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I shoot in 8 bit. The 2 extra bits I don't have are talent and skill. Those are the bits I need most to be honest.

I am a 1DC owner and have shot with the 1DX II in the past. The 1DC has mojo the 1DX II doesn't have for sure. More filmic color science. However, 1DC isnt a logical and wise choice. There are serious red pixel issues with it and its seriously a pain in the butt to use. No AF, so I always have either my Zacuto gratical or my SmallHD Focus attached to it for focus peaking and waveform. I have been using a loaner GH5S for my reviews and am seriously considering retiring the 1DC for the GH5S. My needs have changed. I used to be a freelance director/ DP and now Im a YouTuber. Having an unusable 4k until converting to ProRes is a pain. No iPhone app or any type of AF for video is a pain. And the thing is a beast to hold and carry around. I so wish Canon would do canon log on the 1DX II and give us a better codec. Thats all thats holding it back. The GH5S should have been called something different. Its not a GH5, its just in a GH5 body. It should have been called EVA-1 mini. It was completely designed by the same team that designed the varicam and EVA-1. Not the photo department. The color science and features the GH5S has makes it a much more practical camera for my use.. I will use a speed booster and the same canon mounted Contax glass I am currently using on my 1DC with the exact same crop factor and cinema 4k....IN 10BIT but with focus peaking, wave forms on screen and an app that can work with shooting myself and locking focus using the app. I am really impressed with it all around and I am not a fan of IBIS. I have a MoVI M5 that produces the most cinematic motion available and IBIS makes the MoVI footage act wonky. I also love the look of a camera on a shoulder rig. IBIS makes shoulder rig stuff look too fluid and not natural. This is why Panasonic made this camera. For actual working professionals who recognize that IBIS is truly not desired all that much...IBIS is a great TOOL to have on the tool belt for sure though... attached are some frames from a music video I shot on 1dc.

I wouldn't say I missed it, I'm simply adding another perspective. Also, please don't ever feel targeted, I mostly speak in generalities in search of the average take away. I also don't mind being wrong. I'm too old to be worrying about my viewpoints become bigger for me than finding common ground amoung good people. I'd rather have friends than have the last word. I concure, and in fact think that we're already on the tip of that point right now. It's going to get real interesting.

We just had an interview graded with the director of a big franchise release that was shot on an A7RII in SLog. Producer says he was surprised because this shooter was supposed to bring an FS7. The interviewee was wearing a black shirt that was reflecting some purple/pink gelled light (the movie has a vibrant color palette) but the shadows were a disaster because of this. Noise, no tonality, just crunchy garbage. There was also a skin tone issue with a lack of tonality between yellows and pinks. Colorist did what he could to clean it up. Keep an eye open for an HBO First Look debuting in a week to see what i mean.

@mercer Im doing some side by side comparisons directly with the 1DC soon so Ill make sure to @ you on it when they are uploaded. Believe me, its taken me forever to justify getting rid of my 1DC. Its been my favorite camera. But I'm making 4 youtube videos a week and I need an easier to work with 4k codec.

We should keep it going as a sticky and change the title to 'Shit-posting thread' for when anyone feels like letting off steam.

Sure Matthew, if you follow my posting you'll find the same attitude, no worries : ) I mean it seriously. I had added a similar perspective inside some other paragraph meaning but you seemed to have missed it from my earlier post :-) Indeed (out of likes again... this 10-likes limitation is a bitch but post count is post count :D) aside the fact these cheap devices are not exactly outside because of lack of cinematic properties despite any much more expensive tool must bring some add-on to play with, well said, I invariably much appreciate your insights too :-)

The reason, apart from habit and intransigence, for choosing Arri/Panavision (and to a lesser extent Red/Sony, and recently Panasonic) has always been the issue of reliability and availability. You don't want to stand down a million dollar a day set while you wait for a broken camera to be repaired or replaced and the big boys have that professional level of service down to a tee. Now I don't personally think that any currently available prosumer camera along the lines of GH5 etc yet has the effortless cinematic qualities of an Alexa, but it's easy to see that it won't be that long before they might. At that point we may reach an interesting tipping point where the whole reliability/repair/spares issue becomes moot as a production can just buy 50 of the things and still be quids in on their camera department costs. Interesting times.

Well I guess if you are Really good at exposure, proper lighting, not shooting into the sun, etc, 8 bit works. It has somehow worked for many years, But in a professional venue they have every base covered. Better cameras, great cameramen, great audio, great lighting, great graders, great editors, great actors, on and on. So it is hard for the average person to compete with the Pros, but now I think the gap has been closed a Lot. But you are not going to do Green Screen, VFX effects in 8 bit very well. But I think we beat ourselves up too much anymore on output quality. I am not saying to not try as hard as possible to achieve it, but at the cost of always being in debt, worrying about it all the time Bah I say. Look back how bad 8mm cameras were, super8 even. Nobody said damn that sucked. They were happy to see what had been shot, not complaining about the quality. And I would imagine most of the people that watch videos have no clue what 90% of the problems we piss and moan about even exist. I would say the most important thing that drives me crazy is poor Audio, not poor video, in a short or a long. And other than one person on here, we rarely ever even talk about that subject.

*That very moment when you eat a bag full of your own shat.* Sorry Anonim. Even though I'm sure you know I was joking, seriously, I do not condone drone strikes, (nor does my daughter for the record) because they largely do not hit the desired target. I'm deeply sorry you had to experience this. With that out of the way, I'm done hijacking the thread. Back to Fuji.

please fellows, lets not encourage shit-posting.. some people are genuinely interested in this camera.. X cinema page up on Fuji's site with a bunch of new videos shot on H1: https://fujifilm-x.com/cinema/

He absolutely can, he just needs to make sure he has virtually no motion blur in the footage, so he'd have to use a really high shutter speed, probably well over 1/250th. From my experience Twixtor does not interpolate motion blur very well.

Looks like cinema. I would guess this was Arri, Alexa, or C300ii. That camera is still on my list of cameras to try. Looks so nice.

you can't be convinced that a phone is more than sufficient ?! or check out Andrews iphone X video here on his site. or check out Dave Altizers own review of a dslr vs phone for photos. ironic how consumer cam users love to show how close they look next to high end cams, but aren't ready to admit a phone is just as good and sometimes better than their gh5.

http://www.newsshooter.com/2018/02/22/panasonic-gh5s-good-bad-clean/ "The GH5S color is different to the GH5. In “Standard” photo Style the colors are so close on the chart it’s hard to tell them apart but they are different and Panasonic is clearly improving or at least tweaking the color science with this new sensor. Skin tones are very different." There is a whole thread about the GH5s by the way. From all these cameras mentioned, this is the most interesting to me, so far.

honestly....not to my eye. they need some tweaking to match each other.

I am hopping for the following: SAME Camera as A7III with same sensor but: + weather sealing and A7RIII screen/viewfinder (this is a given...) + 4k60p + 1080-240p + 10 bit Keeping the same A7III sensor is great: Makes it cheaper for Sony, gives us A7III-like image quality for stills (12mp not good enough for me) and most important allows for APSC video mode. Having 2 lenses in one is just great. Put a 20 or 24mm on that and you get a very wide + standard 35mm, and put a light 50mm prime and you get a useful standard 50mm + a portrait lens 75mm. This gives you 24/35/50/75mm covered with just 2 lenses. How amazing is that? For me, this would blow the GH5. Just make it Sony! Oh, and the only potential issue with my spec list would be Rolling Shutter with the 24mpx..... Hopefully they can sort that out.

Man Dave... am glad you like the GH5s but I don’t know how you would give up this image for it? I mean... Hollywood films have been shot with the 1DC...

That would depend on why you are using them. If a budget issue then it may well be skimping, however, if a creative choice, then not skimping at all. However, you are suggesting to always just use a smartphone. For me, a smartphone is not close to an ideal platform for filmmaking. YMMV. The matte box is a Genus. It's on 15mm rod rails, but has an option to connect directly to lenses for a more mobile setup. It takes two filters with one of the two rotatable. The opening is 105mm. Build quality is good. I like it for the size and weight.

Well of course the whole equivalence argument tends to mean different things to different people. But I found that I was increasingly looking for bigger and more expensive lenses with M43 than what I considered their equivalent with FF.... http://camerasize.com/compact/#579.639,482.683,ha,t

And you will get the opportunity to test the camera with the Swiss sceneries as well! I am fairly confident you can predict when this will occur, so even if it is not visible in the EVF you can preview the image and reshoot if necessary with a tiny angle adjustment. This is very similar to what Fuji users are doing with the purple grid flare. The first encounter that I had with digital mass hysteria, was with blooming in the Fuji X10. My favorite Fuji camera ever. And even though you couldn't do anything about it, I didn't mind, I loved the thing. I still wish Fuji revives the line but with the variable magnification OVF and not the EVF.

I've used the same technique to remove banding as well as moire in the past. In Premiere Pro, make an adjustment layer over the affected clip, and set the colour blend mode to "color". Then drag a Gaussian Blur effect onto the adjustment layer, and use the mask tools to mask out the unaffected part of the frame. If you look closely it doesn't remove the pattern completely, but it does remove the colour banding which I find is good enough for most applications. Also, if you get a lot of banding in your footage check to see if it's the LUT that is causing it -- I've noticed in the past that some of the LUTs I was using would occasionally cause horrible banding.

This thread though

I shoot a big variety of things but I tend to most enjoy doing dark stuff. I think this is, while not necessarily my favourite work due to the issues we had in the production, the most visually accomplished; And on the flipside, this one was shot in one day, had a ton of fun and I'm extremely happy with it, even though it's not technically as accomplished: Both are NSFW and contain violence.

A direct kick to the general ball area. ? Why webrunner why?

I like you. ?

I think they're showing it at the BVE show this week. I'm in London on Thursday so might pop in to have a look. That is if all public transport hasn't been cancelled and a state of emergency declared in a pant wetting reaction to the suggestion of snow.

Thanks bro. Although a self admitted loner, I do have friends, I swear! ? Not really investing much time into committed romantic relationships right now. I think most of those are codependant and conditional anyway. It's not the easiest life choice, particularly at 44, but it allows me the time and space to understand who I am as an individual. I think when I do go after that type of relationship again, I'll be able to approach it from a better place and give it the kind of care and investment it requires. I had my first kid at 23, way too young, I was a kid myself! Well, that kid now works in an underground bunker for the U.S. Army in special intelligence. (Where Edward Snowden worked) So, unless you all want your assets frozen and a blue sky drone coming your direction I suggest you take particular favor with me. ? ?

I'm completely not competent to discuss technical side of Arri or Panavision, but I think that it is not unnecessarily to remark and single out formulations that - proven with consistent attitude - are deep and noble as quoted one. (In fact, for me it is desirable top of the meaning even in specialized web forums as this one.) (Edit - Actually, owing to my origin, nature and wish to be always completely sincere - quoted sentence produce some tears in my eyes...)

It was shot with the G80 with Olympus 17mm f1.8. Can't remember the exposure right now but it would likely be something like f1.8, 1/60th, iso 1600. There are some other lenses on the GX80 tested at the end of this video I made a while ago The issue is usually most apparent at higher apertures like f4 and above. I have found no way to mitigate it in my 5 years of shooting with m43, other than to edit it in post. It can also be a little difficult to predict when the problem will occur. (Sorry for derailing this thread btw)

Well, you can focus better, you have better exposure tools, you notice small mistakes better and you have better Codecs like prores. Which will make your life more easier. I use a blackmagic video assist 4K atm (sold my atomos samurai blade for it)

99 times out of 100 the purple grid disappears when you full screen the original image. Just like the BMPCC. I have only seen it on size compressed windows or in screen grabs. Never after exporting and full screen, then it magically dissapears. I wasn't even aware that Fuji officially ever acknowledged the issue. Which firmware update did they mention it?

The article says it is improved but still there Also, there is another report that X-T20 still has it: https://***URL removed***/forums/thread/4200339?page=2 My guess is that they optimized the coating of the IR filter to reduce flares which in turn can confuse Fuji's demosaicing? In any case, digital sensors are ... digital so they will always come with some kind of artifact if pushed hard enough. Banding, purple grids, FPN, blooming, PDAF shading, hard clipping, charge overflow, aliasing & moire, jello, green smearing, rf interference, hot/stuck/dead pixels, etc. And I am not even including the artifacts from the processing pipeline.

Here is why I do not think there will be a new FS5 soon: there was an FS5 firmware upgrade in October that added, among other things, the HLG Picture Profile. This gave the FS5 a feature that only the newest generation of Sony cameras (2018 models) have - the new camcorders like the AX700; the A7 iii, the A7r iii, etc. The FS7 ii has this too. However, the A6500, the A7s ii, the A7r ii, the A7 ii did not get that upgrade, despite the fact that they are certainly capable of shooting in HLG. And, voila, we got the A7r ii and the A7 iii. So, which cameras did not get that HLG upgrade are the candidates for a new model, not the FS5. Note also that so far, no new Sony model does 4K 60P or 422 10bit internally. So, other than in autofocus (which, of course REAL videographers never use), the FS5 is up to date. Not to mention that externally it can do tricks no other camera can do except the FS7. And the price gap between the flagship mirrorless and the FS5 is shrinking. If Atomos finally offers a compact external recorder with the capabilities of the Shogun Inferno - no need for even a screen - the FS5 would be by far the best alternative - 4K DCI 60P and even 120P in ProRes from 12bit RAW in a relatively small and light package. Unless you really need AF, of course.

Thanks all - I'll give the above suggestions a look. Ultimately what I'm trying to do is get a local copy of what is shown on the screen when you watch it. I'm thinking I can pull the downloaded file back into Resolve, then using a layer mixer set to Difference blend mode it will give the magnitude of the difference and we can see if there's anything useful to be learned about the various formats and bitrates. Ultimately what we care about is the difference between what we see in Resolve and what others will see online. I did wonder if there was a threshold for getting better quality. If I can work out how to get reliable info then I can do a study on codec vs subscribers.

I don't think you need the experimental build to activate higher resolutions on EOS M, all you need to do is select the movie crop mode or use the 5x zoom mode and in theory you can select any resolution you like up to the 2.5k limit (or 1800x1030 limit in movie crop mode)- that applies to any build of magic lantern on EOS M. However the limitation on the standard build is that you're stuck with 14 bit uncompressed raw - and the data rate is so high that you can't go much further than 1280x720 if you want continuous recording on the standard build. For higher resolutions you need the experimental builds. The 10/12 bit experimental build still allows you to use the regular mlv_rec and sound modules I think, so you can record sound and shoot 10 bit uncompressed raw for example. That should be sufficient for you if you're aiming for 1408x1030. However if you want to get longer record times with higher resolutions, you'll need the "4K raw video recording; lossless compression" experimental build, and that only works with mlv_lite module - i.e. no sound. The experimental builds are here: https://builds.magiclantern.fm/experiments.html

@Kisaha Very nice to know, my friend, what's exactly your name? Kudos for your course of life -) Any shortcomings you had noticed? Here's some informative link on topic: https://fujiaddict.com/2018/02/27/fujifilm-x-h1-autofocus-explained/

Here is the "next step": 60P, 4K, HDR (HLG). There are a few color errors (I made), so I may redo this. But no, no matter how nice the SDR video you make with the GH5 it is not even close to HDR. HDR is stunningly different for almost all scenes anyone shoots.

1. Bit rate 2. Color sampling x. Bit depth 100 mbps can be short where 400mbps or 200mbps for a non-intra codec AFAIK like that one used on X-H1 can overcome further issues. Here's some informative link: https://fstoppers.com/education/can-you-see-difference-between-10-bit-and-8-bit-images-and-video-footage-166977 And this one endlessly posted over here before: sample extracted from (minute 28:30): https://vimeo.com/114978513

NX1 !! Because I do not have to spend money on a hybrid for another year, and can continue "invest" on lights, sound and upgrading my editing machines. (I bet you saw that coming!)

I’ve been doing tests and am shooting like 5 different reviews on this camera for Kinotika and my personal channel and to me, honestly, the GH5S is game changer. I’m noticing significant improvement in skin tones and color science here along with better autofocus with the “hack” than the GH5. I’ve been comparing the two cameras using the same settings and the GH5S does seem to be faster. Also, I love the newer sensor size. Just that little extra amount of sensor size allows for the Olympus 12-100 zoom to be the best lens of all time! Constant f4 was always a problem with this lens, but now with the low light performance it’s a non issue. That 12mm becomes a 21mm equivalent which makes it the perfect “vlog” focal length and with the ability to zoom to 100mm... you have a 21mm-175mm which is unheard of. You get fabulous IS with the lens so you’re not missing out by not having ibis and call me crazy, but I’m not a fan of ibis. It’s always ruined the shots for me. 80% of the time on the GH5 it’s great, but sometimes you just see that wobble and it ruins the shot in my opinion. Lens IS never does that for me. So: GH5S + Olympus 12-100 = best walk around kit. There’s so many things with the panny cameras that just make my life better and more pain free too. Like the hdmi implementation. Having all your settings, audio levels, etc carry over hdmi is so incredible. I even love the stills off the GH5s. Really clean and 10mp is fine for me. Less megapixels than my iPhone but the photos are fine for my use (family portraits) I’m buying the GH5S with the 12-100 with a speed booster for my contax Zeiss glass and actually going to sell my 1DC for this. I’m so happy with the 10bit files and vlog. This camera makes me happy. The GH5 never did.

I beg to disagree.. while every camera will handle things differently, the XT2 is the first camera that consistently nails just about any artificial/mixed lighting i've thrown at it.. inversely, Sony's tend to always have this ugly yellow cast (A7S was greenish) that requires fixing in post. it's no secret and as you know Andrew has made extensive examples displaying zombie skin tones and such in his EOS profile promos.. i don't know another camera brand with such wacked out SOOC color science..

Thanks. We should be releasing a trailer in the next month or so. We are about 60 percent done editing. Had to grab some pick up scenes. For lenses, I like using older ones for NX1. I shot at 2-2.8 split. This camera has some really deep inky blacks, which I love, but using older lenses lowers the contrast, which gives me an extra half to 3/4 stop when used in conjunction with filters. Generally I expose for mood. I use white pro mist/soft fx filters, fog/haze, nets to roll off harsh highlights or under expose to protect important highlights or just look in another direction to avoid them. I've found through testing that I can safely recover about 1.5 stop of shadow detail before the image begins falling apart. But honestly I just let things go dark. I rarely recover shadows. But if i need too, i know i can. If theres something that needs to be seen, I'll generally bring in a light fill bounce/light to bring up levels. I don't rely on bumping up iso. Messes with grain texture too much. I like to keep images clean and consistent. I rarely go above 400 iso. Sometimes 800 if I'm short on time. My thought process with limited DR cameras is to shoot for end goal. WYSIWYG. We were influenced by Netflix Daredevil, which also goes pretty dark. You definitely have to have trust. Producers and Directors get scared of that amount of darkness. I always keep reference images on my phone to show them just in case. Here are some additional images and BTS screens. A rough clip of some pick up shoots. We haven't color graded, stabilized or fine tuned the edit. This is literally something I threw together to see how the scene feels. It's low bitrate to keep size down. The original is really clean. I also use rolling shutter repair on most clips. It helps with motion cadence in my eyes. The fight scene was shoot last year. Again, another rough cut. Test Scene Maya Conner.mp4 Fight Scene Test.mp4

I can confirm that the "Beaulieu Optivaron 6-66mm f1.8" vignettes as @Alpicat showed. Does anyone have a Angenieux 8-64mm 1.9 to test in crop mode to see if it also vignettes at 4:3 (1408x1030)? I would like to buy one, but before that it would be good to know if it would cover this resolution. Perhaps @cantsin or someone else? According to Pro 8mm the 6-66mm will vignette with a Super 8 camera with the Max 8 modification (which is basically an enlarged gate). However, they say the Angenieux 8-64mm will not vignette on this Max 8 mod. Then, it seems the Angenieux should have a larger image circle. https://www.pro8mm.com/products/schneider-lens?variant=30610041601 https://www.pro8mm.com/products/angenieux-lens?variant=30609178561 I can confirm that Schneider CCTV 12.5-75mm 1.8 covers the crop mode fine. It is a relatively small light for a zoom, but of course the fun is in having a real Super 8 covering as much the sensor as possible.

Hey Mark, Thought I'd chip in. From what I've seen, a6500 and a7rii at S35 footage look, in practice, Here's a pretty detailed IQ test that might help: My a6500 is actually up on ebay at the moment. It's a good little camera, but whilst I thought I'd be able to get over the awkward ergonomics, I never truly did. It took all the fun out of using it, and when I got a decent shot it felt more like pot-luck that I got the setting right, rather than capable of being confident that it was doing what I wanted! Plus, as someone who shoots with their left eye to the viewfinder, I really came to be frustrated with the off-centre EVT, and ended up sometimes changing focus region with my nose. Would much rather their APS-C bodies had the same shape as their full-frame ones.

Far of from the best ... but fastest done in improvisational-playing task, greatly enjoyed and, because of topic, to me very dear... Text is mine also, here with translate

This was such a simple shoot, but the story really just fell into place and came together. This is a little piece on my Great Uncle that I shot several years ago on my 7D and a 24mm L Prime lens. This video changed my career...

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like

I'm gonna check this link out! Never seen this, but that's exactly what I'd expect the difference to be. Subtle difference when increases bit depth, huge difference when increasing bit rate.