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If you're in a green screen studio, it's perfectly fine. On green screen shoots whatever isn't the person you're filming is cut out anyway, so as long as you put the footage in a 16x9 sequence not a 9x16 you're golden. Only you will know how it was filmed vertical. I'd say go for it, you'll have more flexibility in post too

This was asked about in another thread but might get lost within it so I'm putting it here in case anyone else needs a solution. The issue that was asked about is that when these cameras (might affect GH5 too but I don't have one) are under wifi control, the rear screen switches off after about 5 minutes and is there a workaround for it. Now that I've stepped away from the tapas and had a look at it, the answer is yes there is. Or, in point of fact, yes there are as there are 2 ways to address it. 1) If you are near the camera, put your thumb over the EVF momentarily (providing you have the correct auto sense LVF mode set) and this will bring the rear display back. 2) Any command it receives over wifi will also wake it up again so press something benign on the main screen of the app like the peaking function etc and this will wake it up. For a non-intervention method, you'll have to wait for the now almost mythical controller I keep threatening to foist upon you which will have a similarly benign command sent to be used as a keep alive function every 120 seconds or so to stop it going to sleep in the first place. But until then, 1 or 2 will work for you.

That's exactly what I'm thinking. Although I won't get 4k60p with this monitor unfortunately. That's the Inferno line, this is Assassin. Still - Looking at other monitors that don't record - I'm looking at this kind of price anyway, so I'll take the ProRes and a nice little extra. I'm picking it up later today. Also, I think by tomorrow they'll release that 5inch 4k recorder/monitor I've been waiting for - on the condition I buy this one first...

Rolling shutter will be vertical.

If he said the highlights looked bad would that be ok? Yes its a personal opinion, but what's wrong with that? Its not like it was a personal attack or directed at anyone. He's talking about the technical quality of the image.

He Jonpais, thanx for your quick reply. I was hoping i could ask you some more? -Does IBIS create less noise? Cause i always film on a tripod in a DIY green screen filmroom. see picture: so my only concern is to get rid of this noise. -does the G85 creates less noise then the G7? -and when i have a 2.8 full frame lens from nikon + an external recorder to capture prores 422, will the G7 be a low light monster? thanx in front greetz Lenny

Hey guys, I've got the opportunity to buy a Ninja Assassin for a crazy price (less than €400 with sunhood), and so I thought borrowing a friends VA would give me good enough files to test with and see if it's worth it. I had it set to ProRes HQ - why not test at maximum ability - and from what I can tell, the VA image looks almost exactly the same as the internal h264 recordings, but is just a little greener. Even with a bit of grading, I can't see any noticeable change. Am I missing something here? I was expecting to see a huge improvement. Annoyingly, the LS300 can't record internal 4K 422 AND output 4K through the HDMI - so in a way, I'm stepping down a level right? I understand all the numbers look to be an improvement, but is all that only handy for a heavy grade? If there's not a big difference, isn't it better to record 4K 422 internally, and then get a 1080p proxy form the VA/Ninja to edit with? One thing I can see the Assassin having over the VA is the ability to record with LUTs baked in, so you have a nice quick turn around, but also have the log footage for later if need be... Anyway, I'm temped to buy it just for that, and it'll be a nice monitor with peaking/histogram etc. etc. but I was really hoping for something a bit more. Also, I plugged it into my GX80, and again, there's nothing mind blowing about it. You can check out some raw files here, and let me know if I'm just overlooking something. https://www.dropbox.com/sh/0yd1ketyuru9jzn/AADSX49l8mwjrzmUhFZlMKj2a?dl=0 (files may still be uploading)

Hi Lenny, you have nice even lighting on that green screen! Here's a suggestion: Nikon-mount Sigma 18-35mm. This lense can be found used for a reasonable price. Just make sure the RJ Turbo (or whatever focal reducer you buy) has the aperture ring for Nikon G lenses. Plus if you get a dumb adapter (no glass inside) you get double the focal range!

Haha, you should try it. Seriously, go film some stuff, import it, see what happens. Enjoy.

I just watched it. Yeah that looks great. Nice highlights. I love the early shot of the sun's reflection in the puddle. That guy is really talented. He shot one of my favorite a7s videos as well. But I still think that Martin Wallgren may have some of the best GH5 footage. But his footage always looks great... no matter the camera... And I really like ntblowz screengrab from his Last Airbender film.

Panasonic 35-100 2.8 with tiffen promist filter and slrmagic vari nd, that filter works really well on modern lens

Hey Glenn, have you seen my last post on GH5 footage from Atomos coupled with? That's my fav cinema camera...

Well, since the EVA1 isn't getting the 400mbps at release, I fear the GH5 may not get it for awhile. But we'll see. I am really looking forward to that update. The footage should look insanely good.

I think half of the people responding (or more) aren't reading the post and just reacting to the title. You're intending to place the keyed footage on a landscape final product, right? If you're shooting a stationary person, portrait would give you more resolution for greenscreen work. I haven't done it personally, but I've seen plenty of BTS with vertical cameras for situations like this, maximizing the amount of the sensor you're using.

If it's done tastefully I think it can play. I like this approach:

Park Cameras say the Hassy should arrive tomorrow and I found an 80mm F2.8 to go with it Should be interesting for some timelapses and photo shoots if it doesn't fall apart due to old age! I will also compare CCD colour to modern CMOS / Sony and see if there is indeed a big difference.

@lenny87 Most "cinematographers" would say: People filming vertical videos are crazy / cluess / ignorant. But breaking the rules can even be an advantage for you - depending on what you want to do or express with the footage. Years ago many old, "experienced" photographers got crazy when other photogs broke the rule of thirds...So what? Nowadays many people break this "rule" because of artistic or individual aspects. There are quite many compositional cases, when it would be better to break rules...Don't necessarly do the same shit like million others, just try something new from time to time.... What I want to say: If you want to test filming verticals, just do this. It's your (artistic) choice...BTW: There are some filmers doing it (mostly for PR or promotional short films) on Instagram or FB and you know what? It works in many cases...So, it seems not to be a deal breaker for common audience of this films. Like in 99,9% of cases, it's the content, not the format... Only self proclaimed "experts" go crazy on this...

Did you even read what he asked? To the op: yes, for your application perfectly fine. Just composite it into the 16:9 frame where you have your CGI or whatever you green screen for.

If you post a purely technical test then it's open to comment - I'm not criticising the person. If anyone 'loves' their camera and is hurt by comments on it's technical abilities then maybe they need the kind of help that I or anyone else on this forum can't give......

Thanks for the test, it holds colour quite nicely at high isos

I was expressing my honest opinion about the technical quality of the footage which was posted as an example of the technical capability of a camera - how is this rude? If you want a more refined opinion it has a nasty highlight rolloff possibly caused by clipping in the red channel.

At that price, I'd buy it now and worry about the subtleties later ! You'll get your money back and then some all day long if it doesn't bring enough to the party for you. But with the LS300 it's going to give you 4K60p recording and edit ready ProRes, neither of which the camera can do so its a hell of an upgrade for €400 just for that alone. And that's before we get to it as a monitor to make up for the joke of an EVF that JVC have seemingly recycled from an old 'What The Butler Saw' machine for the LS300. The exposure aids on the Assassin are also an absolute boon when using JLOG.

You'll see the main differences in scenes with lots of movement and/or lots of fine detail - use of a low compression codec results in far fewer motion artefacts, better cadence and less smearing of detail. You'll also - as you surmised - have a lot more flexibility in post and be able to place much more extreme grades (should you need to) on the output. You'll also be able to do much higher quality green screen, if that's your bag.

Looks pretty nasty in the highlights.

@EthanAlexander (from PM): you can do Unsharp mask in Resolve with 2 nodes: the first node "doubles" the image intensity and saturation, then the next node subtracts a Gaussian blurred copy from the "doubled' image. Mathematically it's 2*(original RGB pixels) - (blurred original RGB pixels). If you don't blur the 2nd copy, 2*original - original = original: you can use that to make sure the operation is set up correctly. Then start blurring the 2nd copy to see the results: small blur is the traditional Unsharp mask, and larger amounts perform LCE. I don't use Resolve very often (only to test it every now and then), here's what I came up with in a couple minutes of experimenting (maybe Resolve experts have a better way): In Color, add a Serial Node. Set the Gain to 2.0 Add a Layer Node to this Serial Node Right-click and set the Layer Mixer Composite Mode to Subtract The output should appear normal Add a Box Blur to the newly created node after the Layer Node was created Set Iterations to 6, Border Type: Replicate, and turn up strength and see how it works: you need a lot of blur for LCE Use Gaussian blur and less strength instead of box blur for traditional unsharp masking sharpening That should get you started (fully GPU accelerated too)!

i LOVE being able to quote my own posts!! its like reblogging myself on tumblr @Zak Forsman one point of feedback: i would take the word "nicely" off that poster. good for a romantic comedy maybe? (Love is Nice) now then: guys thats an awesome throwback poster, for all the reasons that illustration is great for a one sheet, the artist did a great job, v well executed. but its not a retro gimmick, to me anyway, its SUPER contemporary it amazes me to no end how terrible the "thumbnail" images on various services for video may look, this poster on the other hand is a great, iconic, graphic design that is *intriguing* even at the size of a postage stamp. id click on that!!!! v v cool

Heres one using the profile - super stoked with the colour. No additional grading has been added.

The A7R II sensor is 36 x 24mm. A high-end medium format CCD is 53 x 40mm. So it's a bit like saying, why not get Micro Four Thirds instead of full frame. Yes there are pros and cons but I am interested in medium format for stills and timelapse, not as a replacement for my Sonys The perspective of an 80mm lens on full frame draws in the background and is more flattering for portraits than a 50mm on full frame. Also the colour and skintones of a 16bit CCD sensor is far superior to even the latest DSLR CMOS sensors. The high megapixel count is merely a bonus feature. To look through that beautiful medium format viewfinder (enormous!) and shoot with a different look to any full frame camera will always be 'a thing' no matter how good the smaller sensors get.

It would be great if in a FW upgrade they made the shutter angle lockable...it's not that big a deal for me though...I have a checklist I go through every time I film...start rolling a second or 2 before what I want to capture and again after....check my LCD display...and adjust if necessary...as @DBounce said....these are only inconveniences....not flaws...I feel the same....I remember early VCLT complaints about the camera taking 20seconds to boot upWTF...all just part of the dumbing down of the human race I guess????...

In that price range, why not just go A7rII? Anything $3k will likely be slow and pretty limited in its ISO range. Plus the size. cheers chris

This should be the tool to use: https://www.sdcard.org/downloads/formatter_4/index.html I have used v.4.0 long time. It was recommended here by someone. This new program seems to be v.5.0. Just downloaded myself.

Well apart from those two annoyances I'm actually really impressed with the camera and the image. I can see me carrying on using this for some time!

I suspect that the card is formatted in FAT32, this limits file sizes. The consensus appears to be that formatting the card via your computer to exFAT is best for the NX1, it certainly is the case with my Lexar cards.

I'd like to wait a bit and try to sell it as a package. If that doesn't work, I'll consider selling hardcore dna separately.

Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.

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.

An XL Nikon to M4/3 speedbooster... no vignetting even on s35 mm lenses with a GH5 with IBIS on...though I don't move my camera much.

Taking the liberty to post the trailer for a short film we shot a week ago.

By fiddling with the site I managed to see a larger version of the lily pad shot. It was horrible - way below a good phone camera. Things has sharp edges by lower contrast detail was covered in melted wax.

I know. It was a joke because of earlier posts on this topic