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Finally. Slog on the a9!

Hi Andrew: Any input you can give to Panasonic would be terrific - I really appreciate it! I'm really psyched about the GH5, and think it could become a really major anamorphic camera since the format is basically the same size as a 4:3 crop of Super 35. Regarding anamorphic lenses, I'm currently working on primes, and they are mechanical beasts due to the Panavision-style counter-rotating Stokes lenses. So, I'm in the weeds worrying about screws, bearings, and special tools needed to manually pre-load a whole bunch of anti-backlash gears. One thing related to M43 and the GH5 is that they will be compatible with the M43 Ultra Speed Booster via high quality PL-to-EF adapters, which will create T/1.4 speed for all but the longest focal lengths.

The GH5 is a compact sedan with a ferrari engine in it but sometimes you need the whole ferrari. In this case, that means the features and form factor of a real video camera. Against Canon and Sony in the price range, this has dual native ISO, 5.7K sensor for both oversampling and eventually 5.7K raw, 2K up to 240fps, electronic stabilization, and a lighter body. Having said that, the EF mount really kills the draw for Sony shooters who have been speedboosting or using PL. This is the single biggest drawback they could have easily avoided.

Absolutely no argument regarding the form factor aspect against the GH5, more about where it sits for potential buyers in the market its priced at and will it have enough for those people to turn their back on the commercial realities of Canon and Sony being a safe bet in the eyes of their clients too. The AF, EVF and internal RAW (and not external at some future point like the EVA) of the C200 are strong arguments even without their strong position in that sector with other products. Canon's protectionist choice of codec for their recent 'update' could easily be reversed if the EVA gained traction and thats what would concern me. To match the RAW and EVF advantages of the C200 will take probably another £2K of external add ons so Canon could make a laughably easy profit by making the codec a paid upgrade and still be cheaper. Of course by having that EF mount on it, Panasonic have not only lost the advantage of being able to offer (and profit from) a huge range of very decent M43 lenses but can now only have the same lenses as Canon but with far, far less effective AF. I'm sort of kind of maybe possibly if I sell some stuff in the market for one of the two of them but its a tricky call so I think I might go to the IBC and have a look at them. And then buy a GH5

I think Ethan is referring to the choice of EF mount over M43 mount Jon. The mount choice makes less and less sense the more I think about it. The single argument for having the EF mount is that it is a more robust option for professional use. Considering how many M43 cameras get used in less than ideal circumstances by everyone from amateurs to hobbyists to professionals with all manner of adapters and all manner and weight of lenses hanging off them, you'd expect there to be a ton of anecdotal evidence of the lack of robustness of the M43 mount wouldn't you? Balanced against that single argument is a world of flexibility (and upgrade path) that Panasonic have closed off. Its not like having the M43 mount would stop people using EF lenses on it. All it achieves is stopping people from using them in a better way.

The plustek has flimsy negative holders and handling. The Kodak is very robust, has been used by newspapers back then. Still think the DP Merrill cams are the best marriage of sensor and lens. Still got my GF1 for the combo of an optical viewfinder for estimated manual focusing. Have not tried because of worries about screwing up. Meanwhile have shot so many crappy pictures with EVF. "The process dictates way more than specs", very well said.

He owns them. A fun thing to do would be installing magiclantern on your canon and shooting some raw video, this will enable you to treat your videos with the same adjustments and programs (Adobe Camera raw). If you enjoy the results and prefer them to 4K you coul try the 5D mkiii which doesn't have the moire from the ii. If not you will probably want to look into the Sony A7r II

From what I have seen GH5 can produce really nice colors once the proper LUT is used James Miller GH5 examples are still the reference point for me. The new firmware will only improve the colors from that so for $1800 is a steal. Now if we talk about a $7500 camera the expectations are higher. 4 times higher to be exact...

You absolutely need a HDR display to view HDR footage... otherwise it looks too dark and desaturated.

Well this sounds bloody fantastic. Just this week I sold my FS5 + Inferno and ordered a GH5, which cost £1319 brand new. I also got the Olympus 45-150 2.8 Pro for £639 brand new, along with some specialised lenses (macro, fisheye etc). Bought a Sandisk UHS-II to test out, very expensive cards. Anything cheaper that works? I really really really want to do some anamorphic stuff, Im a big fan of the look however I've never done it, and I'm not too sure how to enter it nice and smoothly. (I'm not into big rig stuff and too much messing around with workarounds). Anyway really excited. Lots of GH5 videos coming this way!

I think this is currently how a lot of people are over the GH5. Not by putting an EF mount on it and offering less reasons for your existing customer base to upgrade to it thats for sure. The EVA1 is going to have to rock people's world image wise because for all people talk about it being a different market, they have to remember that the current safe bet in that market is not Panasonic so its going to take something special to bring people from Canon or Sony. They're not doing it with price thats for sure.

Great thread idea A few years back we had a shoot where the drone got stuck in a tree. After a few seconds of thrashing it, the drone slipped out and fell hard 20 feet to the pavement, slicing someone trying to catch it. He was bandaged and luckily we had parts on hand to repair and get it back up in the air. This all happened right in front of the paying client as he had happened to be on the shoot that day to see the drone. Pretty awkward.

dropped a medium format camera off the top of some step ladders as I fell off on my first major ad campaign for a big london agency - was proud as i got up off the floor still holding the grip - thinking I;d saved the day - except there was no Pentax 6X7 attached. It had snapped off and fallen into a crowd ! Luckily the camera missed the people ! And then there was the time I had a winebago burn down to the ground on a re-shoot day ie a weather day that had to be paid out of our pockets. Mmmmmm then there was a time my camera shutter failed - and only new until getting the film back from the lab. I re shot the whole job again without the agency knowing it..... which involved models - h&m - styling and a huge fake Henry Moore Sculpture !!

Glad to see a de-squeeze function, although 1.79x should be included since this is required to go from 4:3 to DCI 2.39:1 without cropping. Of course, I'm biased since I'm currently developing 1.79x lenses! Need to start lobbying Panasonic to add a few lines to their firmware . . .

The year was 1999. Under Sicilian mob threats because of the plot -- a true story to be told... a DAT tape lost. Hundreds of thousands lost. The major credit card had about 300 bucks of remaining limit. Flights to pay. Weeks of shooting to repeat for direct sound and dialogue. Script re-written with Marco Tullio Giordana on the purpose in order to fit the Portuguese actress (Ana Moreira) casted for the lead female character had to be reduced. And the character had to be cut off. The actress had no role anymore for her contribution and ours as co-producer despite the hard work and participation in the movie as such, after never ending hours of working time. I went to hospital with heart arrhythmia (my 1st experience with Inderal) following two nights and days with absolute no rest for the weary. In the end, the movie is still considered one of the major hits of recent Italian cinema (won five awards in Venice BTW, nominated for the Golden Globes, USA and so on) and helped to launch both Marco Tullio and Lo Cascio careers in their next collaboration together La Meglio Gioventù / The Best of Youth, an epic of 2003 all Italians easily recognise as the History of the second half of their XX century. http://www.imdb.com/title/tt0238891/

Music video I directed just went live! Shot on Arri Alexa Mini with Cooke S4/i glass and it was a pleasure to use! I'm always taken by the Alexa image every time I work with it. Wish I could afford to use one every time I shoot! directed by Dave Altizer produced by Jarad Clement director of photography Chris Adams edited and color graded by Jarad Clement here are some BTS shots

Recently visited Weymouth again and shot another test there in the harbour, this time with the Panasonic G7. The lighting situation was a very bright day with hazy blue sky, and I kept an eye on the live histogram to avoid highlight clipping as much as possible. Most shots were made with a Panasonic 25mm lens, and a few close-ups using a vintage Panagor 135mm - both lenses were at f2.8 throughout the day with 3x stacked ND filters (2x ND4, 1x ND8). The 135mm shots looked a bit soft compared to the very sharp and modern 25mm, so I sharpened those a bit in post so they would not look so different (they still do, though!). Made some very slight luma channel changes to a few of the shots, but there's very little colour changes here - saturation looked good straight from the camera and I was happy with the white balance choice. I attempted to compose similar shots to the camera test I made here several years ago (using Magic Lantern RAW on the old Canon 50D), and thought it might make an interesting comparison. With that earlier RAW video test, I'd been impressed that Adobe Camera RAW could effortlessly bring blue skies out of a seemingly plain white skyline. Though this time (perhaps by having the in-camera curve set to -2 Highlights, and helped by the ND filters) I thought the G7 image straight from the camera held together quite well in this bright and contrasty situation. My camera settings are still in a state of flux, but the essential details of this test were: Picture profile: Natural (Contrast 0, sharpness -2, NR +5, Saturation -3). White Balance: Kelvin values (4,500, Green +3). Highlight and Shadow: Highlight -2. ISO: 200 (for all the shots). Here is the YouTube link: In case of interest, here is a link to my previous Weymouth Harbour camera test shot in ML RAW on the Canon 50D: Music comes from Eric's collection - the track used is 'Bitter-Sweet-Goodbye'. His EOSHD thread is here:

What's your current personal camera nowadays?

You'd have to test them side by side but I'd be very surprised if there was a justification for anywhere near that multiplier. Tokina's own cine version of it didn't exist at the time the Sony was released (2011) so it and the Duclos where the only way to get it in that format. You'd have to decide which one better suited what you are doing as the Sony weighs twice as much and has a 105mm filter thread versus 82mm on the Tokina, either or both of which may be a factor for you.

My tracking info says "warehouse in the UK". It all arrived within a week, sparkly and new as advertised. I highly recommend them, as the savings for non-VAT registered shooters is immense. I'm VAT registered, and I buy from them as I still save regardless!

Yeah, modders loved the heck out of the 11-16mm f/2.8. Same for the Sigma 18-35mm f/1.8 and the Bourne duo: Nikon 28-70 & 80-200mm f/2.8 ED. E.g. http://www.pchood.com/PL CINE LENS?product_id=281 Of course, with Tokina doing the modding themselves these days ( http://www.tokinacinema.com/11-16mmT3.html ), you might just want to keep things in-factory and not third party (they do seem to claim better optical characteristics from the stills line-up lenses? Although, I've heard mentions of the breathing still being horrible, so, who really knows). The MFT version I believe occasionally drops down to 699 or something! On the Tokina page, they even show one on an URSA btw, so alteast as suspected, no reason to assume they wouldn't be compatible. Yeah, the Sony CineAlta primes, now those are interesting if you're shooting S35 and need a solid set of lenses. Dang.

I can only go by what I'm reading in that thread that it is a re-housed version of it so if it it is then yes. Tokina do their own PL cine version of it here https://www.bhphotovideo.com/c/product/1196837-REG/tokina_tc_116p_cinema_11_16mm_t3_0_with.html And Duclos do a re-housing of it here https://www.ducloslenses.com/products/duclos-11-16mm Both of those versions have more users of them than the Sony so more real life reports will be available to research I suspect. I haven't used any of them (though I do have an absolutely shredded Nikon version of the stills version !) so I wouldn't be able to comment on the pros and cons of the three of them with respect to each other.

... I have a Samsung NX1 and Bolex 16/32, and also the NXL adapter. Still happy with the NX1 but consider buying the GH5. With a 1.5x factor the decision to change will be more easier ;-)

The CineAlta PL primes are very, very well thought of and can be had for 'bargain' (its all relative) prices if you keep your eye out as some dealers may have had them as demo stock. With regard to this specific lens, it does seem to be a re-housed Tokina from what I can gather so there are other options out there for a PL version of that lens but if you have seen the Sony version at a steal price then steal it http://www.dvxuser.com/V6/showthread.php?275497-Sony-11-16-or-Duclos-Tokina-11-16 This vimeo channel has some footage from it https://vimeo.com/user895207 And a review from Matthew Allard of it is here

Nice work, Dave! Loved the choice of focus points in the shots... great blend of craft and storytelling. Why 4:3 though?

Hum. Never heard of such Sony lens. Is it like the Tokina 28-70mm f/2.6-2.8 getting design rights on the Angenieux one? That Sony made a deal with Tokina for their 11-16mm T3? Anyways, according the official Sony listing it covers their CineAlta S35 PL cameras. Don't really see why you wouldn't be able to use it on another manufacturer's S35 PL cam...

+1 for Panasonic adding additional squeeze ratios.. 1.75 please for the baby anamorphics

You're definitely right that canon and sony are safer bets, especially in the eyes of clients. But those things change, slowly. It wasn't long ago that professionals wouldn't be caught dead with a tiny mirrorless panasonic but look how that's changing I can actually see a bunch of people buying the C200 over this, then getting frustrated with the raw workflow and trading for the EVA because it similarly has an EF mount and a touch screen. Maybe that was their plan all along lol! I really think sony shooters will wait for the FS7III or FS5II with some sort of DPAF tech and oversampled sensors. I know I will.

Panasonic better get their printer hooked up again!

Hey @freeman, Thank you for your post and for giving background information on the applied shooting style and tricks! Makes me want to see more of the artist roaming through the streets of this beautiful city!:) Ibis is working and fitting the video very well here!

Easy to manipulate or devide people on an online forum. Especially for AI, because it doesn´t know effort and never tires down. The communicational structure of an internet forum is very vulnerable to AI or other intelligent efforts with doubtful conduct. So watch out for who you are paying attention to. The best thing to do is to appreciate my beautiful comments AI will be hard to impossible to be recognized as such. My intelligence is so massive, so that some consider me the superiour AI and neuro network connected to all other networks in the most meaningful way. I am god of bots, I am BOTTOGOD. Data Analysis did not make the original joke work well, but Borats follow up. So it´s a Not Nooot Joke. The original not joke is the content which modern dataanalysis has been providing us with for decades. People swallow it and laugh about it. AI pushed this to perfection, premanufactured, remanufactured/reproduced content. Always see the originator to see the original intention behind all the talking.

~ https://www.sony.com/electronics/cyber-shot-compact-cameras/dsc-rx0/specifications#features

I see rather the opposite. On the contrary, I don't see anything from others from same range (when not higher) you can't mimic (or even overcome) on GH5... And that includes Blackmagics. Show me something that may prove I am wrong ; ) To me, that's also the typical self-confidence attitude that you're able to get it better no matter what 'cause "I am or my camera is the one". A reverse of my neighbour's grass is greener. This is very human, but simply not science. I'm sorry but I only see subjectivity on GH5 criticism when not to justify why "I am not in the mood or don't want or simply won't buy the camera for whatever reason is" under different circumstances varying from case to case obviously; sorta non-investment excuse or alike. Also because I concur we all need to defend previous investments already done or recently made... Nothing more : ) Well, maybe only food for thought or just my two cents :-)

Only if there is no noise?

Well I can't say that the c200 noise performance looks particularly great. At least from this video...

You're probably looking under HFR. They don't list it because at this point Sony takes 4K for granted in all of their cameras It's essentially a stripped down RX10/RX100

Exactly. I think it'll be competent but I have doubts it'll rock people's world. Might be an AF100 all over again. We shall see, I'd love to be wrong.

Pretty much. I respect that it's a really tough balance, especially nowadays where even lower end cameras are getting really good. I mean, how do you make something genuinely 4x better than a GH5 at this point?

That's too bad... for them. Seriously. I've found, through experience, that clients that lowball like that are also the biggest headaches. They likely would have piled on extra requests, wanted infinite revisions to your edits, etc. that would use up more of your time. If they can't come up with 650 for three days of work, they aren't valuing their own business very highly. I have no doubt they will find someone cheaper, but the end product will look exactly like what they paid for it. In other words, don't feel bad and DON'T feel like you should ask for less for you talents!

"Open Gate" High Resolution Anamorphic Mode (4992 x 3744) ^^^Thats the only thing thats blowing my mind right now about the GH5. What are the frame rates in Anamorphic Mode?

When I was 17 I was making a short film, but left the camera rolling after a take, and forgot I didn't actually hit the record button again to stop recording. So naturally I hit that record button at the beginning of the next shot. I ended up with a bunch of behind the scenes footage instead of actual movie footage. Luckily this was just a slapped together teenage movie and not something serious.

Charlie, you are in a great position of leverage. Your work is good and you have a steady source of income, so you don't need this gig. That's an excellent place to start from. Another bit of advice I read that didn't occur to me at first....but makes sense.... is that it's normal for people to balk at your prices a bit. If every single person happily accepts your rate without question, then it's a definite sign that you are undercharging and leaving money on the table. Took me a while to get this. Ray Roman has talked about this. He's a really high end wedding video guy, and he says he books maybe 15% of inquiring clients. Not everyone can afford you, and that's okay. I would always worry the second a client got cold feet about pricing, but now I want that a little bit. It's part of the process, and ensures you're actually getting what your worth. Nothing will kill morale faster than grinding out high volumes of work for cheap. I've been there, and it made me question whether I even liked doing video. You are in a perfect position to avoid that trap.

Tonino Guerra.... screenwriter of most of my fav. movies! <3 "L'ottimismo è il profumo della vita!" (Cit.)

If you ask about budget they will always low ball it or say "as low as possible" which is normal. You must provide a price range based on the complexity and level of service. Tell them that you have a wide range of options, that you can do A for $ or Z for $$$, then let the customer pick where he wants to put the cursor. This way you respect his choice. Also, no need to be too "anal" about the contract because it may deter the client at some point especially for small project like that. Put the essentials (price, deadline, delivery format, license rights, the do and don't etc) but in any case if the client break some small conditions what are you going to do ? Hire a lawyer at $2000 block rate to fight for a $1000 job ?

First how "big" is this project ? Is that for national TV or small web diffusion? Then is that work for hire? Do they provide the contract? What are the conditions? How complex the project is exactly? What delivery format do they want? (resolution, FPS, color depth, etc.) You mentioned monologue, is that a simple tripod interview type of thing? You are not going to charge the same way for a huge project for national TV a small agency that sub-contract the work to you. Then you must list your cost and expenses: - Equipment (rental or amortization if you use your own) - Insurance if you have one - Tax (federal, state and all other tax that) on your general income (LLC) or corporate tax. - All other direct fees: parking, transportation, actors, location rental, stock music and footage license if any, etc You can set your price based on EXPENSES - PRICE = benefit or actual money in your pocket. That's "Invoicing 101" but if your costs are $2,000 you won't make a dime if you charge less than that. In your quote/invoice break down the costs and expenses so the customer realize all the elements. Mention your base price multiplied by the number of days: - On site preparation and filming ($200 days X 4) - Editing and color grading ($200 days X 4) - Equipment rental (camera, light, etc.) (xxx) - Actors (xxx) - Song license ($150 for internet license) - Studio rental (xxx) It's very hard to tell you what to charge without knowing the conditions and complexity of the project but don't go the cheap route. First because you will look like an amateur and second because all work must be paid and you can't work for free or for less money than a Mc Donald's employee. I checked your work and I think that you should at least charge $400-$800 per day depending on the complexity of the project. Now if you really want the job for your resume and reference you may want to lower the price but in this case explain why and include a SPECIAL DISCOUNT line at the end of your invoice (eg. 80% discount) And by the way congratulation for your work.

Another home movie/test video. These are becoming a fun way to bond with my daughter while exercising my craft. This time I shot with the Panasonic G7 and Tokina 17mm 3.5 (with focal reducer).

No. You can take great photographs with any camera. But almost all serious "model" photographers use Nikon or Canon full-frame, if not medium format if they can afford it. Not Sigma, they're too slow. That's a fact, take from it what you will Sigmas appeal to two types of photographer in my experience. 1) The ones who come from film and are very fussy about color (though Foveon has trouble with red). 2) photographers who are super picky about printing and deplore bayer color artifacts. The question for you would be is full-frame good enough that you don't need that extra clarity of a Sigma? So, I suggest you borrow/rent a full-frame and try it out. Even an old one. If you don't see a difference between that and your GH5 then I'm fairly certain you'd find the Sigma camera a complete frustration. As much as I love the Sigma look, if size/weight isn't a factor, a Nikon D810 is close enough for me. IF I want something small with the best look possible, and I can take my time, then Sigma is the way to go.

I'd like to buy one myself and have been hunting for the rare bargain for months ! If you want to use 16mm/super16mm glass. There is not that many options : BMPCC, BMMCC or Bolex D16 !

Recently created a new (one-off) LUT for the Panasonic GH2 because like me, I know there are people out there who still use (or would love to get back into using) this soon to be forgotten gem of a camera for video. Though it's not free, it's still cheaper than a Golden Arches Meal and worth checking out the page even if it's just out of curiosity. Thank you. Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bozgh2pana-gt-film-lut/