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"GH5 V-Log and Hybid Log-Gamma are transformed to precisely match the color science of the Alexa, without compromise." "The GH Alex conversion completely transforms the GH5 image, addressing every nuance of color reproduction (from shadows to highlights, low saturation to high saturation, for every possible hue). This includes an organic rolloff which fully eliminates channel clipping." EmotiveColor.com PDF YouTube

That has to be the worse video quality I have ever seen LoL. That was probably shot on a Barbie Camera! It looks like a SONY PMW-400K. I had one a few years ago. Damn great camera at the time. 3 2/3 sensors in it. Pretty much industry standard at the time. Maybe even a older one. the 400k would do HD, so not sure what they shot that video with. Might only be SD not HD. It is not that long ago that ENG could even shoot in HD. Like only maybe 7 years ago and then Only in 24fps, Maybe 30fps. They would shoot higher fps but only interlaced video in HD.

Here's a sort of uber-imaging setup with a 9.25" aperture/2350mm f/10 Schmidt-Cassegraine compound scope with an afocal imaging setup about 15 years ago: Sony TRV-900 3-CCD VHF camcorder with full man. controls, SS down to 1/2 sec connected to a telescope eyepiece (this is the "afocal" setup) which is connected to a 3X TC (Barlow lens in astro lingo). The Jupiter images filled about 2/3 frame height with the Sony at about 10X zoom. This method makes finding the object pretty easy zoomed out, works well in spite of the huge # of optical elements involved, and zoomed-in gives enormous mag. - maybe ~ 20-25 meters EFL @ f/100? The film clips were processed in Registax, which selected the sharpest (due to brief reductions in atmospheric turbulence), stacked 400-600, which accentuated common detail features, than a complex multistage "wavelet" sharpening routine. The first Jupiter image was from the steadiest "seeing" conditions I've ever had - in the Florida Panhandle. The Mars image at it's historic closest approach in 9/3/03, from southern Mexico.

Thank you Jonesy Jones, I really appreciate that. I will take it into consideration. Just one light source conversion may still be used on other light sources to good effect. It is likely that it won't earn back what it cost to make, but it is something that I personally really wanted and was passionate about having (I was seriously considering used Alexas last December). Also, the research and development put into this may prove vital in my next, more costly, effort. Currently available color solutions (FilmC) are far from accurate, and are best described as 'looks'. This is something different, and I intend to raise the standard for *conversions specifically (color transformations that should make one format look exactly like another)

The notion of this thread is wonderful. Exploitation B-movies are something to love if you have the sensibility to tolerate it. Failed earnestness is compelling. Some filmmakers (like me and my friends around a decade ago) have employed "ironic" mimicry for affect... barely making a comptent movies ourselves! But, when it's just a legitimately incompetence fueled dumpster file, man, that's awesome. I'm a member of a film festival and this year we're screening an utterly crap-tacular film by one of the most inept filmmakers I've ever seen. Ed Wood stuff. He's one of those guys where he's so bad it's good. He's actually legendary among cinifiles that follow horrible exploitation b-movies. His sensibilities are so un-pc it's embarrassing. The reason it's in our festival is 'kuz he's local and shot some scenes in our community and he knows the committee chairman. Be that as it may, it's still such a piece of nonsense that it's going to reflect poorly on our festival and we'll take an embarrassing hit for screening it. Filmfests are always political. Regardless, no one goes into a "legit" filmfest expecting to see such blatant inadequacy on screen. To give you an idea how shitty this movie is, he wrote a third of the film specifically to revolve around bad 16mm stock footage. He shot that footage for one of his movies in 1979. He's literally been making this movie for the better part of 4 decades. On the other hand, there's a film in our fest made by a 17 year old that would make y'all poop your pants in shame it's so visually miraculous.

They are not that much money anymore. That thing was like 80,000 bucks new, now... That was a beast of a camera. https://www.ebay.com/itm/Sony-HDW-F900-CineAlta-24P-HDCAM-Camcorder-Unit-2-of-3-3012/152701678244?hash=item238dbab2a4:g:rJYAAOSwpHFZaj9H

I could care less about labels. No camera to date has been perfect, so it is absolutely reasonable to desire something that checks more boxes. The current GH5 is a great camera. But we all know the GH6, 7 and 8 will be better still. If you can upgrade without breaking your budget... then why not? Ask yourself this, would any manufacturer add features or enhancements if they believed no one would ever upgrade to the new and improved model? If we as consumers choose not to reward and recognize when companies innovate, then innovation will die. If the GH5S... 0r whatever it’s called is substantiallly better than the current GH5, then I will buy it. Hell, I might buy two and put my old GH5 up for sale. I know many other will do likewise. I don’t shoot film to pay my bills. I just enjoy it as a creative release. I do it for the love of the art. If something I shoot gets likes or entertains, then that is payment enough for me. People need to understand that just because a new model is released, does not mean that somehow the current model will be rendered incapable of shooting the images it did when you first bought it. Your old GH5 will still be every bit as good as the day you purchased it. If you choose to upgrade to the latest and greatest, then you are simply confirming that there was indeed room for improvement. Personally, I hope the GH5S (or whatever the name) is amazing, and makes my current GH5 feel like a piece of junk. Because if it can do that, it’s gonna be a keeper... well, until the GH6

+100 @jonpais....the GH5 is not a buy and shoot out of the box camera...it really is a complex and professional tool...like any of the Cinema cameras this is easy to get out of focus or poorly exposed footage with that will then look like crap...but for a crew, or an individual who gets it right, this is hardly a "prosumer" camera...it's just priced as one...

Really nice frames @jonpais but I thought you were shooting ETTR And it's been really nice following your channel the past year as you're videos are just getting better and better!

I think it's the opposite actually. Most filmmakers ive seen who use GH are there to get work done, knowing its a work tool. Youtubers complain about its lack of autofocus ability and low light capability and so stick to Sony's and Canons.

New to this and purchased a Sony FS5. I had been shooting with a Panasonic AG160. What setting in Auto do I use to just get started using the camera to at least be as good or better then the Panasonic?

"New to this and purchased a Sony FS5" Quote of the year.

You guys are talking about having 10 stops for grading down to a 6 or 7 stop rec709 delivery. And, yes,...that is perfectly OK. But rec709 is now pretty old and wont last forever. In 5 years most TVs will easily display 10 stops or even much more. BT2020 and HDR will be very common and you will need to deliver in a bigger color space. More dynamic range will be very "common" in the very near future. Even YouTube and Vimeo have HDR 10bit codecs going into homes now. Its at an early stage but its already happening on properly flagged HDR uploads.

Hey guys, I wanted to share this rehousing mod I made recently for my Iscorama 36. It's a replacement for a front piece of old plastic housing, that is made of anodized aluminum and has cine gears, retaining 72mm front filter threads and adding just 50 grams of weight. It took me quite some time to figure out this design and I'm pretty proud of it! It solves some real-world problems like close-focus, enabling you to focus down to 1.1m, but unlike DIY mode it has a hard stop at 1.1m and infinity, and looks way nicer then a grub screw drilled into a hole. I made a little video explaining what it is, since after I posted this on facebook people started asking what it does and what are the specs, and asking how to buy one. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 I have decided to order a small batch of these, and already placed an order at one of the shops that does the first stage of the milling. I will make another video showing a closeup process of swapping the housings, so people can evaluate the effort and see if the price (which will be announced at the same time) is right for them. This is intended as a do-it-at-home kind of mod, but you can also take it to the nearest photo technician and they'd be able to do it for you, it's a simple process that takes 3-5 minutes to perform. I also made a PDF with some specs, you can find it here. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 If you're interested in getting one – shoot me a message and we'll figure it out, there's a little queue forming already

It is so funny, I immediately thought... what camera did he/she shoot it on? Even when I try and discuss alternative ways to make films... I wonder the same things. Last year I started a post about camcorders and today I watched a couple XA10 videos and thought... Damn, if I was smart, I would just buy a camcorder with XLR inputs, a Rode NTG and go and make a movie. And then I needed to check the sensor size and rolling shutter tests and... Ugh...

I think media for f355 is not sold anymore and seems adventureous:) It was a great search for a camera. One of the Panasonic HPX series would be it I think, if for used GH4 prices. Thanks for the ride! I think for nonpros like me it could be great fun shooting with one of these. C300 II is boring and 12bit 2K for snobs:) Seriously, I wish ongoing filmmakers would shoot more with lesser cameras, that way we would have not to put up with all the glossy, polished, but heck it´s boring, crappy dull dumpster crap. I rather watch some campy stuff. Some of it is even great. @fuzzynormal I have not seen a Wynorski film yet. Just discovered him. But I think there are some very fun films from him. Fun in a fun way, not just "so bad, it´s good", but real fun. There are so many films I never heard of, worth watching. Btw, your film has great angles and editing!

Well I think this is the body you want to get! Maybe a better one but man this thing looks like a winner for the money. This is a Varicam! https://www.ebay.com/itm/Panasonic-AJ-HPX2700-AJHPX2700-2-3-VariCam-Professional-Camcorder-2120-Hours/232472651644?epid=110930570&hash=item362073277c:g:JjAAAOSw1NFaC1Dc Here is one that is a little gimped up for less money. A Sony, but only 1/2 inch CCD's. https://www.ebay.com/itm/Sony-PDW-F355-XDCAM-HD-1-2-3CCD-Camcorder-1987-Hours-SKU-904834-READ-BELOW/332385948185?_trkparms=aid%3D888007%26algo%3DDISC.MBE%26ao%3D1%26asc%3D41375%26meid%3D7eb1585ed77e4706acec5fc7ab439bec%26pid%3D100009%26rk%3D1%26rkt%3D2%26sd%3D232472651644&_trksid=p2047675.c100009.m1982 Check Adorama used stuff. I have bought a lot of ENG cameras and ENG lenses from them. About the cheapest around.

This might be a better way to go! Uses P2 cards. And there are cheaper bodies on Ebay. https://www.ebay.com/itm/Panasonic-DVCPRO-P2-camera-AJ-SPX800/382220232370?hash=item58fe19e6b2:g:gIMAAOSwcC9Zrrpa

I’ll do it too... 6 months to make a feature film on a hacked GH1 or consumer camcorder. I double dare you.

Panny, pick up a hacked GH1 for $100 and make a feature film with it. It will be the greatest marketing story since Tangerine was shot on an iPhone... or pick up a $200 camcorder with a mic input.

I do like the grungy look as well but I think that look can probably be pretty easily obtained, even with an iPhone. Probably a hacked GH1 could easily give you a similar look, with a few touches in post.

P2 cards are Only a Panasonic thing. NO Sony I ever heard of uses them. I think the F900 uses tapes.. You don't even want to get involved in Tapes in this day and age. The ones that use the CD's are not bad though even today.

HDCAM... so... video tape cassettes. ( https://pro.sony.com/bbsccms/ext/cinealta/docs/HDCAM_Card8.pdf )

There's a clearer view on 36:00 It's a Sony HDW-F900 (not the F900R). I wonder what makes you think you can do it with that but not the JVC.

Also, YouTubers are low information buyers, thus stick with Canons

Would love to see a video on that!

Haha, okay, yeah, these things are a b*tch regarding that.

I've been shooting a bit with the HLG profile lately and I love it. I have to do a direct comparison with Cine D and V-log, but my experience so far is that it's super for a fast turnaround. I have the Leeming LUT too, but I often find it better (to my taste) to correct it my self. Have to look more into that as well. What are your thoughts on the Sigma vs the Veydra or are you saving that for video comparison?

Strange that when the GH5 came out a few months ago it was hailed as an amazing camera that fulfilled may people's dreams of a near perfect camera for very little money. Now there seems to be hysterical expectation for a new one that will promise to fix a suddenly important list of faults and deficiencies.......

Look at the back grip og Casey"s camera. Its got a very different hand grip. The molded rubber is thicker and formed differently.

Saw your post on jwsoundgroup, and Mike gave a good tip: http://jwsoundgroup.net/index.php?/topic/30739-wireless-in-europe/&do=findComment&comment=341495

My vlog got fancy, latest one was shot on a Panasonic EVA1: https://www.youtube.com/watch?v=DT7sUr0J5Tc (footage is in vlog.... for a vlog, ha! Yes, is an amusing pun I just realised this second)

@markr041, thank you for your tests. I think the lowlight shots are full of very unpleasant digital sharpening and noise reduction artefacts. Are these screencaps? Results from GH4 look better, judging from a friends footage and what´s on the web. Glenn, LX100 sounds good. Not many great video examples out there on the web but a very very few super nice ones. EVF is not best and screen is no swivel. Today I held a GX8 in my hand. Was beautiful to hold, awesome EVF. Too bad it´s without IBIS in video mode. Will be interesting to see what camera you might be deciding for. I would suggest a G85 for having some fun time. The lens in the LX100 is tempting too, but ergos, EVF and lack of mic and swivel screen and 15min 4K recording limit to consider as well. Oh well, G85 is winner:) My favorite LX100/Leica 109 video on vimeo is this one for nice but natural colors (but nice also) and whole feel of the image. My favorite color wise, also compared to other model shoots shot by another guy. This one below is showing off some nice 60p also.

5 years ago i made a photo of the ISS with my GH3. I made it in photo mode with a old russian 1.000mm catadioptric lens. It was incredibly difficult to find the tiny point in the viewfinder and mantain the hight speed across the sky. I made a few dozens shots and one was sharp. It was pure luck at 1/125s. This is a 100% pixels crop.

You are welcome. I am not sure there are any comparable cams - it is $249 at BH. It is the smallest ilc , but bigger sensor. The small size means no dials, just buttons (2 assignable). No focus peaking, but does have auto magnification or push button to magnify. AF is like all Panasonic's, slow. There is push button AF and CAF. DR is 11 stops. No picture profiles except Z log! There are settings for NR , saturation, contrast, sharpness. No zebras or histogram. But the results are at least as good as the GH4. 60 Mbps bitrate though.

I know nothing about telescopes. Any info, bring it on.

Oh, I get it now, so... there's an XLR hotshoe adapter, without any cables running into it. It is... because the 2nd gen XLR hotshoe adapter... doubles as A RAW RECORDER !1!! It takes the signal from the hotshoe interface! Incl. Dolby Atmos audio from the onboard mic they've added to the XLR unit (Vesku...). Dúh. And RAW has 3 straight elements in the 'R', the 2nd letter 'A' has 3 as well, 3+3=6, more so: the W of course has 3 peaks at the top and 2 at the bottom, 3*2 is 6. And RAW is three letters, so 666. Illuminati* confirmed! *Illuminati is a Panasonic trademark, all rights reserved

I think @jonpais already made the astute point that if this is merely a firmware update, then Panasonic physically sent it with a bottle of red paint to touch up the body...

Good schtuff. Great reflection there in the mirror too. Tried instead of modern 'n light to try something a bit more moody, thinks works quite alright with the indoor scene:

Cheers Mercer, your film project looks great too! Thanks Juan, for that shot I used a schneider cinelux anamorphic with the rectilux HCDNA, which pairs nicely with the 50D. I've posted a quick video test using your grading method (this time with EOS-M footage), I put it on the magic lantern thread as it's probably more relevant there, here's the link:

I spoke to a Panasonic rep some months ago who said they would be announcing more about the organic sensor at the end of the year.

This. This. This. This. This. This.

http://www.newsshooter.com/2017/11/16/wooden-camera-creates-pl-mount-panasonic-eva1/ I used the EVF a lot when I had the AF100A also, but it was mostly because the LCD sicked ass in the sunlight. But I think it was a pretty great viewfinder.

Totally agree. EVF is very handy. Use it all the time on the GH5 and miss it on the C100 mk1

I'm still in audio purgatory. My experience so far. Spending TIME experimenting/configuring a $25 Takstar mini-boom and $25 wired lav is better than MONEY spent on an expensive Rode NTG1. Environmental considerations FAR OUTWEIGH mic quality. For example, I set up my NTG1 in my office and was getting super audio. I then went to a friend's, similar sized room, but the audio came out horribly because my friend's room echoed a lot. (Yes, I listened on headphones but didn't hear it). I didn't have the experience/expertise to either get the mic closer or ditch it for a $25 lav. Therefore, I'm going to make a counter-intuitive suggestion. DO NOT GET a good mic first. Get a Takstar and Lav (or similar) and experiment trying to get good audio with each, writing down your findings, etc. Learning environment and levels has done the best for me. AND AND AND, working with post audio processing. Premiere has some amazing tools now "Essential Audio" that gives one a good idea of what's possible. Once you get all that sorted out, then shop for an expensive mic based on what you COULDN'T do with your cheap mics. That's what I'm doing now. The problem with an expensive mic is that unless you have all variations (boom, super cardoid, lav, wireless, etc.) you end up forcing whatever good mic you have into situations a cheaper solution would be better for. Again, I should have ditched the NTG1 for a cheap wired lav at my friend's place. BTW, the difference between my Takstar and Rode is VERY slight. I can only hear it because I'm listening for it. NO NORMAL person would notice a difference if I switched mics during the video. The bigger difference is the unbalanced mic could be wired up longer and has less risk of interference. Well, that's where I'm at!