and this really shows that one should pay more attention to exposure. Paul's histogram is indeed very misleading and I think it's just a case of an expert trying to explain something to non-experts but forget that they are not experts! The shots I graded are ETTR and -2/3 but I didn't try -1/3, maybe that one will work too? I find it a bit strange that your shirt was overexposed beyond repair when you followed Paul's advice with 100% zebras. Did you try to grade the different shots to see which was easiest for you? But you are right about the noise Jon, it's less noise in the shadows when done right, but unlike raw theres only a very small window where color, noise and highlights are perfect.

I also have this manual and found a guy on dpreview who did this mod to the LX100. I really would like to do it and i can solder, but the mic out will always be a weak point and it is very questionable how good the quality will be without a dedicated mic-in.

If going the festival route, should I pretend I made them a year apart? That would be kind of relieving, like I'm already accomplished into the future a little. But it kinda killed me waiting for a year last time, especially since I mostly got rejections, and this is obviously.. twice that. Is it weird or ill advised to go around with two films at the same time? I like the Vimeo only route more than I expected, but I still have a feeling maybe really good luck at a festival - networking etc - is better than really good luck online. Just kind of a weird problem, wanted some opinions.

@Zak Forsman probably has some good insight.

Ok so I found a GX85 repair manual online and also found this http://www.instructables.com/id/Add-external-Mic-jack-for-Canon-T1i500d/ I found youtube videos for this hack with other cameras too. I am very close to pulling the trigger for GX85 and I would like to try this. Anyone crazy enough to try this? @jase ? My soldering skills are very basic and I would probably have to practice a bit more before trying. Also found this maniac who made his own battery grip!

I would love to give you some advice on this, as you have given me plenty in the past. But im a churn and burn corporate guy, so wish I you luck!

Meeting collaborators is a great first step and the most important thing to do. It's advice I should have taken (when I was your age or thereabouts). I think I probably would have done better skipping college and just jumping right into the industry. But I have friends who went that route and it worked great at first, they were on studio sets around 19 or 20 in key roles, but socially they weren't ready for the pressure and shittiness of the industry. So.... yeah. If you see something you love, reach out to whomever made it. Show interest. That kind of networking is as important on the festival scene as the film itself is in terms of long-term prospects. Maybe you can work on that person's crew some day and when their film gets into Sundance, it will be a leg up for you (though this has not turned out to be the case for me, probably because I'm not the biggest fan of Sundance films in the first place). I know lots of people who jumped at the opportunity for "success" only to burn out from working on the wrong content and not following their passion in their day job. They were successful, but at the wrong thing, so it's a step forward but also a step back. Nothing wrong with day jobs, but compartmentalize and be true to yourself. You'll do better working with those whose work inspires you and their opinions of it will be far more meaningful than the unwashed masses'. I'm told the best thing a festival director can do is attend festivals. Or a Vimeo director's best bet is to watch a lot of Vimeo. I'm not a fan of either, really. :/ But I'm taking my own advice and making a video (calling it a short would be generous) to show a couple Sundace directors who actually did make a feature I liked and who are conveniently friends of a number of my friends since I would like to work on their crew. Hoping my own advice works lol. Luckily I'm working with a lot of people whose work I like currently, but more thorough serendipity than through making a big effort in the first place, which I should have done! It can also be great professionally to network with people whose work you like. Even if you "only" end up on the crew of the next big director and even if it takes five years for that to all play out, that's still gonna be a professional and financial windfall by the time it matters and you're ready for that level of success.

Doesn't look like ETTR on the histogram either and it sure looks a lot different from Noam Kroll's ETTR. https://www.provideocoalition.com/use-ettr-technique-maximize-dynamic-range/ I believe when Paul Leeming used the term ETTR to explain how to use his LUT he should have explained that this is really ETTR light version or something. I took the shot off Paul holding the color checker and checked the histogram in Lightroom and it's very different from the one in his picture. Looks like he just used a another histogram to make his point, and this can be a little confusing when you're trying to match Paul's histogram in a shot with skin tones cause you could very easily ending up overexposing and possibly ruining the shot. ETTR is for raw, log and maybe jpegs/8 bit video without skin tones. If you look at Paul's images and explanation I would agree that you should adjust the exposure until the zebras disappears from the face, but that is definitely not a good idea. http://www.leeminglutone.com/#howtoettr But's kind of funny how we're arguing over this, but we're actually kinda agreeing Thanks for the tests @jonpais!

@jonpais Exactly THIS is a very critical point for many Pana consumer cams.. AWB can be (specially in warmish sunset scenarios) a kind of poison for skin tones. You have to properly set your WB manually and reset every time the lighting situation (color temperature) changes - even as little bit. You can't trust Pana AWB in some lighting situations at all, the skin tones go so bad, as you can throw away your footage. In my case (sunset scenario) it helped to substancially cool up color balance in "Standard" mode. For Cine D, Portrait, etc., consistency didn't work at all, WB remaining very critical (concerning skin tones), even after cooling up colors. You have just to give a proper WB a little bit of love. AWB is generally completely unreliable when filming people with Pana consumer cams. You mostly get a mixed bag...I can mostly trust Nikon AWB, but never Pana (when filming)...

I have a friend who has the old FW GH4. I can see if he'd be willing to help

There may be some differing of opinion here, but I always liked these settings from Noam Kroll... great blog too if you're looking for a good read. http://noamkroll.com/the-best-gh4-settings-for-video-why-you-shouldnt-be-tweaking-things-too-much/

I don't have a Sony camera to test it with but does their smartphone app enable manual focus or touch AF with the A7xxx cameras? I might be able to do a version of my Panasonic wifi controller for it for gimbal use if it does.

You're not really supposed to manually focus while flying the camera on the gimbal. So you basically have three choices: A) a lens with auto focus (which rules out the vintage lens you want to use) on a camera with reliable auto focus (which rules out the A7sII) B) set the lens to a small aperture with enough depth of field and use hyperfocal distance C) set the lens to the desired aperture, focus it (you can put the gimbal into sleep for that if you fear it strains the motors) and keep the distance to what you film consistent

Quoted for truth. And as a famous person said: It was worth it in terms of pointing out the bleeding obvious to those who won't care anyway that underexposing degrades a digital signal unnecessarily. It's really very similar to the recording scale on any digital recorder. There's usually a triangle indicator about 18 dB down and this is the sweet spot for audio. If you look at an ETTR histogram it maps the same distribution - max dynamic range.

Not gone, but noticeably reduced to the point where it's no longer irritating. Agreed? This is pathologic pixelpeeping anyway, isn't it? One should try Neat, grain and a ProResLT. Maybe it's just that there are too few values to represent the 50 shades of grey of he flapjack, and with this data rate macroblocking can't be stopped at all.

And which nation are you dreaming in? :D

I agree with Ben that you should push them out at separate times, one this year and the other early 2018 if the first one is not going well, and the festival route is an excellent opportunity to see how well you did it, and an opportunity to learn from your mistakes, my advise for you is to apply to each festival you can, many are free, others could be very expensive, you will have to decide if your wallet can afford it or not, also add subtitles in Spanish and Italian, there are lot of festivals in those two languages out there which are free or very cheap…..good luck!!!

Thanks for the link! This progress update is exciting. The footage from the Axiom has been looking nice for the last couple of years, and, judging from the interview, it sounds like there will be plenty of choice in regards to looks/"film stocks." Actually, they are giving plenty of choice in regards to everything! Can't wait till they start shipping production models!

I help run a festival. If a film is good and fits what we're looking for, no problem. The thing is, you really got to be honest about your film. Or, allow others to be honest about it. You better have a thick skin about that. A filmmaker needs to know the level his/her work is at and also if it fits the vibe of the festival they're submitting to. We shuffle through lots of crap that is obviously a ridiculous vanity project and/or has no business being sent to us because of what kind of fest we offer.

I saw a video that explain that Zhiyun Crane 3-Axis v2 is not good for heavy gear such as some DSLR Canon. I wish to ask you, if I need a gimbal for my 7D does exist a "one handeld" Gimbal enough strong on the market that may fits my needs please? I would be grateful for your advices!

I didn't go refurb, I got mine from a private seller on ebay and verified it had the AppleCare. Took a few tries before I finally won at $2k. I wanted the i7/4gb vram/1tb ssd setup because I made the permanent move to 4k and started stitching large raw panos on the stills side - until last week's announcement that was the most powerful iMac config you could get. I added the 32gb ram as well, so my total cost is another $300. Tough for me to say what the difference between a i5 and i7 will be when working, someone with more knowledge will have to chime in. But I will say I am traveling the world and editing 4k over the next year with FCPx on a tiny 1.2ghz core M5 processor, 1.5gb on board video ram and just 8gb ram - the 12" MacBook is basically an iPad Pro with a keyboard. Again, I don't use proxies because its time consuming to generate them. I just take my time cutting and let it export when I'm doing something else. Cheers chris

This "on the go" thing is un-watchable... back to the drawing board guys.

Our long national nightmare is over. Adobe has released the Premiere update for the GH5.

And in today's episode of "Fun With Lumix And Gaffer Tape" we have the new LCD display module which gives you a pro SLR style top panel info for your little GX80/G7 et al. Well, pro style if Nikon and Canon used more gaffer tape in their production process that is.

Thanks jon. I think I will try to do some tests on my own to see whether I can see the difference in my work. On a sidenode: god, whenever I watch your videos I feel the urge to buy the Summilux 12mm at an instant. As soon as we get the successor of the G85 that will enable the Teleconverter option also in 4k, this will be it for me.

Oh my goodness! Do they ship to the USA?

Yes...the slrmagics feel lovely in the hand....I have the 12,17, 25 & 35...I know what you mean!

Oh my! if it ain't one of the greatest selling points since sound put on celluloid, then this camera ain't selling s*#t!! Seriously, why a "pro" wouldn't want something like this in his workflow, it's beyond me.. I am 98%, the people that do not care about Dual Pixel AF, have never worked with it, at times it is really liberating (it is just a tool, for the right moment it can be valuable though). I am putting another 25euros on the Rage Against The Machine album.. but don't tell anyone!

Yes they have commented, yes they are working on something. This thread is mostly about rewrapping, not transcoding. To keep things out of the subjective realm it would be good to take a 2 second clip of a color chart, then screen shot the various wave form monitors for the files as they appear in your editor.