Leaderboard

Here is a music video that I shot last month using the GH5 with 35mm and 50mm SLR Magic anamorphic primes. VLog L. 4K 8 bit. IBIS was a nice feature to go w/ the lenses whenever I needed handheld. I'm praying for in-camera anamorphic desqueeze from Panasonic this year!

I won't know for sure until I've seen the files but for what its worth this is my current stretch rating for this Still better chance than the bit rate stuff though It will just be settings rather than a hack (unless you have the GX80 where it will use the current one to get Cinelike on to it) Needs a lot more testing yet (some of which will have to be automated so there's more code to be written today to do that) so its a bit away from being revealed just yet.

I found this which looks pretty helpful:

I've been asked by Private Message regarding using the higher ISO's in recording. Ordinarily, the extended ISOs are for stills only but there is a way round it for G7 owners at least. On the GX80 it is always clamped at 6400 irrespective, so when you go into video mode it will always revert to this setting if you have an ISO set above that. On the G7 however, if I instigate the recording with my controller then I can then change it beyond 6400 and it will accept it. I have a trick with the hardware controller so that when you put it in record it re-sends the currently set ISO so if you have it on 12800 on the controller it will record a tiny fragment at 6400 but then switch to the 12800 If you want to try this manually you can by just putting your G7 in record at 6400 and sending the higher ISO command form a browser. My feeling is that this will probably work for other cameras too (except the GX80 where it definitely doesn't) so if you can test it and let people know that would be great. With regard to asking questions by Private Message - and please do not take this the wrong way as I'm really pleased this has sparked so much interest - but can I just ask that people put them in here instead, as to me this should very much be a community project so everyone will benefit from the shared information and there is a much broader range of model variants represented here that people can share the testing on as well. Ta

I hear you. However, the Sony FS5 costs $4750. The Sony A7sII costs $2600. Total for both: $7350. Those cameras are simply not in the same price bracket as the $7500 C200 (and that price doesn't include CFast cards for shooting raw). There's presumably a big quality difference between shooting on the FS5 at 4K 8-bit 4:2:0 and shooting on the C200 at 4K 12-bit raw. And if you're not going to shoot raw on the C200 because CFast cards are expensive, then why get it in the first place? Then there's the A7sII, which will require lots of rigging and peripherals (and different batteries than the FS5) to turn it into a usable video camera, and even then you can only shoot with it for a while before it overheats. That may be fine for some types of shoots, but when I'm on a job I need the camera to run 100% for the entire event non-stop. I'm all for people getting whatever cameras help them achieve their goals. If an FS5 and an A7SII works for your type of shooting, then great! I just think that picking a C200 as the A-cam means you've jumped into a much higher price bracket, and the B-cam is also going to have to be more expensive (unless you don't care about the difference in image quality and usability). A C200 + a C200B (with monitor) = approx. $14,000. That seems entirely reasonable for that level of camera. If you really want to go low, get a 5Dmk4 for $3300 as the B-cam, but then you're once again dealing with all the hassles of a camera that wasn't designed primarily for shooting video. Again, if it works for you, then go for it. But the C200 + 5Dmk4 = almost $11,000. At that point, you're probably better off spending a bit more money and getting the C200B + monitor as a B-cam and then you have two full-fledged video cameras that use the same accessories, batteries and peripherals, and none of the compromises of shooting on DSLRs. Exactly. Use whatever you can afford and deliver the content your client wants. The B-camera has absolutely nothing to do with cost. It has everything to do with shooting an alternate angle or B-roll while the A-cam is shooting the principal action. You can use whatever camera you want as a B-camera. It doesn't have to be less expensive than the A-cam. Right now, I shoot theatrical events with two C100 cameras. One is labeled A and the other one B. I get footage from both that match each other seamlessly and use all the same accessories. That's the ideal scenario. If you don't have the budget for two of the same camera, that doesn't mean the camera company did something wrong. It just means that camera is out of your budget. I'd love to shoot everything on two Panavision Millenium DXLs with Primo Artiste anamorphic lenses, but they're not in my budget, so I don't use them. Saying that Canon hasn't made a B-camera for the C200 makes no sense, especially because they did make it. It's called the C200B. If you can't afford it, that's perfectly fine. There are other cameras that are less expensive that would fit in your budget. Use those.

The RX 10ii was the most disappointing thing since my son. Kidding, I have no son, but the RX10ii is definitely my most regretted camera purchase. The originally much-hyped "great 1080p" is camcordery and mushy, the colors are Sony at their worst and the sensor is noisy as hell. Combined with the slow (and painful to use due to shit focus-by-wire) lens it made the camera require insane amounts of light to produce useable slow-motion. In bright daylight or with huge lighting setups it could produce decent-for-youtube results but jesus christ was it a pain to use and completely soulless. Can't say I miss it one bit.

Who cares about sales? Most people are sheep with minimum knowledge, and as I'm not a Canon shareholder I don't care about who is in the lead of sales, I care about what is going to give me the most artistic image, best specs, the most convenient form factor and best value for money.

It indeed looks like either part of an optical printer or reconfigured to or from print duplication use. Seen this lens being re-sold 2 or 3 times from different sellers without much time between auctions - which raises alarm bells as to its real practicality for filmmaking use (and where is footage of it at infinity and variable stops?). No doubt the optics are going to be top notch but I'd want to be assured that its focus can hit infinity with that aperture inside (causing added space between optics), since I would presume that lens was always intended for closeup duplication use, as part of a specific optical printer or telecine machine. I suspect that the variable aperture inside the lens is not going to make the image much sharper when coupled with a taking lens, but rather cut the light transmission to the taking lens and dramatically increase vignette. In a nutshell, if it was the wonder lens that it is supposed to be, where is example footage of it resolving infinity focus and its results when stopping down with its internal aperture? EDIT: Found an expired eBay auction that sold for $250 that confirms my hunch... "This is is multiple lens assembly that was used at Deluxe Film Laboratories in Hollywood for 35mm anamorphic conversion to flat formats for theatrical trailers. It should not be confused with camera or projector lenses. Printing lenses are ulta sharp intermediate lenses designed to resolve 35mm camera original high resolution color negative without distortion. The assembly consists consists of three separate lenses, each of which may be separated for individual use: Isco Lens VII - Base Lens Isco Anamophis Printing Lense 2x with Manual IRIS Ring (Like F-Stop) Isco Lens III - Output Lens I highly doubt the Isco printing lens can hit infinity without stopping it down to a crazy small aperture. You can see from the original configuration that it is basically used for near-macro focus distances, as part of an optical conversion chain. If it could indeed be used for filmmaking use, I would be interested to hear how on earth you would achieve infinity focus. I think the current seller on eBay is a member of this forum @Hunterj11 perhaps they can shine some light on this lens?

a normal price for a Bolex 16/32/1.5x is about between $1,5K and $2K at this moment. Also depending what colour flares it has. The lens in the auction is missing one screw in the front ring, which means that the lens is opened by someone. If that was done by a professional, you will have all screws. $1K for this lens would be a fair price. If you have luck, you can find higher quality Bolex lenses for less than $1,5K

More of a vent than anything and I know Panasonic are just as bad but.... All I wanted was a little travel camera..... I thought to myself "I quite fancy an RX100 IV. Genuinely pocketable, vloggable, a bit of slo-mo (which I don't really have), slog2 so it can be pushed a bit more.....and I can have a play about to see if I can get my hardware controller to be Sony compatible too" Easy. And then I started the, "Mmmm....the mark V though, better IS, touch screen" "Yeah but its so much dearer" "We're into A6300 territory there" "But then if we're going there, why not go a bit further and get the A6500" "No lenses though" "Yes but we've got a few Canon ones and they can be mounted cheaply. And with AF too" "Stop it now, its getting really expensive and way out of what we wanted" "OK, RX100 IV then" "Mind you, the RX10 III does all of that and more and has a 600mm equivalent lens" "Yes but now we're back in A6500 price range" "OK, how about the RX10 II, its way cheaper and has NDs" "Great idea. Not pocketable though" "OK, RX100 IV then" "You'll regret not getting the V though" "Shut up, its too much to be paying for a tiny sensor as it is" I've been like this cat for about a week now.

Hello, I currently own a Canon 24-70mm 2.8 mark i and the Canon 70-200mm 2.8 IS. I have decided to get the GH5, but before I make the order, I have several questions I would like to ask for advice. 1. Should I keep my current lenses and buy the Speed booster? XL or Ultra? I inherited these lenses so not sure how good they are. 2. How well does Stabilization and Auto Focus work with the Speed Booster and Canon lenses on GH5 compared to native lenses or other lenses? 3. Would it be better to sell my lenses and get a different setup? if so, which would you recommend? Get native lenses or other lenses with Speed booster? If I keep my Canons, my budget will be just for the Speed Booster. But if I sell them, I'll have around an extra $2,000 dollars for lenses. I will be mostly shooting for music videos. I really liked these videos. He is using the Panasonic Leica 25mm 1.4 Panasonic Leica 42.5mm 1.2 Olympus 75mm 1.8 What do you think about it? Thanks in advance! -Howard

No, it's absurd to deny the existence of B-cameras. Same camera as the A cam isn't a B cam, it's another A cam!! That's the way the concept works!

We just finished a MV with GH5 and Zhiyan Crane, using Olympus 12mm f2, Pana 25mm 1.7, Pana 42.5mm 1.7, Voigtlander 17.5mm 0.95, footage look pretty good, shoot everything 4K50P, We did have Sigma Art lens with Speedbooster but doesnt use them at end since it mostly shot on gimbal with few handheld on Voigtlander lens We can change the 3 primes without rebalancing the gimbal which speed up the flow. Having a good gaffer make scene look so much more amazing and higher production value.

Here's a project I just finished shooting. I tried playing around with some different settings than I've used in the past, and I'm pretty pleased with how the color came out in a lot of the shots. The whole thing was shot on a bitrate hacked NX1, almost entirely in 120p, with the NX-L speedbooster and Rokinon 50mm T1.5 used for most shots, though there are a few shots with the Roki 85 and Sigma 18-35 as well. All the gimbal shots were the NX500 with a Rokinon 12mm on a Zhiyun Crane.

I can see what you're thinking, however Arri Alexas and Mini's are not the same target market as the C300, C200 etc. Also Canon have a huge line of DSLR, mirrorless and compact cameras that shoot video, where Arri do not. I own an FS5, and the B-camera (for a videographer) to the FS5 is not an FS5. Sony have made a bunch of smaller mirrorless cameras that exclusively do a few things brilliantly (low light, IBIS, autofocus, compact and powerful) and it's likely the FS5 user will buy 1, 2 or even 3 of these to make up the pack. The C200 is in a similar ballpark. So when someone like myself is intrigued by the prospect of going to the C200... I start to think about my other camera bodies too. That's where the intrigue hits a wall. Maybe a 5D Mk IV and XC10/15 will do, but we're missing a lot of features here now that we had before with Sony. It really depends on what's most important.

The human eye does not perceive bits so such a claim makes no sense by itself. The necessary precision depends on many factors. There are multiple experiments on the tonal resolution of the eye. Perhaps the most applicable are the ones done during the research and setup of the digital cinema specifications, which determined that for movie theater viewing conditions and for the typical tonal curves dialed in by film colorists during the DI process and for the encoding gamma of the digital cinema spec (2.6 power gamma), you'd need around 11 bits to avoid noticeable posterization/banding artifacts after discretization (seen in gradients in the darks, by the way). This was rounded up to 12 bits in the actual specification. In an office viewing environment (brighter environments) you can do fine with less precision. This is about delivery though -- meant for images for display. You'd usually need more tonal precision when you capture an image, because it needs to withstand the abuse -- pushing and stretching -- of post production. The precision will mostly depend on transfer curves -- you need relatively more for linear images, and relatively less for logarithmic images. With today's DRs 8 bits is absolutely not enough anymore for log curves (and not even remotely close for linear images). It usually does fine for delivery for consumer devices (some of these displays are 8-bit, some are 6-bit; likely moving to 10 bits in the future).

Any monitor is good for video editing you are just editing but color accurate monitor I would stay away from benq monitors for any color accurate work they simply are not accurate if money is not an option i would get EIZO or FSI monitors these are the only two monitor brands you should be considering for any kind of color correction and grading workflow. Plus you will need calibration device to calibrate your monitor for color accurate work that is another ball game. PS if you are feeding your monitor via graphic card then your monitor will not be 10bit since your card is not 10 bit what you need is something like black magic mini or video card that supports 10 bit.

I think if your budget can only cover one C200 but not a second C200B as a B-cam then the C200 is too expensive for your budget in the first place. Why would you spend $7500 for the A-Cam but not be able to afford the $6000 B-cam? At that point, I'd instead recommend purchasing three GH5 cameras for $6000 and you're all set for a multi-camera shoot. The C200 is in a different league altogether, and a B-cam for that camera doesn't exist for less than $6000, nor should it. Look at the Alexa: I wouldn't tell someone to buy a $65,000 Alexa SXT as the A-cam and a $2000 GH5 as a B-cam because it doesn't make sense. The B-cam to the Alexa is an Alexa Mini or an Amira, both of which are around $40,000. The B-cam should be in the same ballpark as the A-cam in image quality, feature set, usability and price. The C200 is great, but it's not a replacement for the C100. It's a new line of camera that shoots raw 4K, and it's definitely expensive compared to the C100 line. I think Canon should also make a C100mk3 that doesn't shoot raw, and only does 4K 8-bit 4:2:0 to dual SD cards and sells for $3999. That's what you replace a C100 with. Hopefully Canon is listening.

Like a lot the Anamorphots and whole video. Congratulations. Not sure about IBIS. My opinion is to dissable always with anamorphic. And singer voice is really funny.

You chose wisely. Of all these Sony cameras that I owned or used (RX100 IV, V, RX10 II, A6300, A7S II), the one that amazes me the most is the RX100 V. The mark IV is nice, but having this awesome AF allows gimbal work or just not caring about being in focus is worth the upgrade. Its low profile/image quality has no match in any other brand, it is a technical marvel. I'm less forgiving of all the sony quirks (battery life, screen diming, weird WB in slog2) with the other cameras, as they are bigger and tend to be use in a professional environment.

Job well done, make me wanna try these anamorphots Love the brick wall look!

Yeh if you have the latest version, you can do it in one of the subgroups of the lumetri panel.

Enjoy. I'll give you a free copy of EOSHD Pro Color to go with it, just DM me when it arrives!

Just as a warning, most of the online Sony NP-BX1 batteries are extremely convincing counterfit batteries. If I was going to buy them on-line I would have bought off-label NP-BX1s.

Try ebay? It's probably manufactured in China or maybe Vietnam. ? RAVPower FileHub Plus

Find the one that responds to protocols over HTTP and get that one I know what you mean though - I have the same dilemmas, in the end Mk IV has stood the test of time and I didn't feel upgraditus coming on... The A6300 and A6500 on the other hand, I regret buying.

You can do it (slowly) off Panasonic's app if it can hold the connection long enough. Otherwise, Apple's "how much????" SD card reader is the way to go. If you are looking at doing stuff mobile then I'd recommend taking a look at something like this RavPower device though. Its a multi function unit that can act as a card reader, USB host, wireless router and battery bank. With a device like this you can connect an iPad, iPhone, MacBook etc simultaneously and share, copy and backup files from SD cards and USB hard drives between them. Even just for travelling for sticking a ton of films on a cheap sd card so you can watch films on your iOS device without having to clog up the phone's own limited and expensive memory with them makes it a great buy. And if you're travelling with a partner or kids or whatever you can all watch different ones simultaneously on your different devices. And also for travelling, if you find yourself in a hotel that only has an ethernet connection (getting rarer but still happens) then you can use this to create your own wifi hotspot. https://www.amazon.co.uk/RAVPower-Wireless-Portable-Companion-Streamer/dp/B00TI3WQJS/ref=sr_1_3?ie=UTF8&qid=1497870978&sr=8-3&keywords=kingston+mobilelite

Thanks BTM_Pix for this discovery and release! Here's a quick test that I did. Nothing fancy. I also didn't have my laptop at the time but I wanted to see how I can grade it. Transferred the 1080 files to my iPhone 6 and edited and graded to taste there using VideoLut App. For shooting and quick grading on the go (for social media posts, etc.)This setup will prove to be very valuable!

If you get one of these you can then use Sony NP batteries for both. It has a tripod thread, a bracket and a velcro strap so it has a few different mounting options. Cheapest way to do both I think https://www.amazon.co.uk/dp/B01EFSUK98?psc=1 Its versatile enough to be used to power a B4 zoom if, like I was here, you are ever curious enough to put one on an MFT mount camera

Like I said, happy to be proven wrong haha! Thanks for the info, will check it out when I get home. Aside from RAW and internal prores, it's starting to look like the GX80 is the 4k pocketcam that Blackmagic never delivered.

I wouldn't say a stretch, its there we just have to find the right path to get it. I'm getting up with a friend on tuesday that has the GH4 with FW2.3 and we're going to capture the commands necessary to "coax" it out, haha. Options available will list the options that are cooked into that mode some that are enabled, some that are disabled.

Someone has the "curmenu" reply of the GH5?

It's Monday tomorrow and even though I don't have my GX85 on me, I am waiting for the VLOG on it. I think the colour science would make it great.

Wait, how is stabilization top notch with Canon? They only have silly e-stabilization, no? And that embedded video... actually, the image quality isn't too great and you'd already only use the your best shots, but the guy knows his composition, editing, grading etc that makes up for it. Just goes to show that it's the one that presses the buttons that matters, not the device the buttons are placed on. For vloggers etc however, a Canon is just a breeze to work with, you could just shoot away, drop the footage on the timeline, cut the sequence and you're done. If... like... the content is the only thing that matters, I mean, there's enough shakey portrait mode videos shot on potatoes that have gone viral. Though... if you're want to add a touch of actual cinematography and want the most control and information captured as possible... you can't deny that a Sony A-series or Panny G-series is flippin' awesome. They've got more to offer than that point-n-shoot characteristic of anything that's Canon consumer range and especially Panasonic is doing it rather well, I'd say.

Went to New York for a business meeting last month, only stayed there for 1 night............

Interested to see your results. How much wider can you really go? 8mm is insane, I use a 10mm on Bmpcc with speedbooster and I can basically see my own shoulders, lol Not exactly maybe, but if I stretch out my arm I can see half of my upper arm so maybe 6" from my shoulder. Here's an test video I did when I got the lens.

I think the 1DXMk2 is a great B-Cam. It is perfect for situation where I need something rugged or need to go low-key. The video quality looks great. Granted the 12bit raw from the C200 is much more robust, but I'm sure there will be little trouble matching the two. This solution offers the best of both worlds.

Oh my god, this hack has been on my wishlist for a long time. Now my old G6 finally became a NTSC one and I will spend the rest of the day with a bottle of beer on my patio ? thanks

Made me run to my computer to get a couple of stills. Remember I have the G7 so the cinelike D was always there since the begining. I use -4 / -5 / 0 / -5 on my cinelike D profile Left is cinelike D and right is graded to rec 709 and applied a color grade of my own

Youre a good man Georgios

You won't believe this, but my horoscope for today said exactly the same thing!

I can offer you a speedboosted Contax Zeiss 50mm 1.7 vs speedboosted modern Nikon G 50mm vs non-speedboosted Sigma 35mm ART comparison on a GX80 if you're interested?

I'll try to get to it next week. I recorded a bunch of things with the instamic over the Easter weekend. I clipped it to my kids as they ran around with/without the windmuff and planted it in and out of sight around where the action was.

It's all Samsung NX1 (except for a couple of drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080. What's it about? What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

no you cant do both at once , its either or !! I have brought this up at meetings with Panasonic as we all would like this feature , the G7 will not do this, I just shot a feature film with 6 x Panasonic G7 cameras , its a great camera !

I don't think the G7 has a 4K HDMI output. I have one, will try it with my Oddyssey 7Q+