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I'm currently NOT eating paella I'm eating tapas It does the same on the G7 so I'll look at it when I resume work on Monday I have an idea that will probably work

Wish I could like this more than once! :-(

I'm mainly finding it staring at me saying "why aren't you using me?" unfortunately. The intention was to use it for the tournament assignment I've just done but it took a complete backseat to the stills work to the extent that it and all its supporting gear actually got shipped back home midway through as it was becoming a logistical burden hauling it round with me! I've got the new firmware on it at least so as soon as I've had this little holiday it will be getting put to work for the new season so watch this space. What I can say from all the testing I've done with it is that the sheer versatility of this thing in using native MFT, B4, PL, Canon AF, Contax Zeiss, M42 and Nikon lenses is that you'll get no arguments from me about what mount Panasonic have missed a trick not putting on the EVA

Hey guys, I wanted to share this rehousing mod I made recently for my Iscorama 36. It's a replacement for a front piece of old plastic housing, that is made of anodized aluminum and has cine gears, retaining 72mm front filter threads and adding just 50 grams of weight. It took me quite some time to figure out this design and I'm pretty proud of it! It solves some real-world problems like close-focus, enabling you to focus down to 1.1m, but unlike DIY mode it has a hard stop at 1.1m and infinity, and looks way nicer then a grub screw drilled into a hole. I made a little video explaining what it is, since after I posted this on facebook people started asking what it does and what are the specs, and asking how to buy one. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 I have decided to order a small batch of these, and already placed an order at one of the shops that does the first stage of the milling. I will make another video showing a closeup process of swapping the housings, so people can evaluate the effort and see if the price (which will be announced at the same time) is right for them. This is intended as a do-it-at-home kind of mod, but you can also take it to the nearest photo technician and they'd be able to do it for you, it's a simple process that takes 3-5 minutes to perform. I also made a PDF with some specs, you can find it here. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 If you're interested in getting one – shoot me a message and we'll figure it out, there's a little queue forming already

Overall ARRI is my favorite cinema camera brand, however I haven't seen anything from ARRI that blew me away like Lucy and Oblivion with the F65. F65 beats ARRI on test charts, would love to see a people/skintone head to head test ?. Imagine 8K => 4K processing in a small camera with IBIS, 10-bit 422, and DPAF- that's all possible today, without a fan! Held back for business reasons. The only way to demand anything is to not give them money for crappy products ?

I recently decided to find out which of the current 1080/120fps capable cameras does it the best. Read the full article

BMPCC + Vistascope 8mm Anamorphic Adapter. Color grade based on my BozBMDFilm to Rec709 LUT. Download the LUT here: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Sometimes we need to enhance the detail of a shot: a very soft lens, slightly out of focus, slow motion, post cropping (for story/emotion or after stabilization), and so on. Most are familiar with the sharpen effect and the unsharp masking effect. We can combine both effects, as well as use unsharp masking to create a local contrast enhancement effect as well. Canon 1DX II and Canon 50mm 1.4 at 1.4, 1080p (Filmic Skin picture style): Multi-spectral Detail Enhancement (let's call it MSDE, based on the physics of Acutance) Fine noise grain: adds texture and increases perception of detail (Noise effect: 2%, color, not clipped) High frequency sharpening: in PP CC this is called Sharpen (as a standalone effect) or via Lumetri/Creative/Sharpen (as used here: 93.4) Mid frequency sharpening: Unsharp masking effect with amount 41 and a radius of 5 Low frequency sharpening (Local Contrast Enhancement or LCE): Unsharp masking effect with amount 50 and a radius of 300 While this may be a bit too sharp/detailed for some, it illustrates MSDE, and one can add detail to taste using this technique. Note we didn't use a contrast effect or curves to achieve this look. MSDE can also be use to improve HD to 4K upscales: apply after upscaling. Also a great way to use Canon's soft-ish 1080p along with DPAF (since it's not currently available in any other cameras on the market). The GH5 is the new kid on the block with excellent detail, however Canon still looks more filmic to me and has excellent AF Someday Adobe will GPU accelerate their Unsharp Mask effect (it's a trivially easy effect to code too!), so this can easily run in real-time while editing.

Today marks about one month since receiving my Panasonic GH5. So after one month of ownership I have the following two issues. First let me state that this is an epic camera for the price, features and build quality. Perhaps the best of this type when focusing on video. However I do have two issues that I wish I could resolve. As it is possible there are options I have overlooked, I thought that I would post these concerns here so I could learn solutions that perhaps exist within the community. Concerns: 1. Shutter Angle dial. Is there a way to lock out the shutter angle dial so that we can stop accidentally rotating it and messing up our recordings? 2. Display button - Pretty much the same request. I constantly hit this button accidentally. While not as critical as rotating the shutter angle button, it is nonetheless an annoyance. Well that's pretty much it. Other than these two complaints the camera is spot on, amazing. So any ideas as to how to fix these two problems? BTW: I will be in NYC this weekend. I plan on stopping by B&H on Sunday. If anyone is in the area maybe we can meet there and say hi.

Did you read my post? Do you know that Canon has announced a firmware? Do you know that your reccomended EVA1 also need a firmware update for the middle codec and that is only up to 30p, 60p will be 4:2:0 8bit LGOP only? I agree that the firmware is not out yet for protecting the C300 II.

Hey Guys! My previous video provided me with a lot of feedback that was really helpful. I love making small video's as a hobby and always looking to be as creative as possible. Recently i made a new video with the GH5, Leica 42.5mm F1.2 & Leica 15mm F1.7 the drone footage is from a Mavic. Could you guys please be so kind to provide me with some feedback or overall useful things to keep in mind? Thanks guys!

Dave has done some of the nicest pro work I've seen on this site and if you go back and watch his Vimeo history, even his earlier work was a step ahead, so I'm pretty sure he has heard of the GH5, EVA, Ursa, etc... so with the question at hand, which camera makes more sense... the 1DXii or the C200? Now, I wish I could be more helpful as I haven't used either, but being a Canon shooter I have followed both cameras and I think it really comes down to two questions as both seem like excellent tools. 1. With the C200 are you okay with the media space needed, with both recording and storage to shoot and edit Raw? 2. Do you prefer the DSLR form factor over the cinema camera form factor? I, personally, wouldn't spend the money on a 1DXii when the C200 is lingering around for just a little more and shooting 4K Raw up to 60p. But I don't shoot any stills and love Raw. But with that comes extra costs and a bigger footprint. I guess it depends on the type of work you plan on using it for? And I guess the 1DXii is coming down in price a little, so you may catch a steal on the used market. Hmm... tough call. If only Canon would introduce a 1DC Mark ii.

Not sure where the C200 it fall short on important areas? Dave is interested according to his question to 4k 60p and there the difference between 1Dx II and C200 is 20% so the cost in file size is well worth for RAW. Worst case scenario after the firmware you get 4k RAWLight at 1 GBits, 4:2:2 8bit 300 Mbits, 4:2:0 150 Mbits and all up to 4k 60p not like the EVA1 that is only 4:2:0 at 60p. Best case you get 4:2:2 10 bits 400 MBits instead of the 8 bits. The DPAF could be better but is still the best on any dedicated video camera. I agree that the 1DX does not look like a cinema camera so it is more discrete.

... Not to mention that Panasonic could customize the external housing of the smart adapters to follow the form of the camera, employing a extra reinforcement flange that bolts the adapter to the camera body. Clueless EF shooters would mount (and electronically control) their lenses with no wobble... and they would be none the wiser that they were actually using an adapter!

Lol I just meant one reason we have so many great choices of lenses for long-flange mounts which can be adapted/speedboosted is precisely because of the prevalence of canikon DSLRs with these huge flanges. Once that changes, it may actually slow production of relatively inexpensive EF/NF mount lenses as they all focus on EFM, E, MFT, etc.

[cough] Nikkor lenses [cough, cough] Zeiss lenses [cough] Leica lenses [cough, cough] FD lenses [cough]

I can't speak to why Panasonic went with an EF mount, but the large flange distance on DSLR-type mounts is a necessity for the mirror. Maybe after canon (and nikon) actually figure out a mirrorless system that keeps all the advantages of their pro bodies they'll start pumping out professional lenses in their EFM and it will get widespread adoption as a mount option. But... adapting EFM to E or MFT would be impossible... So I'm perfectly happy with how things are, being able to speedboost high quality EF lenses

The advantage of 4K is that you can re-frame or stabilize the shoots before downscale to 1080p, that is very useful, but if you have a very good HD cam and you are good framing during the shooting, no much difference to be honest….

I know you didn't ask me... but I've been using this camera since December and love it. Since then I've had like 3 upgrades, which is a great sign. Obviously this 422 one is the best and you can really tell. I also regularly use an FS5, and honestly, I prefer working with the JVC.

We need more news from @BTM_Pix . Probably he is eating a "paella" at the beach somewhere on the Spanish Coast

The base mount itself would not add any extra cost. Yes, the main mount that then gets sold with it on top of the base mount would then cost extra in this scenario, but how much would it really add to the cost? At the moment third party adapters range from twenty bucks or so, up to a thousand dollars or so. But due to bundling it up, and vast economies of scales, they would cost much much less to produce in terms of how much it would add to the final price of an EVA1 MFT,

If you only stick with what has gone before then Ford never would have made a Model T, and instead would have just made a "better" horse pulled carriage. MFT is Panasonic's best selling mount. Sigma, Rokinon, Samyang, and Veydra MFT glass all covers S35. You can have a locking MFT mount, just like the FS7 mk2 did for E mount. See my point above about making carriages, rather than cars. It is easy to get mislead with market research if you don't really think about what you're doing. They probably went out and asked a bunch of ex C300 shooters what they wanted, rather than asking any up and coming GH5 owners who are moving up. Flexibility is why! Want to go ultra light, small, and compact? Then bring along a few MFT lenses! Want to use PL lenses? You can do that too! Want to have a Vistavision field of view? You can do that too! Want to use a speedbooster? You can do that too! However... the Panasonic EVA1 EF can do NONE OF THAT! :-( Don't mix up its popularity due to being a JVC camera vs being an innovative MFT/S35 camera. Being a JVC product it was always going to struggle for sales. Thus the question you have to ask, is if being MFT/S35 gain it more or less sales? I feel undoubtedly JVC got more sales due to being a MFT/S35 camera! Just look at how we are still talking about it years later in late 2017!! Clearly it made a notable impact, that wouldn't have happened to the same extent it if was just another EF camera. I'd LOVE that!

i man you can get a nice camera for 3000 does not have to be 4k. You can get full BMCC for under 3k. I just seen few frames of a dp this frame was captured on BMCC 2.5k raw notice cinematography not 4k 6k 8k i mean it looks beautiful (http://www.bmcuser.com/showthread.php?20700-Frames-from-short-film-I-m-Dping)

Because it looks better.

D500 is the same price as the GH5, and if you look around you can find the D500 for hundreds of dollars cheaper. And if you need the high end stills capacity of the D500, then the D500 looks like an extremely good value buy compared to the GH5! And now there is the D7500, that probably by the end of the year will be going for close to half of what the GH5 goes for. So while I think the GH5 is absolutely fantastic camera, I think a strong argument can still be made for a Nikon being right for some people's needs.

You're right, if you want 28,321,819+ views you gotta shoot SD! (shot on the 5D Mark 3 & green screen )

Those big bags of scilica - to remove moisture at the end of the day or while stuff is stored away - so much moisture. I'd go a hand held point and shoot too - like a Sony RX100 - in a very small watertight case. As you'll be seeing stuff at unplanned moments - and you'll want to whip it out. Even in a small dry bag in your pocket. On the water light and atmospherics change second by second and its your ability to get stuff quickly. Ive spent about 10 years kayaking off shore and fishing for reasonbly big fish. And have shot stuff. Also again - a small point n shoot underwater camera might also be considered. It really depends on conditions..... but one salty splash on an unprotected camera could end things quickly. Also teathering camera cases on deck in case you roll....... check the seals daily for sand etc One speck could end things.... I'd go small peli cases in dry bags. For longer stowage trips.

Aren't you from Canada? ?

Heh - I wouldn't be too sure. I've ordered business cards and set up a Smugmug site and I have to dig out all my old weddings/events/portraiture/music stuff from 8 years ago and upload it. Then I have to get some marketing going - I'm not expecting to do any paid work until next year (and that will more likely be stills). I'll probably find a couple of kooky businesses (I live in Brighton - there are plenty of them) to do free promotional vids for... we'll see. Thing is, I'm limited to weekends initially as to do anything on a weekday it has to pay a pretty large day rate to make it worth my while taking a day off from my main work - a calculation made necessary by my 3 children and the yuuuge mortgage I'm on the verge of taking out.

I hate it when I'm watching a tutorial or how-to and the actual how-to part is behind several minutes of pointless blabbing. 8 min video for something that could be explained in 30 seconds or a paragraph. That's the bane of limitless capture.

Im mainly a hobbyist and I am running around with a ursa mini pro . The price of a ursa mini pro is still cheap, for the image that you are getting. And yeah nofilmschool was great for beginner filmmakers, but it seems it has not evolved in years, it just sticks with beginner filmmaking tutorials and articles. So advanced users do no bother with the site anymore.

Wow, this is cool!

what looks like more than 14 stops DR has gota count for something

I can only speak to my own job of sports photography but I think they might struggle with a D6 or even a D5s. No one is really crying out for higher speed at this point and if they are the economics are so tough at the moment that there are still plenty of D4 and D4s being used that shows people aren't ready to spend on the D5. That's the problem with selling workhorse cameras, people will take you at your word when money is tight! If this D850 is to be the last hurrah for the D8** line in a mirrored format then maybe there is something in it being called 850 rather than 820. If they are looking to go out with a bang and also keep sports and photo journalists in the fold then a halfway house between the 820 and a D5 would be very popular. Something just a bit less resolution but that had proper performance at 12800 would be enough for me to do what I don't want to do which is buy another mirrored camera! There are plenty of D8** cameras used in sport (by me included) but they tend to disappear into the bag when the lights dim. In the wilderness years before the D500 came along, the D8** was effectively - due to how far you could crop in - the best pro APS-C DSLR that Nikon made and that's how we used it. If they can combine that with better low light performance then it won't be a difficult sell for people like me with battered cameras who are baulking at a D5 price ticket this late in the mirrored game. Who knows, maybe if they're committed to NOT doing another mirrored D5 successor then they might say "fuck it let's just make the last high end DSLR we make also be the best DSLR we ever made". If they're looking for legacy like they did with the F5 when digital was coming in then that's exactly what they should be doing. As it stands, their legacy from this era will be the D3. Which is no bad thing but it would be great if they bucked the trend and went for giving us everything they could in a product instead of holding back. Dream on though eh? It'll be a million mp, useless beyond ISO3200, 1080p with a 5x crop, and have a mirror slap that could be measured on the Richter scale. The only thing approaching IBIS it will have is the Irritable Bowel Syndrome it give you when you shit yourself at the £3.5K price tag.

I'm not sure who did this first. Panasonic did it with the GH5 but I have a vague memory of Fuji doing the same, but might be mistaken. Its the newest thing I guess. Build the hype early and get people on forums and such to say what they want in it. They get free pols, target groups, data, etc. A lot of money saved in market research. And it might slow down the sales of for example the A9 since many like to "wait for the next model before deciding". Pretty smart imo. And kinda nice. I would love to get an official confirmation of a Fuji X70s or a Ricoh GRiii as early as possible.

@jax_rox How the popularity of a technological solution affects its usability? ("Sure, the JVC may have done it, but how popular is it..? "). This variable sensor is a brilliant idea, and have implemented some unique features and innovations because of that. Actually the biggest selling point of this camera is the variability(sic) of this sensor, certainly not its high ISO capabilities. and in some circles (weddings, events) and some markets it is an option, it is a sleeper camera, that didn't make the news like these Cine cameras did (and JVC marketed it as an advanced camcorder and not a cine camera) but slowly and steadily has build some dynamic. Together with the Atomos it offers 4K/60frames, and fixes the monitoring issues (its little monitor is very bad!), and you pay less than half. Popularity isn't the one and only measurement, believe me, I have 3 NX cameras, and I use the JVC frequently!

Has Panasonic stated why they developed a new sensor rather than using the Varicam 35 sensor? It would seem reusing that sensor would be much cheaper for them, and no-one would complain about its performance or the lack of 5.7K. Could have a Varicam mini -heck even follow Canons lead and give it internal raw but only 8bit codecs to protect your higher end. Makes me wonder if it will turn out to be closer to the DVX200/GH5, but then why go with EF mount as many would be happy with a AF100 successor with m4/3 sensor and mount. It kind of makes a bit of a mockery of m4/3 as being suitable for higher-end applications -buy our' professional' 42.5 nocticron for your Gh5 which offers 'professional versatility around the world' but if you want to create 'cinematic moments' with your EVA1 then you need to buy some Canon glass - bit of a mixed message for their marketing.

Exactly, Panasonic missed the mark completely IMO. If they use the same Super 35mm Varicam sensor as planned, with a Micro 4/3 mount... or very least a swappable mount, with 5-axis, include an EVF, with 4K up to 72fps and some form of internal/external Raw... it DOESN'T NEED to be a yet to be developed 5.7K Raw (although that is pretty damn cool) and price it between $6000 and $7000, they would have nailed this for the market (I assume) they're going for. Who knows, maybe they have plans for an AF200 that will fit in between the GH5 and the EVA, or maybe this was supposed to be the AF200 but they feared they'd lose some GH5 sales or vice versa. But, as is, it is an an exciting camera. The dual ISO sounds sweet. And it should be a great codec with beautiful colors. We'll know more when some footage gets released. The problem with early announcements like this is it gives Canon and Sony plenty of time to adjust accordingly. Now if Canon could pull the stick out of their greedy asses and stop worrying about cannibalizing one of their 2-3 year old cameras, they could easily make their XF-AVC FW update at 10bit instead of 8. Hell, they could also throw in a high bitrate, all-i mov if they want to give their customers more options. Shamefully, they probably won't do any of that. For me they don't need to, I am only interested in the internal Raw with MP4 proxies. The question will become, over the next 6 months, is how interested I am to buy one or just rent one. Now if they put out a 5D version of this camera, without the FW update, for $4000 to $5000 (won't happen) I will be buying one. But honestly, the two cameras are so different that any comparison is kind of completely unnecessary. The only real comparison to be made is that both cameras seem to be designed for low end cinema (narratives, commercials, docs, music videos) and neither seem designed for the high end event videographer... which I would think is the bread and butter of that market segment. Both are weird cameras.

The digital bolex is a great example of how spec's don't always equal real world IQ. It has at most 12 stops DR and less than 1080p real resolution but it does have such a great image which I think comes down to: 1. Global shutter gives the best motion cadence out there 2. Zero noise reduction in camera 3. The noise that is present is largely luma noise, which gives a great texture to image and while not exactly film grain is similarly quite pleasing. 4. Great colour science especially mid-tones -its a real credit that such a small and inexperienced team managed to fine-tune the sensor & processing to give such colour, but makes you wonder why the industry behemoths still seem to struggle. Its a real pity the industry became so obsessed with resolution rather than colour science and motion cadence -Arri is the only ones who didn't rush into the 4K, 4.6K, 5.7K, 8K band wagon and well, it has worked out pretty well for them.