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It was shot on film (with several scenes on Alexa), so I'm not sure what he's getting at. My local theater has all new 4K projectors. I can't say I see much of a difference between the films mastered in 2K vs 4K. Maybe on the super high end blockbusters, but that difference in look can also just come down to aesthetic differences between them and many (not as huge budget) 2K films. Maybe my eyes aren't keen enough, or I'm too focused on the films themselves to suss out resolution differences. 4K content over the web is generally too compressed to look any better than 1080p imo, especially at typical screen sizes and viewing distances. I worked at Best Buy during the 4K boom. When people are evaluating a new TV, they're generally standing quite close, a distance they'll never watch from in their home. When they get the set back to their living room and sit at the typical 8-12ft viewing distance, the bump in resolution over 1080p is negligible. Imo, 4K display makes way more sense for projectors (large screen size) and computer monitors (short viewing distances) than it does for TVs. Most real videophiles are rocking either a late model plasma or a new OLED, and neither choice is about resolution. I myself have a 1080p projector that constantly amazes me. Sizes that large have a hugely different feel to a TV, and really let you enjoy every ounce of resolution. I'll probably pick up a 4K model when someone competes with Sony in the consumer 4K space, or maybe go back to a TV once OLED gets farther along its race to the bottom; Sharp is slated to start making OLED panels for the other manufacturers this year, so we'll likely see prices dip by 2018. TV manufacturers also have yet to agree on an HDR standard. Some support HD 10, some Dolby Vision, a slim minority do both. And different streaming services support different standards: Netflix content is HDR10, Amazon Prime is all about Dolby. If you're happy with your current display, get something with universal compatibility or wait for that fight to be decided before you jump in. That's not even getting into cameras, which I'll post about when I haven't just spent 18 hours on set.

I've had the NX1 for about 6 mos or so. The images it produces has become one of my favorite. Mostly shot on Nikkors Ais and Rokinons. Gamma: Normal, -3 Contrast, -2 Sat, -10 Sharpness, 16-235 for some and 0-255 for others.

Because you probably shot all the footage. It takes a lot of fucking time nailing camera movement, lighting and getting a good take from the talent. So when you get to the editing bay, you're far more unlikely to be willing doing the necessary: trimming that shot (that took all day to get,) down to a few frames, or worse, omitting it from the final cut. Can't believe this thought took so long to dawn on me. Got into a huge fight with a friend who asked me to help edit their short. His main argument was something akin to, "YOU CAN'T CUT THAT OUT REEEEEEEEEEEEE-" Made me think like: oh fuck, am I this attached to what I shoot? Sorry for the clickbait title.

I picked up a em1 ii at a similar price thinking i would play with it for a few weeks then sell it out for a gh5. I have not compared directly to a gh5 (Andrews comparison mentioned above would be most welcome). In all honesty i have been so impressed by both video and still quality that im reluctant to let it go without a good go on a gh5 first. The colours are leagues ahead of the gh4 and even the gx80 i would say. The flat profile (along with a gentle tiffen ultra con or black pro mist) contains reasonable dynamic range and seems to hold up well to pulling around. Im going to film a short in a couple of weeks with the em1 ii and have not felt the need to try another cam for the job. Maybe i need to meet up with a gh5 owner or rent one to be sure.. But i think ill be hanging on to the olympus for a while yet

Hi! I'm new to the forum, have been reading it for 2 years but I have never published any post until today. I purchased Canon XC10 about year ago, And I must say that I'm happy with the camera. I started filming 6 year ago for a hobby with a Sony camcorder. So i think I better understand the principle of XC10. It's not a master production film video camera but it's excelent run and gun camera for filming events or b-cam for bigger indie productions. So it's understandable that those who have always using dslr-s for video don't understand the concept of XC10. Sometimes the bigger sensors cause problems with focus because of much smaller depth of field. This is sometimes downside when you have no time and you have to do quick shot. The only thing I would add to the XC10 is fixed aperture and servo zoom. Then may be a masterpiece. I'll share two my video links (from 2 events) in the bottom of article. I tested XC10 for this two videos. Beside XC10 I'm used few more cameras for thoose 2 videos. Panasonic GH3 (with Olympus 45mm f1.8 lens) Sony HvrA1e camcorder (it was one of the first 1080i camcorders from 2005) and Phantom 3 Professional dron (shooted in 4k downscaled to 1080p in post). More or less i used XC10 for steadicam shots (used with Beholder DS1 gimbal). Filmed in 1080p resolution 50fps mxf format and Canon Log picture profile. In post I'm furthermore stabilized all the clips with Warp Stabilizer, so picture is not in full resolution maybe 10 procent zoomed in. I'm colour graded and matched all the cameras clips with Filmconvert. I hope I achieved good result. I must point out that I am not a professional. I'm dealing with video in my free time. P.S Sorry for my english grammar!

Looking at your setup I seriously doubt a GH5 would boost your creativity... In some cases it is true that a better/more ergonomic/more versatile camera could enable you to do things you can't do with your current gear, but having an a6500 and an FS5... Come on! Both cameras are light, small and very capable -with some shortcomings, like every camera-. I use the FS7 and the FS5 for paid work and frankly, if I don't enjoy as much as using a stripped small cam it is because I am WORKING. Even if your job is your passion, there's a tiny bit of pressure when there is a client, pressure to not screw up, to not miss any shots, to go on schedule and even pressure to "get it right" -sometimes you shoot and edit exactly what was agreed and scripted and the client doesn't like the final film and wants to re-shoot, re-edit or start from scracth-. There's also the fact that you are many times not shooting what you really want but what serves the client's purpose. No matter what camera you use, nothing will compare to the joy of shooting with your small cam on vacation or shooting an improvised goofy short with friends. You'll always find more joy when you can experiment with lighting, camera angles, lens choices -or lack of, using just one- having the luxury to get it wrong or "not perfect". All that "dedicated video cameras kill creativity vs mirrorless open up new worlds" is the enthusiast/purist/idealistic/childish filmmaker in all of us talking. We've all felt a little bit that way some time or another, but deep down we know it's not true. It's the kind of BS that crumbles down the moment you are faced with the reality of the industry, its tight deadlines, its constant need for quick technical problem-solving, for formats that meet the detailed requirements, for footage that is easily cut with the rushes someone else has shot who knows where, for files that are platform and NLE agnostic... Your tools are just that, and fatigue may set in no matter which tools you use. Take some time off, maybe? Try different projects? I, too run a production company and know more often than not this is not possible. If you find there's some limitation that really affects your work -what clients expect of you- such as 200p @ 8K then sure, look for a new tool that'll serve you. The FS5+RAW is a real workhorse, uncomfortable at times for sure, but it's a professional tool that gets the job done. The a6500 not so much -was never intended to- nor the GH5 nor any other camera that is not meant for that use, even if we all use them sometimes with mostly acceptable results. I've been in your place more than once and what I learnt was to stop, leave emotions aside for a moment and objectively evaluate if the change is really going to have a meaningful positive impact in my workflow or what I offer to the client. Will it make you faster, more efficient or allow you to offer something clients might want that you can't give them now? If I were you I know I'd end up missing having proper internal ND filters, proper audio connections (even though I have a soundman recording externally) and the rest of the "little things" a dedicated video/cinema camera provides... even if the GH5 is a true accomplished camera. Sure, like the F5, F55, FS7, FS5... if you use a prosumer stills camera with hybrid/video features, even if the specs are impressive and may deliver stunning results, do not be surprised if those things happen. I seriously doubt the casual street photographer shooting RAW stills is ever going to experience those problems. In a shooting there are things far more "impressive" than a rigged camera: large lights, grips running around, lots of stands with flags, cables, trucks, an old DP with his light meter... The rigged GH5 might be cumbersome and uncomfortable compared to an FS5, so the advantage of "going light and free" is lost. Even in a small shooting with few people, If my livelihood is at stake I'd always choose convenience/usefulness over looking cool... I'd probably choose a C300 or C100 over the GH5 provided the requirements of the project are covered with the C100 -even if it's not the best iq available-.

Yeah, there is nothing worst than trying to "fit it all". I do a lot of short 2-4 min video and I often have 1-2 hours of footage for that.

Don't worry about the codec on the E-M1 II, it's very good. Minor differences between that and the superior 10bit on the GH5. And that price is very good indeed. The flat profile can actually be graded quite a lot before it falls apart. I should get my GH5 vs E-M1 II comparison shootout article and footage out, it's been a while and I haven't got round to it!

I think the more interesting question is... did you get an Alexa Mini?

Well hopefully the new 400 Mbps codec will fix this also. Not that most would every need such an extreme grade.

Yeah you are right about that. I've been trying to decide between a 4K camera, but then I look at footage from my film on the 5D3 and I forget about 4K. If you're happy with the G85, then why bother changing? But the a6500 does make for some seriously good 4K downscaled. For 4K, I am thinking about saving up for a 1DC next year. If I decide to get an interim camera, I may get another a6500, or an X-T20, or a D7500... haha too many choices. Hell, I'm still pretty happy with the 1080p from my D5500... so as a hobbyist, I am probably set. Hmm, a6500 or G85 is a tough call. Like you said, most of these cameras look pretty damn good downscaled. The a6500 has better DR and a bigger sensor, but the G85 won't overheat. But if you're not running 5 or 10 minute takes, the a6500 probably won't overheat either. I liked the the look of the a6500 better than the GX85, but that's subjective. sLog3 is pretty insane, it's probably the closest I have found to Raw on an 8bit camera, but I shoot outside, in the woods or wide open spaces, so the possibility/probability of banding was of real concern... unsure if it would be a problem in the city or if there are settings deep down in the menus to deter the banding. And the sagamut3cinema... or whatever it's called, is gorgeous. Idk, tough call... if I could get an open box for less than a thousand, I would probably buy another one, it would cure my desire for 4K and IBIS, but for my needs... at 1300, it's a little much. BH has a great return policy, so you could always buy and try for a week or two. If you don't like it, return it and continue with the G85, or upgrade to a GH5.

The only thing to bear in mind with the lens throttles are that there is no ND0 setting so you'll always be losing some light. If thats going to be an issue for you (doubtful with the camera you're putting it on!) then you'll need to carry 2 adapters. I only have the dumb version for M43 so I don't know about the AF aspect with the smart one you're looking at but the ND performance is very good and its a neat product. As an aside for anyone looking at one of these for M43 mount, its actually an EF to M43 converter and they supply it with the converter to EF of your choice. So when I ordered it as M42 to M43 it actually is two separate pieces which is great because to use it with Contax Zeiss or Nikon lenses, I just take the M43 to EF part off and replace it with the C/Y to EF or Nikon to EF. Without any adapter I can of course use it with EF lenses as well so essentially its 4 adapters in 1 for me. Plenty of reviews on YouTube including this very nice one from our very own @Mattias Burling

If you want 4k 60p go with the pana. Anything else the Olympus at that price is a steal. If you're talking about V-log just shoot Oly's flat profile and be mindful is 8bit and not so gradable, but colors overall are beautiful. If you plan to get the look in camera you have a great deal in your hands. The only thing missing is video backup to the second card but that's personal preference. I would take it if I got an offer like this.

I really thank you for your generous effort to show me and a lot of others the very miniscule differences, as far as moving pictures goes it looks like no bad penalty to pay. Yep 5 days of test cricket in the heat you probably want to try a few different things....... Ive got a set of Manfrotto 058 TRIAUT legs to put it on so should be fairly stable. Once again thank you, thank you..........................

I really enjoyed grading the shot. ...but if I were you I would hold on to the Ursa just a little bit longer. Especially now you want to focus on grading. All three have the same curve (red channel) applied. The Terra holds up, The Ursa holds up and the GH5 falls apart. I think their compression tech is top of the bill ...so much that only after grading you find out that literally every nuance was squeezed out.

Yes, I have a Haida x64 (nd1.8) for this lens. Not great, not bad. It's not completely color-neutral, but it's also not obnoxious either. Better than the greenish tints from Tiffen and not warm-ish like a B&W. (which I actually like) FWIW, you're not going to get a budget ND that's color-neutral. I've often debated about buying a serious pro-level set of 4x4 filters and a universal matte-box thingy so I can use the same set across my entire range of lenses, but that sort of rig just doesn't fit my shooting style. The other option is to buy a set of 77mm filters and then just use a bunch of step-up rings for your various glass sizes. Of course, doing this would then require a french flag for blocking sun glare...so trade-offs all around. At one point I even though about buying a cool chinese mount adapter that loads small 52mm filters between the camera and behind the glass. Maybe an option if you're invested in a specific set of lenses like eos/nikon/pentax/olympus/etc.. Not a terrible idea. Variable ND's are convenient, but I'm just not a fan with the color shifts. Regarding a 1.8 ND, I will say that on a sunny day x64 is not enough to allow wide open f.0.95 shooting @100 shutter speed. You'd need something stronger by about 3 stops.

That's great to hear. I already have the same as you a Novation Launchcontrol (cheap, especially second hand) and Hercules DJ controller (great if I can map the focus to the jog wheel). Thanks for your efforts on this

Looks real nice, Jonesy. So, are you only using the GH5 now? Or do you still have the Ursa?

Hi, I´m a young DoP in Asuncion, Paraguay. I have done many tests with the NX1 and have been using it for many commercials and resently for the feature film „Saber Crecer“ (To Grow). Trailer: https://www.youtube.com/watch?v=a6iQ3mQI9CA This film has been shot entirely on my NX1 (except the drone shots) using the bitrate mod (160 Mbit/s) and the NXL speedbooster by Luca. Please let me know what you think

You might be pleasantly surprised.The IBIS with non-Panny lenses is still very good. I stuck a Tamron 24-70 2.8 with Metabones XL on my GH5 and didn't notice a difference in IBIS performance compared to the kit 12-60.

To be honest, there'll be a version for that too as its just a remap exercise. Bit trickier in terms of getting one that has the right combination of switches, pots and faders and also that is a) readily available (these things drop on and off the market) b) a reasonable price and c) compact. The target price for people to pay to source all the stuff is less than £40 and the bluetooth ones fit that perfectly. The middle ground is an XBOX type controller that I've sourced which has nicer sticks (two of them) and might be more appropriate size wise with bigger cameras like GH5. There won't be anything stopping people having both though so they can use the bluetooth ones for stealthier setups and the XBOX type one if they're using a rig etc.

Anything new would depreciate somewhat over two years. You want to find yourself a really good deal, or buy secondhand. I'd be fascinated to hear more about this Arri Alexa Classic for $12K, as I've been posting quite often pointing out they exist!! Could you convince him to come on over to here and start a new thread about his purchase? That would be AMAZING!

I see that 10bit is better than 8bit, certainly, only pointing out that it doesn't bring one closer to RAW in color depth (in my experience). Can we see a wider color gamut than REC709? We can certainly see one in nature because things can be brighter than 6 stops, say, and our pupils dilate, but in the real world, our displays and needs don't exceed it? I want to make a point again, that you can get beautiful footage from S-LOG, I'm not talking about subjective benefits of S-LOG. Or to put it another way, if all cameras started with S-LOG and today they introduced standard profiles everyone would be like "Wow, look at all those rich colors!"

Thoughts? Maxi, the legend is back! Awesome. Glad to read you again, Max!

S-LOG is totally worth it, if you now how to use and treat it. It's not only the extended dynamic range, its the impact it has on highlight rolloff which makes the transitions from shadows to mids to highlights very smooth. The difference is night and day. If you know what to do, using S-LOG will give you a far superior look to standard profiles. I personally modify SLOG 2 for better colour and I love it.

They are great products. They have a configuration app which has presets for popular apps but you can configure it to do your own things. The PRO version that Tim has allows you to create your own macros to be triggered by any of the switches so you can fire off a chain of commands from one press. The Express version doesn't offer that feature but if you're travelling or don't need as many keys then its a lot more compact form factor. Its smart enough to know which app you're using as well so it won't go off blindly sending out the wrong commands when you switch from Resolve to FCPX etc

5D2: 1856x1044 24p for about 17mp before buffer fills up (70MB/s write speed) 2144x1076 (2,61x crop) 24p 10bit continous moire/aliasing in fullframe mode 5D3: 1920x1200 30p continous with 10 bit 3K continous with compressed raw no moire or aliasing lower noise double price.

The robots have regular meetings about it but they're easily distracted.

Not really caring much about holographic at the moment but im curious what they have in store for camera functionality and add ons.

Thanks @mercer! Final video have been ready for a while now but waiting for it's 'official' release. But I am sure to post it here this week. Also working on another musicvideo at the moment. Have to say, it looks quite good to my eye can post some teasers of that Later.

This discussion thread is still going for a few good reasons. It touches on an important consideration in film-making. For instance, I made a short impressionistic travelogue film on the 5DMII 8 years ago. Shot it with one old 50mm prime lens. I think it looks great and I'm proud of it. The fact that it's Canon's ho-hum 1080p is not the reason that film is received well from my targeted audience. It's the material -- and the fact that what is there appeals to the viewer regardless of resolution. Also in my library is a simple corporate film from 2009 that used a XH-A1, shot on VideoTape, for goodness sake. The location was an Audi design studio. The place was illuminated like a giant soft box; looked great, featured a bunch of cool cars, and I made a bunch of weird creative choices in the shooting/editing. That little vid still generates work for me. Simply because of the brand name, content, and the overall look of the work. If we talk about what is really necessary, let's be sensible. It helps to consider that craft still carries the day. Always has and will. As it should. That said, I shoot 4k when appropriate. It's there to assist in the craft not define it. Seeing as this thread is over a year old, I can probably imagine I've posted the same thing on here months earlier!

Did you get an a6500? I have been toying around with the idea of buying it again. I think the 4K is unmatched at its price point.

Yeah, their earlier years were sketchy to say the least. Some of their designs sailed close enough to the wind in similarity to people like Aphex and Drawmer (to name but two) to be actionable and thats before we get to the build quality. It wasn't uncommon to have to buy and return several examples of a product before you got a good one. Its changed over time though, particularly with their manufacturing when they built their own plant in China, and the tipping point for me in acceptance was their X32 digital console. I think they've sold in the region of 50,000+ of that and it variants and its a superb product. I don't think anything they make is going to make you go wow (aside from the X consoles) but they're fall less likely to make you go ouch than they were and certainly will never make you go ouch when you look at the price tag. With regard to MIDAS, its relative I suppose. Compare two Behringer products that have their own pre-amps in with the variant that has the MIDAS ones in (such as the ADA800 8 channel A/D and the MIDAS equipped ADA8200 version) and there is a difference. Its often related to changes in surrounding components as well to be fair to incorporate the MIDAS design but the overall end result is the same in terms of improvement. As I say, thats only relative to Behringer's 'own' design pre-amps though so whether it actually makes them better than other manufacturers is a lot more subjective. Its not just a marketing gimmick though to be fair, as the designs are genuinely still coming from within the MIDAS design team. At the risk of sounding like a Behringer shill ( ) there's quite a lot of side by sides on YouTube with the U-PHORIA where it doesn't disgrace itself. Gearslutz.com is a good resource for blind comparisons between lots of different interfaces too. Often these are conducted by - how can I put it politely - people with more recording experience than some of the enthusiastic YouTube 'Hey whats up guys, Ched here with another of my famous shootouts that you folks have been asking me for' ones. Ched with his 19 subscribers there.

I'm in the same boat. The main reason why I don't buy more new gear is that I don't have the time to learn how to use it. I've been shooting with the same Sony camera for close to 2 years now and I'm just getting to the point where every setting comes natural to me. If I were to get a Blackmagic and GH5 it might confuse me more than it would improve my shooting.

The Expodsic (or at least this £13 'equivalent' version) is a good cheap alternative to an incident light meter as well as being a quick and reliable way to set white balance. You just hold it over your lens whilst pointing to the light source that is falling on your subject so and when the camera meter hits centre then thats the exposure set correctly as the camera expects it to be because it is seeing 18% grey through the Expodisc. Its quite interesting to see how that can look on screen when you then take away the Expodisc and on the histogram (especially with cinelike d) as it is definitely not ETTR but sure enough with zebras at 100% the peak highlights are only just pinging the zebras. I wouldn't say its a definitive way to expose but its a very consistent starting point from which to make the decision and as its measuring whats falling on the subject rather than whats reflecting from it then its more appropriate IMO. Kicks arse for white balance setting.

I think the reason this is a popular thread on EOShd is simply because this is a nerd site for cheap cameras. We know, or want to know, the intricacies of techniques and equipment. What we do with these bits of info, if anything, is another matter altogether. I will say that, personally, the people I know and admire creatively aren't obsessively concerned with the nerdy tech stuff. They know enough to work and the rest ain't a big deal ---or trust others to carry that water. That's my world though. Yours might be different.

Hey all, just joined the forum and am excited to spend more time in this community. I recently finished up a film called "IN HAITI" that was the first project I shot on the Panasonic GH5. I absolutely loved the camera, especially the improvements over the GH4. I wanted to share it here and get people's feedback since it's still a relatively new camera, and if anyone has any questions I'm happy to talk about what I did and what my experience was using it. I shot in vLog at 3840x2160; a few shots were captured in 1080 at 180fps. The film was graded with FilmConvert. As I said, I loved shooting with the GH5. I'd been considering several cameras, such as the FS7 and C300MKII, before pulling the trigger with the GH5, and have no regrets. In my opinion Panasonic really pays attention and they made very smart and necessary upgrades with the GH5.