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Heres a few lenses tested in stills mode - The Sony Zeiss 55 1.8 is sharp as - where as the Minolta MC 58 1.2 is loose and funky as hell. I need to get the Novoflex Minolta adaptor to iron out some of the issues - most of the funk lies at 1.2 - stopping it down reduces the life out of it - I think at F2 a happy medium can be struck although you loose those blacks which have that nice veiling flare.

What's up folks?! It was tough matching the color of the RX10 and the NX1. Moreover, locking the exposure on the NX1 was another headache. Still learning and feedback would be greatly appreciated and thanks Ricardo Sousa for the Luts (Aspen was used).

Just a quick review of my finding pairing the GH5 with a anamorphic run and gun setup. In this review I include some close up footage using the SLR Magic 1.8 diopter. So far this camera is proving to be quite interesting. It's small, well compared to my Canon, and extremely capable. I might go as far to say at this moment the GH5 is perhaps my favorite video camera. The grade is somewhat extreme, and I did murder the blacks, but it was the only way to get the high contrast grundy look I was going for. Opinion/advice all welcomed

The title pretty much says it all. I recently got the Anamorphot, GH5 and Panasonic Leica lens, so I have been playing with them to see how thing pan out for a complete anamorphic novice. So far I am liking the combination a lot. The Nocticron can autofocus even with the Anamorphot in place, this was a surprise. Anyway enough yapping, below is my fooling around:

Sample fixed now -- original is 9388 x 7019:

..Assuming E5 wasn't a typo, it was an Oly DSLR that existed before the m43 mirrorless cameras but had the same size sensor. Some people still use them for the same reasons as the Fuji S5 - not a lot of megapixels, but they love the tonality... (I almost bought one a few weeks ago!)

Tiny fanless camera with ProRes and RAW to SD cards, released in 2013:

No indication of what he ultimately paid, but he did mention previously the initial offer was for 2600 UK Pounds.

Thank you guys for all your help. I found a great deal on a 1dc and purchased very happy with. Thanks

@Nicholson Ruiz I would not over think about matching perfectly two different cameras. When you are making musicvideo I would use it as an tool. Even make it more clear that those are really different looking cameras. And talking about different looks.. in my opinnion the biggest problem in video is too much same size&looking images through the video. There is no closeups, no extreme close ups, really wide angle, crazy camera angles and so on... I would move and search much more interesting angles. That way you keep people much more hooked for the video. If it just same kind of shots with same framing it gets very boring quickly.

That's a nice setup. I really liked the pre-ai lenses but then when I bought the D5500, I could only use ai-s lenses with it and to be honest I preferred the shorter focus throw of the ai-s lenses. Btw, I did buy one of the 25mm f1.8 Cine Nikkor lenses from a seller in Japan and it had a small blotch of fungus, so I returned it. I think it is still listed on eBay, so just be careful when purchasing it from Japan. I briefly tested it on the GX85 and it has a really nice rendering. One thing to remember with c-mount lenses though... a lot of them have the aperture ring and focus ring switched, with the focus ring closer to the camera... unsure if that would be annoying to you.

Mercer. And to the group. Since you all are experts, regarding the camera dilemma, here is more insight and questions regarding the EM1.2 and GH5 This documentary is going to be shopped around to a bunch of different places. PBS, HBO, etc. My uncle has a publishing agency behind this, he has been in the music industry for 40 years and he knows how to promote and well connected. The sentence before is NOT(NOT NOT NOT) meant to brag but to state the point that I don't want the video quality to be the determining factor between this getting picked up or not. This project freaks me out and excites. Regarding the camera: I am doing long interviews. Hours. Would prefer to do it in 4K so the editor has a lot of head room. The EM1.2 is limited to 30 mins. It seems to me a distraction but you all know best. If there is an easy/fluid way to get around this, let me know. From what I have read and seen on youtube (my only source) the quality at 4K 30fps out of GH5 is better than OMD. Also, if the requirements from editor changes to just HD, I understand that the HD quality out of GH5 is better too. The EM1.2 was purchased 2 weeks ago from the Oly refurbished store. I can get a full refund. I do really like the camera and it fits well in hand compared to the GH5. But, the GH5 is an excellent video camera and a very good stills camera. Thanks again for the great input!!!

If you've never shot on a GH4 or 5, you cannot appreciate how the camera becomes an extension of your hand/arm...plus the ways you can customize the camera to suit your needs, are virtually unlimited...it you want a large Cine cam it goes on rails, cage and sticks...the modularity is fantastic....yet in the right hands, and especially with IBIS on theGH5, you can be on a street corner literally anywhere, and with what looks like no more than a tourist camera and get footage that looks locked off and and can cut together with virtually any camera...another value of walking onto an airplane with a couple of light lenses, a 16" travel tripod and one or 2 GH5s in a small backpack cannot be understated enough...I will get a second body soon....if you're curios about the camera...rent one for a week...don't go into a store and ho,d it and snap a couple of picks....this is no a camera for amateurs....it takes months to really master it, but when you do, the results, the operating experience, the ergonomics...it all becomes clear.

Actually, the thing I appreciate most is that thanks to the time people have taken with me here that I realise how ignorant I was! Focus especially is an area where I would wasted ages doing the wrong thing. Now I can jump a stage where I might have wasted days, then, if I decide the limitations of my stills lenses are too great then I know exactly what lenses to buy. And instead of wasting time trying to make sense of different light reviews and then maybe buying the wrong ones, thanks to jonpais I know which reviewer to look at. (And I've already learned from that reviewer that Apurture are an especially safe bet for good CRI cheaply, which is my first priority.) So now I can go out and shoot without wasting time. Except - no joke - it is pouring down outside...

This wont happen, the camera's have been discontinued. Why on earth would they make a update for it. They said they were focusing all updates on the ursa line. Which I feel personally is a great move. Too many camera models slows the update process down. (You might want to save up for a UMP or ursa mini 4.6k.)

You'd have to have a real fetish for polishing, yes. The Lecia Q made more sense - if only the FL had been 35mm and there had been X100 style converters for 28 and 50, and the Leica QA problems had been fixed, that would have been a formidable camera. Of course, it was effectively a full frame Panasonic. Which leads to the thought that one day Panny could disrupt the fullframe market.

This is, of course, completely gaga. Yes, you can synthesise more levels of detail. But they are a lie and no one wants them. More than that, no one has worked out how to synthesize computer graphics that are convincing on this level. The idea of a Canon 5Dvi actually generating this code is so nutty that you should be wearing an anti-squirrel hat for your own safety. Two more things about ML and cameras - 1. ML algorithms generally take a long time to run. And the more complex the task and the better the required result, the more time they need - and generally this relationship is a steep geometrical curve. So even if this tech existed, which it doesn't, why the devil would you try to run it at a high frame rate in a portable battery powered device? It's like a man who fell off a bridge in Paris. In. Seine. 2. Camera sensors hate heat - because it equals noise. The best IQ in any reasonable size stills camera comes from the Sigma Foveons and part of the reason is they are designed as radiators and screen resolution etc are compromised to keep heat down. Running a complex ML algorithm at video frame rates would be an unprecedented processor load, meaning unprecedented amounts of heat from the CPU. So even if the tech existed, why would you do it??? Seinely - sorry, sanely - you wouldn't. You'd take nice raws and then compress using this tech on your PC. ..Honestly, "balloon juice" is being kind.

@Nicholson Ruiz Hey Nicholson! I like the flow of your video and the three settings. I wouldnt worry about matching the looks as they occur on the three different locations. Only thing, if nitpicking, a very few changes/cuts between locations seem not hundred percent perfect, maybe due to a free and flowing approach. Very nice video, locations, talent in front of the camera, nothing to worry about matching the two cams, I must say. By the way, this video of yours looks awesome. Red Epic, anybody?

It will certainly be pixel binned 4K like Fuji X-T20 and A7R II. When done well like on the A99 II it can look very nice. And Nikon's flat profile / colour / processing pipeline is very good. Hopefully they won't forget to put the Super 35mm 6K oversampled crop mode on there... HINT HINT!

Olympus 5-axis stabilization is a lot better than Panasonic. The GH5's is nice, but it doesn't compete with what I was used to on my EM5II. Having great IS, while cool, is not something I really look for when making certain documentaries. It's not a bad thing for the camera to have some kinetic energy going for it. I like Cinéma-vérité. If a filmmaker appreciates that sort of movement, then superior IS isn't a big consideration. However, an Olympus IS camera paired with an Olympus OS lens it's sort of crazy at how it can smooth stuff out. Depends on the look you're going for. Since the OP is already an Oly guy, he should just stick with it. Not only is it an awesome stills camera, but the EM1MII is 4k and has great colors. If you want a nice lens to shoot interviews, the Voigtlander f0.95 will offer shallow DOF on m43. I prefer the 42.5mm for interviews, but the 25mm is good too. It'll give you plenty of exposure to work with in low-light too. It's not perfect wide open, but the image is still good and useable, IMHO. Unless you're wanting to shoot in absolute darkness as cleanly as possible, then I guess consider the Sony's. Lighting wise, at since you can shoot low-light these days with any camera, look at two really small battery op LED's and something like this guy: https://photographyandcinema.com/products/d-fuse-softbox With two LED's and ambient light, putting together a nice 3-point-lit interview shot is simple and easy. To keep audio compact and easy I'd recommend the Sennheiser ew100 wireless lab straight into the camera. I'm not a fan of shotgun mics mounted to the camera, but if you NEED that ambient room audio it can be helpful. Personally, I'd rather isolate my subject's audio as a priority...but that's only if you're focusing on a single subject. Other needs require different solutions.

I think 1DXMK2 will be primarily for stills. It's not that it is not capable as a video camera... it's more that the GH5 is better suited for this job. The 1DXMK2 is an epic stills camera and my go to for high speed and sports. I think it is as far ahead of the GH5 for stills as the GH5 is ahead of it for video. Both are great, but focused differently. The 1DXMK2 does attract a lot of attention. Everyone keeps asking if you are a professional.

Overall I'd say you did a great job and because of the different locations the different looks aren't really a problem. Although the samsung is very obviously more detailed, I think to compensate you can add a little more contrast with a nice S curve and then play with sharpening (basic tool or an unsharp mask). OR you could go the other route and make the samsung footage a little less clear by adding a tiny amount of blur or lifting the blacks. Since you've got the "vintage" vibe going on, I'd probably do it this way. Btw, pretty cool song. Like the guitar/rap combo.

Size and weight are a consideration as I need to travel with the gear. If in a studio it is of less concern as I will almost alway just pop the camera on a jib or a slider. With the GH5 there is the potential for a best of both worlds situation. Checking all boxes with one model camera. The Canon is not large... compared to most cinema cameras, but it definitely becomes heavy quickly once full rigged. Most one handed gimbals cannot manage the heft of a 1DXMK2 with lens. And even if one could... good luck flying that puppy one handed. The real advantage of the hybrid format is stealth.

I guess I'm just confused why you are wanting to go with the GH5. You said it's because the footage is sharper, more grade-able, and "cinematic"... do these things only matter to you if the size is kept small? Genuinely interested, because to me small only matters for things like gimbals, but even then I don't really consider a 1DX large if I'm honest.

Watchtower of Turkey looks great but to get this look Leonardo exported the clips as an image sequence and then graded them in photoshop camera raw using VSCO and then exported back to a prores clip. So the Panny's can look very very good but may be very labour intensive compared to a Canon, all depending on your grading skills.

Which pre ai lenses did you get? I have the 50mm f2 and man is that a sharp lens. Btw, Nikon made some Cine Nikkor c-mount lenses you may want to check out. They may give you the best of both worlds and would probably cut nicely with your pre ai lenses.

You cannot compare these two, the NX1 wins hands down, its using Samsung famous autofocus technology they put in their smartphones. What happens is that the NX1 focuses after eyes, its got some extremely intellectual computing going on were it focuses after eyes, I done some insane shit with this camera and I never lost focus that it did not recover from quickly.

What? That's the ND for a nuke photo.

Haha thanks for the laugh! You should try balloon juice, it has electrolytes! I think I know how Luke Wilson's character felt

A few more lenses tested - Contax Zeiss 85 / Pentacon 6 Zeiss Medium Format / Porst Colour.....

I am warming to the idea of a GH5, but I'm not ready to pull the trigger on one yet. There's definitely some better material popping up from it now. I still think the 5D3 with ML Raw looks more cinematic and filmic but as a run and gun cinema camera, the GH5 is a great tool. Now if it gets approved by Netflix, and I decided to make a feature, I guess it would make sense to shoot it on a GH5 as a sales tool for the film... I'll just have my people call Mr. Netflix and tell him I made a not horrible film but at least it meets his tech requirements... That's a pretty good pitch, right?

Heres some with the Minolta MC 85 1.7 - similar kind of flares as the 58 1.2 - perhaps not as crazy. A weird vertical flare is produced. Again stopping down helps sharpen the image but does loose that funky rendering - like a painting at times. F4 seemed to be a sweet spot. I think this would be a great portrait lens.

Mauri's fully assembled lens package with customized engraving. Check out Mauri's amazing work at: http://www.mauridgaliano.es/

Turns out the TL2 is much improved right up until the point you attach their Visoflex EVF at which point it, erm, breaks. Sales suspended until they fix it and seems as big a failure in testing as Leica have had since they decided on Victoria Beckham as a good candidate for a bit of celebrity product placement.

Today I did a 5 hours editing session and I did check the temperature and throttling. First I converted h264 files to DNxHD and the machine did run for 1h continuously at 100% CPU with a temp around 80° C for CPU and 65 for GPU (gpu was doing almost nothing) and it did not throttle at all always around 3.380 GHZ. I then did 3 hours of editing and grading 4k and there was really no stress and at the end the final render the CPU went up to 84-87° C throttling it at 3300-3350 GHZ. At the end I played with C200 RAW natively on a 4k 25p timeline with some grading while letting loop continuously the preview it did reach 89° C the CPU and 80° the GPU and after 10 minutes it did throttle down to 3000 GHZ. In my opinion is a non issue for editing because you never play continuously the video so it cools down between every preview.... Worst case it throttle down for the final render but there is not an issue if it becomes 10% slower... Games are probably different because the load is continuous, but I'm not a gamer so I cannot comment on it. Bottom-line for portable editing and grading in Resolve it is a good compromise between price, perf and portability. In 3 months that I have used it for editing and grading I never run in to issues du to the heat.

My Dell 5000 series gaming laptop can playback a UHD timeline with GH5 and 4K XAVC from an F5. Also played with 4K Sony F5 raw in a 2K timeline and no hiccups there. In all honesty though, I think if you went with an alienware 13 or 15 you'd be better set up for more complex projects. A Dell 5000/7000 series gaming laptop, you'd be good for editing, grading, and low intensity stuff at high resolution. This is all in Resolve 14 by the way. Premiere has been too sketchy with raw performance for me. But I do agree that a small desktop setup for around the same price will get you much more bang for your buck.

Read the spec sheet, saw all of the things it doesn't have, saw the price, know full well I have zero lenses for it..... Still did this

How could you shoot 60p at 1/50th? That should be physically impossible...