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Unrelated to this thread, but the LS300 mount is where Panasonic completely missed the boat with the EVA1.

Fingers crossed for a new Panasonic EVA1 MFT! ;-)

In that case I’m sorry, I overreacted and misinterpreted your post. I don’t think anyone should be judged primarily by what gear they own or use. But there are nevertheless better choices of gear for different circumstances. Ultimately, your choice of equipment will be one of many choices that’s reflected in the final product. And that’s what I think you should be judged on. But yes, gear is far from the most important decision a creative will make. For amateurs like me, high end cameras are a much worse choice (imo) regardless of budget… too difficult to operate or steal shots with and only for a marginal improvement in technical image quality. Most of the content I’ve seen on this site that’s been shot on an Alexa or something is usually among the worst looking, because that’s a harder camera to use well without a larger crew and that far outweighs the technical superiority. But I do think it’s something that matters… on a case by case basis… On the Revenant, the Alexa mattered. On the other hand, it’s this same thinking that makes me so critical of Netflix’ decision to focus on “true 4k” over whatever the creative team would prefer. Cannes definitely has a better approach–judge the painting, not the brush. But that isn’t to say the brush doesn’t matter, just to say that all that matters is what you do with it. So I mostly agree! No I couldn’t afford the Bay Area! Beautiful part of the country, though.

an FT5 (high probability) rumor on 43rumors seems to point at a "BIG" product announcement from Panasonic : Now, I hope, that BIG refers to BIG Pixels, as in Quad Bayer HDR coding of the successor sensor of the GH5. There's some pointers a new high sensitivity camera out in the wild... Some of my musings on that topic here Frankly, i cannot wait for December 15

There is not always a "subject" in video. Ambient sound is quite often all I need. If I want to hear someone talking I try to put the camera as close to subject as I can. A good directional mic would be helpful with people talking in noisy places. A good mic is of course better than in camera mic. In my videos the in camera mic has been good enough. I just dont like the way GH5 limits low frequencies. A big mic may be a bit scary too for a subject if I want the most natural or "stealth" recording. Also in some places it makes too much attention to use a big mike. The guards or officials may want to stop me shooting if they think I am making a video story or documentation. With a plain GH5 I can shoot more freely and without too much attention of others.

Yup. I think the main reason the LS300 didn't take off was simply due to JVC not being taken seriously in this space. Their pro rep is solidly in broadcast, and even their consumer camcorders were never anything special. So people looking for an affordable large-sensor camera from above or below just don't have JVC as a contender in their minds. Panasonic doing the APS-C sensor + m4/3 mount would have turned a lot of heads. Especially if they had included a nice solid m43-EF adapter that had the option of bolting to the camera body, for those who would just want to run the camera as strictly an EF mount. Maybe in a year or two they'll figure this out, and a new camera can slot into the wide space between the GH5 and the EVA.

Panasonic is the new Sony.

Another grab from my film...

Panasonic or Leica prosumer Anamorphic lenses is on my wish list A GH5s would be cool but I don't think it would draw me away from my GH5

This was brought up in another thread, but I did not want to derail it too much. So, for those who hadden seen it yet, this video showcases the Coen brothers and their way of filming dialogue on a single (semi) wide lens: And to quote Ed David:

@Laurierperhaps you can clarify why you need a 1st AD on a fashion shoot and why a camera saves you from having to use a 1st? ....Does this mean you still use a 2nd and I'm curious about what they would do on a non narrative project!

Can't wait.

@raf702 I also made the switch from an a7s (which I shot with in both HD and 4K) to the 5D3, and have to say I have never looked back. To me, the DR in the 5D3 is so much more "true", in terms that you actually have control over it in post. Unlike the thin 8-bit "14 stops", that has to be at 3200 ASA, perfectly exposed and with heavy amount of filtration in order to be worked with properly in post. By the time I had got a reasonably life-like image in the grade, was also the point when I had to deal with the aftermath (color casts, skin tones, noise, etc) and the limitations of the Sony. I get ten times more excited looking back at what I shot with the 5D3, than any other prosumer Sony cam I have used

How many 1st AC's were driven to tears?! :-/

A back of steel! Blames the lawyers is my bet.

Even though I almost always agree with you Kisaha, in this exception I would say an F4/F8/MixPre6 is *NOT* a "middle solution". As MixPre6/F4/F8 are very clearly low end options (even if they're at the top end of the low end, and have many features that only a few years ago you'd have only seen in the higher end ones). The middle range of option is Sound Devices 600 series (664/688/633), Zaxcom Maxx, Sonosax SX-R4+, etc High end is Aaton Cantar X3, Zaxcom Deva 24, etc I still feel the F4/F8/MixPre6 are *EXCELLENT* recorders which are amazing for their price, but it is good to keep some perspective here, out of the whole wide range of options out there they are certainly not some middle ground, but instead very much so sit on the cheap side of the price spectrum. http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ http://ironfilm.co.nz/aputure-is-shipping-their-new-microphone-aputure-deity-meant-to-be-a-competitor-to-the-sennheiser-416-like-the-rode-ntg3-is/ Seems you've just been unlucky? If anything, I'd say Tascam has perhaps a better reputation than Zoom? (up until the last couple of years, Zoom had zero "pro recorders", while Tascam at least had a presence in that market) But if you really want to avoid Tascam, then consider Marantz? https://www.bhphotovideo.com/c/product/1340332-REG/marantz_professional_pmd_706_6_channel_dslr_recorder_recording.html

Hell this one is a bit under 2000 bucks! https://www.ebay.com/itm/JVC-GY-LS300CHU-DEMO-with-FULL-JVC-3-Year-Warranty/152758889112?epid=219504907&hash=item239123aa98:g:WvgAAOSwOdpXybuO

Andy, you better get your tush back here and inspire our spirits with your passion and knowledge! @andy lee Awesome post always need awesome contributors like you!

Would love to see a shortfilm done with this camera, which is crafted and created with the same love and energy as the best GH1, GH2 and 5DII films were done. Not many impressive shortfilm efforts on the web, which were done with a Lumix G7 or A6300/6500 and the likes. Have seen one nice LS300 piece in a basement, dark sewers kind of enviroment shot in JLog, which looked fine. That´s it. Are there more around? Would have been cool to have EVA1 codec specs in a follow up for 4000 USD.

The video assist won't accept 4;4;4. It will probably give you a green tinted image if you send 4;4;4. for use with the video assist, set the f3's sdi out S-Log 4;2;2 Use SDI output A, not the 'Video Out' bnc connector. If you're set to 24p you should be sending 24p out of the sdi. the BM video assists seem to sometimes detect the wrong frame rate - on the A7 series they see a 25, 24 and 30p signal as 59.98, but when imported into the timeline you'll see the correct framerate. It's worth setting the camera to Cine EI mode since it locks you at 800iso and you get the most from the sensor. correctly exposed you can pull or push the 4;2;2 footage a lot before it breaks up. Amazing camera. ps. watch out for the 'shutter on/off' switch down near the bottom left in front of the flip out screen. Set to 'off' gives you 360degree and changing shutter angle won't change anything. catches you out sometimes.

BMPCC + Anamorphic Lens Adapter. Black & White grade based on my BozBMDFilm to Rec709 LUT. Download Here: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/ - Suitable for ALL Blackmagic Cinema Cameras.

@PannySVHS You are welcome, pleasure is mine. Your vampire shorts are on a trait for lovely-freely homo-ludens and schizo fireworks - so please, keep going on. Of course it was compliment. In your last sample, colors are not at all - at least for me - great, balanced, accurate, neither thought-out or minimalistic: for me at least they are, simply, retro trash and tend to follow short's bizare atmosphere of psychodelia. But eoshd looks sometimes to me as really funny place of an especial sort of sanatorium: for curing ours childish wish to act as big conneseurs, competent and important judges, and participant in game You-Milk-Me-I-Milk-You as aspiring cameraman role. Saying that, once more I vote for Jon's buying Atlas lens(as) and for Mercer's (Glen?) buying another hundred of lenses (for planting them around his countryside so becoming mythical place of great obsession). Lets our West-East moderator guru bravely steps in front of bankrupcy and be feeded in hungriness by his Vietnamese Dulcineas! Why? Because from West side one so-so wise man, S. J, said as ultimative advice: Stay hungry, stay foolish. And from East side, one wise man, A.T, said: Let someone shout that pyramids should be built! Even if we do not build them, it is important to nourish the great dream! You see how boring and funny-in-fiasco-attempt pathetic I am? So please, laugh at me... and shoot more polaroid extravaganza pretending to expect appraisal as they are great color achievements!

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.

Thanks Juan for this great tutorial! seems to works nicely on BMPCC raw footage too. I don't have a 5D3 but have done a quick test on some MLV files from my Canon 50D and it's looking good to me, see image below. I'll post a video if I get a chance:

@mercer Hey if you've got a chance to swipe an affordable Zeiss 85mm/f1.4 definitely take it as it will overrun the Takumar 85mm but its a beast of a lens even without the hood attached, the Takumar is about half the size. I'm a Nikon stills shooter and don't have a single Nikon branded lens strangely enough so I'm envious of your set. I just jumped into the deep end with Zeiss right off the bat and I'd definitely recommend the ZF over the ZE. I completely agree about the look the 5D3 4K is putting out but the 1080p Raw is just so awesome as it is.

90% of THE GODFATHER was shot by Gordon Willis on a 40mm lens (Super Baltar) ,