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I agree with Jonpais. If you are not a DP/Director, nor are you an aspiring DP/Director.... who are you to judge others of not being DP/Director, and/or aspiring DP/Director? Don't put me and you in the same boat, just because you and I have the same camera doesn't mean that I have the same thoughts and/or dreams like you. Now, nobody here was born in a Hollywood studio, at least I'm not... and even though, I can afford some of the cameras on that list.... I prefer to film with whatever I have.... I would assume most established DP/Directors started off somewhere as well.... and didn't have Panavision or whatever at their disposal from the get-go of their respective careers... Now, if you are an established DP/Director making some serious money, and you are filming with an iPhone.... then that's a different story.... but still, who am I to judge? Speaking of iphone, everyone always forgets about Tangerine - https://www.theverge.com/2015/1/28/7925023/sundance-film-festival-2015-tangerine-iphone-5s Now that.... if anything, should be an inspiring story for those of us who are still aspiring to be a DP/Director....

Oh god, something like a GH5s would be.. nuts!

Turns out the 7artisans 50mm Im testing has a bit of the sought after soap bubble bokeh thing going on.

I love it! Great setup! The struggle I am having is the constant battle of production value and execution. I have found that when it comes to camera and tech reviews, you sorta have to have good production quality because the people watching it expect it. But the vloggers and YouTubers who are literally making millions of dollars a month have crap production quality because the vast majority of their viewers couldn't care less.

It’s my understanding that the 3.5K Raw from the 5D3 isn’t a hundred percent refined yet, so for paid interviews it may not be your best bet, but I would have no problem using the 1080p Raw for paid gigs. I’m in the middle of shooting a short film in 1080p ML Raw and I couldn’t be happier. I’d take it over any consumer 4K any day of the week. With that being said, I am one of the few fans of the 5D4’s 4K on this site... I think it looks absolutely stunning and the Touch AF seems magical. But unless I had a client that asked for 4K, I would just shoot 1080p ML Raw. But since I am a hobbyist that shoots zero budget films... well working on my first zero budget film, I don’t have clients to answer to. Another thought would be a 1DC. In my opinion it is the best 4K image out there. The 5D4 is similar with the great AF, but the 1DC has that unquantifiable “mojo” I hear people talk about. But so does ML Raw. Hope that helps, but after rereading it... it may not have...

Hey all, I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras. In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film. Feel free to leave any feedback or questions and I'll do my best to help you out!

"The Middle Path" A ***** **** Short", I count five starts followed by four stars. Making a five letter and four letter term? "A Lumix GH5S Short" then? GH5S, what could that be?:)

He did an unsolicited episode on my vlogging mirror for Sony cameras. Like me, he felt that a feature holding Sony cameras back from the vlogging mainstream is the non fully-articulating LCD screen. I've sold around 5 vlogging mirrors which I sell below cost. I believe there are two reasons for the lack of interest. 1.) Many people have fantasies about becoming a successful filmmaker and the latest/shiny/expensive equipment is what gets them dreamy-eyed, not some gadget made in some guy's garage (or hackspace). 2.) The Panasonic cameras have benefits beyond articulating screens; seemingly endless battery life and crisp 4K. 3.) The desire to vlog does NOT EQUAL a desire for camera equipment (quite the opposite probably). Anyway, I enjoy Caleb's scripted pieces but also find the streaming episodes too slow. On his studio setup I'd quibble about a couple of things. First, his mixer combines all the inputs into a 2-channel USB stream. Perfect for live-streaming, but of limited use for studio stuff because you're not recording separate non-processed feeds for each device. Also, the setup is fine for a talking head, but isn't as flexible for other things. He did a review of the Odyssey, where he switched between different cameras--great video! The device cost $3,000 though. There just isn't enough time in the day to do an equipments shows AND go out and shoot short films. It must be very frustrating for him. There are only so many pieces you can do about lights, cameras, lenses and doodads before wondering what the heck it has to do with story-telling. Here's my current vlogging setup. Now that I have it working well, technically, there is just the problem of my stiff presentation Anyway, if you have USB3.0 on your laptop/computer, that Cam Link is nice device.

@jonpais I guess it depends how important AF is to any particular indie filmmaker. I just think it’s a folly to go back and forth about which company cares about their customers more... when they all care about deep their pockets are. I think all filmmakers need to decide what features are important to them and then make a decision based on that. For me, 4K is st the bottom of the list, so 10bit 4K doesn’t even register on my radar. It’s a cool feature but it won’t make or break any film I ever make... at least anytime soon. I do like the IBIS and 10bit all-i 1080p and in future camera purchases, I will probably want DPAF because that is a feature that will help my level of productions. But I don’t think Canon developed it because they really care if I can track focus and then tap the screen to rack focus. So no Canon doesn’t make me feel warm and fuzzy on the inside as a company but I appreciate the effort that went into that specific feature.

Here is a trailer for my shortfilm I shot end of summer. It´s shot with the GH5 in 8bit 100mbps with natural profile. So should be similar to what a G85 can deliver if using its UHD mode. It´s a pity that not many people are sharing their shortfilm efforts on the web or not shooting any. I remember the GH4 launch and along with all the slomo, flowers, walking backs of heads, there was a variety of interesting and inspiring fictional shortfilms, pieces of fictional filmmaking. Little sidenote, my G6 video I posted above was kind of a concept quickshot for the shortfilm this trailer is from. I must say I am still very fond of the G6. But color rendition of the newer bunch of Lumix cams is impressive, when graded. So even more a pity, that the newer Lumix cams don´t seem to inspire to shoot shorts as much as they are used to film documentaries, webcontent, fashion ads, imagefilms, and stuff like that. Some wedding films with the GH5 are super impressive. Would love to see that in the fiction shortfilm area.

The polaroid in this ad looks so much better than the ad itself. That´s the highly suggestive power of exellent colorwork. Polaroids can indeed provide some exellent color. I have a few large format ones, really looking awesome. Great find and compliment. Thank you!

I'm sorry for pitifully pandering on behalf of my friend, but if you are interested in a 1DC.... Check out the 'Gear for Sale' Section and make an offer. Its tested, it comes with extra batteries and memory cards, just saying....

Well, I don't think so... and I dare to say my fellow muppets also!

Tokina does! In fact I think they were the ones who pioneered it. Fujifilm also does it for some of their lenses.

I feel you Jon. What I did, was starting to listen to Scorcese, Linklater and the likes, Edward Murch, Tony Zhous essays and so on. DSLRGuide is a super cool kid, who is one of the current Youtube kids providing really awesome content on a regular basis. I think he is one of the best and fantastic in his own right. https://www.youtube.com/user/DSLRguide/videos

Maybe because of the way YouTube pays now, longer it is, the more adverts that get squeezed in!

I saw that...and was about to buy it. But looked at the reviews and decided, I rather spend $200-300 more and buy a GX85 or something. The reviews were not only bad, but made the camera seem not that useful at all. Then I went to the manufacturers website and it looks like they have completely shifted their focus doing VR cameras. Which means there will be no additional firmware improvements and I'll be left with a $200 junk. I rather spend $500 and have something like the GX85, I think.

For me, something "simple", like outputting a signal via HDMI during internal recording 6k anamorphic mode would be great, I NEED a bigger screen for my tired old eyes...

I have really enjoyed the manual clutch thing on the Olympus lenses when I was shooting m43. The lenses feel solid and well built. I miss them. Wish some other manufactures would implement that feature on their lenses.

@kidzrevil I think you are definitely one of the people that could benefit from the extra 2 bits of color. So it may not be a bad idea at all. I also have a feeling, according to @Neumann Films recent teaser post, that the GH5 may be getting something more... if it’s Raw video... then I may have to buy one too. And if you go on eBay, Samy’s Camera, in LA, has some great prices on New Open Box models. By benefit, I mean utilize.

@kaylee that’s a better reply than mine, well said. No problem, after shooting FF Raw, it’s hard to even conceive going back to shooting aps-c... let alone something smaller. The GX85 is a fun little camera though. For the money ML Raw on the 5D Mark III, even in humble 1080p, is the most effortless, cinematic image around for $2000. The experimental builds for 3.5K Raw in 12bit crop mode is just icing on the cake.

hi @Trevor Butterworth! i have a 5d3 and im really happy with ml raw i think the choice is about the image. if you prefer the higher resolution of the 5d4, great. i prefer the more analogue-y filmic image of the 5d3. horses for courses tho, totally depends on the project but $1000 is money, i get that. so in general i guess id say that if you view 5d3 raw as an option, and youre prepared to deal with the data, etc., and youd prefer those 1080p raw files to the compressed 4k of the 5d4... great, go for the 5d3 and spend that $1000 on other stuff thats more important for me personally, im just not into a dslr with touch screen dpaf on a screen that doesnt move. thats the #1 thing id change about my 5d3 if i could – flippy screen!!!

This is exactly what I was talking about. Great color science and features in such a small package. This camera really is a dream for YouTubers I think.

Thanks for those detailed comments. I've been moving more and more towards full frame in my photo work, so going back to 43 is not for me. Although I do have a GX85 and a Sigma 18-35 though...

To add, I’m sure someone will post for you to buy a GH5 and a Metabones speed booster for your Canon glass. And that is an option. But since you asked about the 5D4, I will say that there is a 4K crop and it is somewhere between 1.64 and 1.74 depending upon what site you read. This crop puts you just on the edge of the Super 35mm format but you may require wider lenses. Some aps-c Canon lenses will work if the shield is removed. Other lenses like the Sigma 18-35mm will work with no vignette... so some lens options open up. With the 3.5k ML Raw, the crop is similar to get constant recording... so that aspect is a wash. The problem with the C-Log on the 5D4 is that it is Canon installed, which means there is a chance that if the Magic Lantern team ever cracks the 5D4 for effortless 4K and plus Raw, it may not work with models that have C-Log. Good news is Canon Log is a great Log profile that really expands the dynamic range in an easy to grade Log profile. So if you’re only worried about today and not a hypothetical Magic Lantern 5D4, then Canon Log is a great profile. File sizes will be large with either choice so expect to buy some cards and hard drives. Good news is that CF cards aren’t horribly expensive and hard drives are cheap. Now with ML Raw you get a lot of other benefits like focus peaking and exposure tools. Although with the 5D4 and its DPAF you won’t need focus peaking. So I would say that you need to decide how much you need 4K? If you can get by with a majority of 1080p Raw and then some 3.5K for specific projects, then the 5D3 may be enough for you. But if you need 4K for everything, then the 5D4, 1DC, or if you can stretch it, a C200 may be your best bets. And I guess I’d be remiss not to mention the GH5 as an option. For the money... maybe even twice the money... it is an amazing camera. Good Luck.

Okay, my finding. Already REC709, 8bit HD mode is astonishing. GH5 is a beast. I´ve been saying that a few times now. So, here is my quick trailer of the short I shot. Shot in 8bit glory. Editing a film is a total different beast though. So I hope the mood of my trailer will transfer well into the final shortfilm. It´s low bitrate uplaod, grade is still a bit rough on the edges.. Still hope it can give an impression about my findings with this camera. I might put a PW to this. It will be boxcar then.

I will in "his" topic with comparison shots against 5D, but not in this thread, i dont wanna flood this with sony stuff I tested Kidzevil's workflow and it's very good. Almost as good as mine :P

Thank you, this is so well done. I love how you used practical, in camera effects for the scares. The zipper was brilliant. My only criticism is that I wish you used a different doll instead of Elmo because I think you could have a real winner with this short... similar to what happened with the Lights Out short, but due to legalities, the Elmo doll may hamper that. Either way, awesome work as usual.

I was lucky enough to grab a Proxiscope from Max as soon as it became available...he had previously sent me his prototype to do a test fitting on my DIY close focus modded pre-36 iscorama. Here follows my review after using it for a few weeks... Full Disclosure: Although I was graciously approached by max to test out his prototype, I did not take up on the kind offer of a discount in the purchase price of the final housing. This was due to me wanting to give an honest review, as well as back someone who was going to add a great partial rehousing option to those with iscorama 36 lenses. Therefore my review is from the perspective of a regular customer. I am very happy to report that the Proxiscope housing works flawlessly, not only with MC and pre-36 models- but with lenses that have already been DIY modified (cutting/ shaving stopper and body to allow grub screw stopper to be inserted for new stop etc). This is possible due to the proxiscope locking metal collar that completely bypasses the original plastic section and the front section having an integrated relocated metal stopper. The ingenious design allows the new front to enable the same close-focus ability as the DIY mod, but in a MUCH more elegant and reassuring way. No longer is the fear that the grub screw will work loose and let the rama front go smashing to the ground for example. The integrated focus gear to the design is much better than any third-party gear ring, as those never quite conform properly to the isco's tapered front. The anodised finish of the Proxiscope is very complimentary to the original isco design as it does not spoil the classic look with obnoxious bulges or with added weight that then restricts it to rail mounting. Focus markings are clear and are denoted in meters, I think feet measurements are also an option. The Proxiscope comes in a nice wooden box, with all the tools needed to install, with easy to follow video instructions to be found on YouTube. Installation takes about 4 mins and can be 100% reversible to original factory condition. In a world where everyone wants something for free, some may question the price. These people need to take just a second to consider the design time, R&D testing and small-run costs of getting anything of quality made these days. Also the fact that the current cost of a Tokina +0.4 combined with a decent focus gear will run you a comparable amount - without actually giving you the benefit of an 'in-body' solution that the Proxiscope does...Oh, and it's under half the price of the cheapest VD rehousing mod (that you have to wait 90 days+ for!). So, all in all...a very impressive product that massively improves the practicality of using iscorama 36 lens types for modern film making whilst still maintaining the isco's classic look and light weight. Rehousing is solidly built with clear instructions for installation. Fully compatible with 'factory' iscorama 36 lens types...as well as those with previous DIY close-focus modded lenses. (pic below shows slim UV filter attached - not part of Proxiscope)

Post it, bud!:) If you found a nice shortfilm with plot, don´t wait and post it please. I didn´t happen to be lucky on my search for it. Well, Andy Lee has not been on the forum for a while now, unfortunately. Good shorts with ultra low budget are very charming. Would love to see that kind of filmic approach with one of the three cameras above. Every camera finds its avid shooters, its masters. So would have it charms to find that charming people having done one or two shorts with one of the charming three cameras above. @Anaconda_, I would not call your musicvideo a shortfilm in the sense I was trying to suggest @sanveer Cool! Really looking forward to seeing your footage with it! Posting threads on EOSHD didn´t make me rich neither:) What terminology would you suggest to give an adequate answer? For now, I´d say, some shortfilms which show joy of creation and being a narrative, showing off work with the filmic form in that context. Here is one of my shorts, I´ve posted a while ago, filmic sketch much, much rather, but still with an attempt to narrative, done with no budget, a Lumix G6 and a china boosted FD 28mm. Did a reshoot of the setup this August with audible!:) dialogue this time, with a small crew, two professional actors rather than non professional, though talented, collegues. This vid I did all by myself, therefore no audio for the voices

His last comment, on the above video & the title of this post, is the truth - you have to test cameras yourself, do not rely on other people's tests/opinions. However, nowadays people don't/won't just blindly go out & buy a camera. So we look around at uploaded footage & try our hardest to make a decision, which is a minefield in itself. The guy seems to have made a mistake, but what an error, especially if you're blogging - hey, but shit happens. Personally, I loath comparison videos & would rather compare independent clips, but that's just me. BM cameras get a lot of negative comments & mostly from people who've come from a DSLR background - they simply don't understand that most high end cameras have loads of problems (RED send out technicians to movie sets, enough said). We all now know that BM cameras can produce lovely images, on a par to some of these high end cameras & most importantly, for a decent price. Do you remember the marketing lies when FCPX came out? Premiere suddenly became this NLE that everyone was holding a torch to, when the reality of the situation was that no high end company was even using it to edit - the NLE of choice was AVID and then FCP7. It now turns out that the decision to rebuild FCP from scratch was a great idea, because it is now so much better than Premiere could ever hope to be. In fact Premiere now feels like a bad copy of the old FCP7 & brings nothing to the party - on top of this, you have to rent it from Adobe for a monthly fee. The NLE market now has loads of choices available, Lightworks & Resolve both have free editions or you pay a one off fee like FCPX - admittedly, Resolve is still developing, but it's nice to see Lightworks fully staking a claim again. So, who do you believe?

Yes, I think he just made a small error, yet it doesn't change the rightness of his conclusions for himself.

That's a good question, why?

IBIS in G9 looks excellent and the 6.5stops in without stabilized lenses accurate: http://www.photobyrichard.com/reviewbyrichard/panasonic-lumix-g9-review/ Can't really see a difference between dual I.S.2 and just IBIS: If they have improved the AF performance in video as well then this will be a hell of a hybrid camera.

Zzzzzzzzzzzzz