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My current setup GH5 42.5 1.2 (Bukeh Beast) 12-60 2.8-4 (Best run&gun weapon) 15mm 1.7 (lowlight dude)

No brainer, the 4.5K sensor is better than the MX sensor. And the URSA Mini Pro has more features than the Scarlet. Also this is just my gut feeling, but I suspect once you look at the total cost of a Scarlet kit it will be notably more than an URSA Mini Pro? I strongly feel that in 2017 that 4K is not the right choice for a hobbyist who is not seeing a financial return from their investment. Exceptions: Mirrorless/DSLR 4K, they're pretty cheap (but even for someone starting out, I wouldn't recommend). JVC LS300, surprisingly cheap too. RED One MX / URSA Mini 4K / FS700 / BMPC4K, arguably these could be included, but they do have a heck of a pros/cons list you should carefully analyze before leaping in. However, if you're the kind of person who drops $20K on a set of a golf clubs... then I guess nothing wrong with spending $$$$ on your film hobby too. Do remember that 95% of an image is due to the operator / director / crew / post team. Not the camera! And 99% of GH5 owners lack that. Unlike your typical RED Weapon / Arri Alexa XT / Sony F65 / etc shoot. So yes, those *are* better cameras. For sure! But don't make the mistake of thinking too much less of the GH5 just because of the typical user video. (odds are if they were handed a RED it would be just as bad/good!). Exactly why you don't want to be spending $7K on a camera in 2017. People often look at just the camera body cost itself, and think they can stretch to buy it, but forget the total cost of the overall system. A couple of years ago I wrote a blog post based around a GH2 kit: http://ironfilm.co.nz/a-priced-out-gear-kit-for-a-newbie-to-filmmaking-using-the-panasonic-gh2/ Now the GH2 is a very *VERY* cheap camera to buy secondhand, but it is quite eyeopening the total cost once you add up everything else. Even if you try to penny pinch as much as you can in all the other areas too! Shows how often instead of a newbie considering say an a7S as their first camera (not the OP... just giving an example!) should instead be going for a 2ndhand GH2 otherwise they'll run out of budget. Don't stress over sensor size, it doesn't really matter much overall so long as you have a matching lens kit for it that makes sense.

One of my first 'inspired by Edo' shots, from Friday just gone:

Firmware 2.0 for the Panasonic GH5 has been officially announced, and will be available for download at the end of September 2017. I've been testing a pre-production version of this on my camera thanks to Panasonic, to bring you my first impressions of the new features which include: Professional 400Mbit ALL-I intraframe codec for 10bit 4K 4:2:2 "Open Gate" High Resolution Anamorphic Mode (4992 x 3744) Hybrid Log Gamma with view assist feature for HDR shooting New and improved autofocus engine for video Performance optimisations and bug fixes Read on to find out what it's like to shoot with...

Hey guys here's a quick edit I threw up yesterday, filming racing is something i'm hoping to get into more in the future. GH5 with a couple different lenses, good ammount of slr magic 25mm .95 in here. Graded with filmconvert

Aussie I plan on making a longer edit for car people with only engine noise (Its music to my ears too)

That's a wonderful beast, you can just tell from the shear amount of glass compared to some of the other Veydras. It's the same vibe you get when you see the Olympus 75mm f/1.8 in person and that one doesn't disappoint either. @ Rinad Amir: nice trio... or well, quattro! How are you finding the 12-60mm? Haven't found any time to play around with it yet, want to see if it actually blows the Lumix one out of the water or if I should sell it off... definitely keeping my eyes open for a bargain 42.5mm f/1.2, I do love the new style primes!

This works perfectly: D:\ffmpeg-20170915-6743351-win64-static\bin\ffmpeg -i P1077005.MP4 -vf scale=1920/1080,setsar=1/1,setdar=2.6667/1,colormatrix=bt709:bt470bg -pix_fmt yuv420p -c:v libx264 P1077005-ffmpegHD.mp4 NOTES For other formats: A DCI 4K stream is compressed using JPEG2000, can have a bitrate of up to 250Mbps, and employs 12-bit 4:4:4 color depth. 4K=4096/2160 UHD=3840/2160 HD=1920/1080

Please do Jon love your reviews !

guys i rlly appreciate all the feedback. im gonna consolidate my notes and do some writing and see how much material it feels like i have so far... still thinking this over but i have to figure it out before i start typing in final draft: how many episodes and how long are they for a first 'season'/arc/whatever i didnt mean to sound too pejorative about creepypasta, i meant 'bs' in the sense that the *black eyed kids* are bs lol. theyre not real... that i know of ? id much rather do something contemporary like that or slenderman or whatever cuz its new, and the kids like it thats how i even kno about this stuff lol yeah thats a great question. oh... viral! mercer its gonna go viral lmao ill just hold my breath until that happens

I haven't shot with the Ursa Mini Pro, but the footage I've seen from it and the projects I've worked on that were shot with it have looked really good. Like, really good. And people who own it love it. I think the MX is cool and a real breakthrough, but I find Red's workflow demanding and it's OLD. The sensor itself is about a half generation behind the original C300 and to my eye the image isn't that much better... It's also really noisy under tungsten light, but everyone shoots daylight balanced these days anyway, or they tend to. But other cameras handle 3200K better. Red's current stuff is another story, of course, but so is the cost. The MX also needs a lot of light to look good. While I agree with everyone who's suggesting that you either rent an Alexa or buy a dSLR instead, this is your hobby and the last thing you need is people telling you what you'll enjoy. If you want to own the camera and shoot 4k, own the camera and shoot 4k.

Absolutely true, but I'd still argue there is greater potential to an upside from a feature film than a web series. Even though both could be potential a similar amount of work. Time and opportunity cost is still real factors to consider. And even a "no budget" production can run up into the thousands once you consider food / gas money etc

Looks like the camera to the far left is a Canon :-/

It really is not such a big deal to be lacking 444 As to record 444 you need a fairly expensive recorder, which kinda defeats the purpose of buying this amazing camera on the cheap?! While it can still do great ProRes HQ with a very cheap HD recorder.

I’ve been watching some C200 videos on Vimeo now that the camera has been out in the wild for a little while. So I figured I’d link to a few that look pretty good. Actually every one I’ve seen looks pretty good. Wish I had an extra 6 grand lying around. Here’s another with some lowlight footage...

I dunno, I think you guys should give him a chance, he might be telling the truth.

They have a relentless posting rate now on the front page news feed... 20 articles PER DAY and sometimes more?! That's crowding out the last few good remaining writers and reviewers there like Richard Butler... crowding them out of their own damn site. They have hired click-bait writers from FStoppers like DL Cade. Indeed the In The News column that runs all the way down the right of the site is populated by articles from other sites like FStoppers and Petapixel. Is there anybody I respect left in the photographic blog community? I don't know! They have almost all gone down the drain. It's so sad. I want competition, I want to like and respect the work of others. The internet is going to implode under the weight of it's own shittyness at this rate, with this much quantity of clicks over quality, it isn't sustainable.

Well, I mean, has this group ever been the cutting edge bastion of science? Or is it, just a bunch of filmmakers and shooters trying to help each other with tips and tricks to improve? And if one person asks the question, and another person tries to help and answer it, should you, dear friend, Can'tSin, be upset? These are great mysteries of life. If you want true, science-based research and answers, go on cinematography.com and ask Art Adams or David Mullen. If you want to have a little fun, stay here.

Yup - buy it! Redid the grade. no touching anymore - it is what it is

Short has been shot more than two weeks ago. Was a great shoot. Some awesome shots captured. Don´t wanna show too much yet, but best colors I ever shot with a Lumix cam. Can really recommend the GH5. As I said before, I chose it over my GX85 for its battery life, ergonomy and its awesome HD mode. Great cam already in 8bit in REC and HD. But cannot deny the REC709 highlight rolloff:) I send you a PM with screenshots soon. Don´t wanna spoil it on the forum too much

Thanks Marty. It's starting to come together. This whole project began as a 5 minute test short back in April but then I've been so pleased with the results, I just kept going. Now I need to start casting some more characters so I can finish the thing. And yeah I agree about the second one. It looks fine but lacks maybe the depth one can achieve with ML Raw. But for now these are all just color tests that I will finalize at a later date... when I learn how to color grade. Anyway, hope all is well with you. How is your short going?

And here's another one. I used that Hunter's LUT with this one.

Still plugging away on my film. And still could not be happier with ML Raw and the 5D3. I went out on Saturday to to do a couple pick up shots because my first attempt was a little noisier than I wanted and I wanted to get this scene before the water gets too cold. So I took out the Canon 35mm f2... what a lens. Anyway here is a screengrab from the shoot and a test color grade after I processed the footage. I'm still hoping to test the 3.5K builds soon, but right now... for my needs... the 1080p is more than enough.

The extent of my cultured critique of his work at that show was that I wouldn't trust him if I saw him at shop buying a shovel, plastic bags and some lime thats for sure ! I think I remember reading somewhere that he now uses a Phase One system.

I'm still holding on with an iPhone SE. Wanted to be excited about this release, but honestly it's not very exciting at all. The new camera features look okay. Facial recognition and wireless charging offer marginal functional value at best. Of the new models I'd probably just opt for the 8/64. iOS11 looks pretty nice though.

I am a screenwriter before I am a filmmaker. One of the reasons I began with screenwriting is because I always had ideas for movies but never the money to make them. So I may look at the storytelling process differently but for me it always begins with a "What If?" I've also always been a people watcher... always curious who is who and what is what. So being in tune with your surroundings and asking rhetorical questions about what you see can also be helpful. There are ideas all around you, they just need to be grabbed. By knowing the types of stories you want to tell helps your brain weed through the irrelevant ones. Also like the old editing adage... if you can't solve it... dissolve it, for storytelling... when in doubt... adapt. There are hundreds upon hundreds of public domain stories, poems and songs that could make interesting modern stories. Since there is no such thing as an original idea any longer, we as modern storytellers, need to embrace that the only key to an original piece of work is our own take on a tired tale. Also, although confusingly named, this subforum is designed to show finished work, so you may want to ask a moderator to move this thread to the main board... especially since, sadly, this subforum is rarely visited.

... 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!

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'm kicking myself for not asking the same question!! The C200 ships with Dual Digic 6 processors which has got to be faster than the single Digic 5 in the XC10. There's no way the hardware couldn't support it. RAW output can't be the reason either because RAW is *less* processor intensive -- it just takes the sensor feed and writes it to a card, it doesn't have to debayer or add noise reduction or anything. Canon's own press release for XF-AVC lists the specs of the codec, and for 4K it can do either 8/10bit I-Frame 422 and for HD 8/10/12bit 420/422/444. Committing resources to creating an 8bit 420 for 4K just to protect the C300mkII would be *insane*, though I wouldn't put it past them. It might even explain why it doesn't ship with XF-AVC. I walked into the demo planning the business case to finance the C200, and I walked out with an order for a C100 mkII. They're now selling the C100 mkII for $5000AUD and it comes with an Atomos Ninja Blade kit, vs the C200 with retails for $12499AUD. Easiest purchase decision I've ever made!

To answer the question in the article: No, not really. Canon's color space is just more idiot-proof than Sony's.