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The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). The new album (last I heard) was at No.7 in the official UK chart. I'm a big fan of what Panasonic has done with this camera. That said, the shining star of this video is the band.

Agreed. If you're at all into post-processing and grading, the BM cameras are godsend, because they leave all the processing off to your own consideration. That's why they come with Resolve included - and I'd dare say it's way more powerful as a processing tool than any in-camera processors.

Agreed, the 3x crop mode is still very unique advantage - especially for macro video. The ability to also shoot higher resolution (even at reduced frame rate) in raw is quite amazing.

Thought it would be interesting to share the BTS videos we take on shoots. This is BTS from a car mount shoot, and what I did to capture the audio:

Cheers sir. I don't like everything about the aesthetic, however it's very liberating to be able to make great images with this camera. Plus the GH5 is good enough for the big guns. Arguing over which camera is best these days isn't even worth the debate.

Fast zooms are not as common as they should be. I wish there were like 2-3 zooms for the M43 ecosystem that could relieve filmmakers and photographers of the headache of constantly changing lenses to reframe shots. Also if they were Fast, low light wouldn't really be an issue. I wish Olympus and Sigma could perhaps collaborate on the following Zooms: 1. 12-25mm f2. 2. 24-50mm f2. 3. 45-100mm f2. Also if they could have good OIS and smaller sizes, along with being under $1500, it could be a runaway success. DO you think they should some other specifications for zooms in the M43 ecosystem? Or would you prefer constantly changing lenses?

A rant. I mostly shoot on DSLRs for my work. Got a big yesterday with a Sony FS7, big ass tripod, monitor, the works. Ohhhh fancy stuff by my standards! But here's the thing. It drove me nuts. Moving, positioning, getting shots was so damned cumbersome. Shot some Broll of a guy on a sailboat. I garauntee I could've gotten way more and frankly, way better and more interesting content with my trusty GH4 and gimbal. Blah blah specs, I don't care. Footage would've been nicer and more interesting to 100% of audiences. I know there'll be some "back in my day, cameras weighed 1000lbs" folks who will scoff, but you know what? Fuck large camera systems. Fuck them.

Hey Glenn, G7 even fits better. Just the buttons are worse regarding size and clicking. Colors are great to grade. And it works well at iso 1600 in lowlight, better than G6 at 800.

@GregormannschaftHey, if m43 coverage is good enough, you could get a b4 2/3 lens with internal doubler, powering the servozoom with an external battery. Jon, don´t react to negative pms or public messages. They are not worth to be read twice. Enjoy doing your work, just like we do watching it. Mark, I find your last remarks not inspiring nor supporting to do filmwork.

Hey @BTM_Pix, i attach here my first fritzing, because i can not via PM.

I sort of agree with this. However, the guy doesn't give a rip about IQ, he just went for it. He's obviously a capable director based on his legacy, but obviously he's also a shit shooter. So then, considering all that, what's more important? That he did it or that he did it poorly? Look, I shot and edited a PBS thing a year ago. Didn't write/direct. It looked pretty good ... but it was also as boring as a month old turd. I'd rather watch whatever tacky melodramatic silliness William Friedkin decided to make than rewatch any of the episodes featuring my work. These are the existential musings for many filmmakers. Do you get in your own way by adhering to the demanding technical strictures of the craft, or do you just not care so much and get 'er done, focusing on more important things like storytelling? (or in Bill's case here, an apparent trashy cash grab, coasting on his notoriety) It's not easy for many of us, but just deciding to be creative however you can is honestly the best way forward.

Wow that lens combo looks great, the flares are awesome!

More stills from the same short that I posted about earlier. EVA1. Kowa BH 2x anamorphic, Voigtlander 40mm f2 EF mount taking lens. This grade is a first pass I did for the HD proxies my wife will use to cut the film.

There's a stage when it gets itchy that most people can't get past, but after that it's all fine. I used to have a goatee and every year for Movember someone would ask me about how long the itchiness goes for

or anyone to operate it?! Haha! It always amazes me how people underestimate sound. In 20 years of working experience and a degree in sound engineering (plus others in filmaking) I still can't tame sound as I want. Anyway, there are such mics, with long active cables and capsules on their end, and goose-neck type (but not strictly for podiums or just speech). DPA has a bunch of everything, Scoeps and even Rode has a few. But I guess, the DPA ones cost 1.3-2K of money, and I know most people wouldn't pay more than 200€ gor anything sound related! Proven again and again.

FIRE! Everything is more fun with that :-P Are those special stunt bricks, rubber ones? Or just normal bricks? Is about three years and a bit I've had it. But once it was only a year or two long then it pretty much stopped growing any more. Did anyone notice the seat created out of apple boxes that DoP was leaning/sitting on? I found that amusing. Oh, and the hat I was wearing I got given the day beforehand for FREE! :-D As we were shooting in clothes store.

https://www.bhphotovideo.com/c/product/1281427-REG/olympus_v314080bu000_m_zuiko_digital_ed_12_100mm.html Well well well, I was wrong all this time in my mind when I thought of this lens! Thank you for the correction

I agree with the OP. In terms of my own camera decisions, if there was an equivalent to the Sigma 18-35 that was on m43 it would really change my attitude to the whole m43 system. I bought a GF3 back in the day and it came with the 14mm f2.5 lens as well as the (ergonomically terrible) kit zoom, so when the GH5 came out I was very interested in the IBIS for my handheld guerrilla film-making work because I already owned one half-decent lens in the m43 system, but the lack of a killer lens and the complication of adapting the 18-35 was too off-putting for me, with the focus issues killing off the option well and truly. At the moment I'm kind of split between looking at desirable cameras and then looking for lenses that suit and also looking at desirable lenses (like the 18-35) and looking for a camera body to suit. Right now I've got the XC10 which has a good 'body' but the lens is a bit limiting, and the 18-35 which is wonderful but my 700D / ML body is a bit limiting. A killer lens option for m43 would make me reconsider that system again.

Sure, the most important aspect for me are the 24mm in the wide end (a very significant reason I do not LOVE the Canon 18-135mm, Sigma 18-35mm, Sony 18-105mm, which otherwise I like for specific needs in specific systems and cameras), if it can reach 120mm, as you mention, it is great and perfectly usable, if it can be 2.8f. The Pana-Leica is good for some people too, I much prefer the Olympus, not only spec wise. Mildly bigger won't be an issue, because the GH5 cameras and the P4K are large cameras, and heavy. The 18-35mm is a very good lens, but very limited in focal lengths and using a speed booster increases the weight, total width, price ( @Cinegain already mentioned some of those, and mentioned the NX S, very accurate comment, in all!), not very impressed personally, and starts from 29mm in Canon-land, now for m43, it is like owning a couple of wide lenses, and that's it, not medium, not tele at all (obviously).

A lot of the shots here wont look as dramatic without the longer focal length. On a 24mm equivalent the background buildings etc, would be too small and wont be as dramatic as they look on parts of the shots, here. These guys flew their Inspire2 which is very hard for people to travel with. Yes, a mavic would be awesome. But Phantom is still doable, I've traveled to bunch of places with it.

The amazing Olympus 25/1.2 Pro with a Tiffen Black Pro Mist 1/4. The urge to invest in the 17/1.2 and the 45/1.2 keeps on growing

Excellent work Oliver. I was wondering why one of the ladies was almost left ungraded but it made sense once I finished the clip Other that the colors there was some nice footwork as well. Wish we could keep this as a motto for this forum. It would make this place more pleasant and then we could spend a bit more time discussing actual cinematography

I really feel that for so many reasons moving to other cameras is a downgrade from the Canon 1DXMK2. The Canon color science really hits the spot. I shot video of Alcatraz also while in SF using the 1DXMK2, and was blown away by how good it looked. You never worry about weather, or harsh conditions with the Canon. It's rock solid. While I have been shooting more with the GH5S or late, and for CGing there is an advantage, the straight out of camera image looks so good that CGing is really not necessary most of the time. For stills it has no equal, if quick capture and magic are what you are after. It is a superb imaging tool. Professional to a fault.

Looks great @Snowbro I think in most cases it is a wise decision to stay with what someone already has and wait for something better to arrive Also since the build quality between the 1dxii and the a7* is not even close, in harsh conditions makes sense to have the most durable equipment. Add the fact that you use 4K 60p...

I'm up my own ass here to some extent. I was in a weird mood. This quote says it better: But I'd add–don't use equipment you don't have the crew to support. I haven’t used the Amira personally. It looks appropriate for a smaller crew, but not dSLR level by any means. I've never seen one used for a documentary, but I know they're popular with "indie" crews, particularly on smaller professional sets like Twin Peaks: The Return that a more "guerrilla" approach. I bet Kubrick would use one with a skeleton crew. I find the Alexa Mini and Red to be inappropriate for a one man band, despite the small size. Too much to rig and maintain. The C300 and C100 (popular with Vice shooters) and even the FS7 are borderline. I could see them being used by wedding shooters or news journalists. But if your aim is to get gimbal/steadicam-type shots, as it seems the goal is here, then certainly an FS7 rig requires a bigger crew than you'd need for a GH5: ideally a steadicam op to fly the bigger camera all day and a wireless FF system for focus, and a monitor for you, the DP. And then you have enough batteries involved you want a second AC. So I stand by that. But you'd also get way better results with that crew than with a gimbal. Of course, if the client didn't ask for gimbal shots, then why are you seeking to deliver them? If all they want is tripod shots, then yeah.... no need. Gimbal shots are not inherently better, and if they aren't asked for, they're almost certainly less desirable. I have not seen much, if any, really good gimbal footage. I'd prefer sticks almost every time, but that's just my opinion. Where I do disagree with you is that some producers will push a certain camera like they have more faith in it than they do in the DP. So that is annoying... I've been working with more F55 footage lately because streaming services are demanding 4k deliverables and it's dumb. 3.2k Alexa footage looks better. But the F55 looks really good, too, so whatever. For me personally, I just don't care that much about image quality, but I care a bit about how you can move the camera and a LOT about how fast you can move. I feel I can appreciate the Alexa when I watch the Revenant in theaters. I can appreciate the ease of use of a C100 or 5D when I have one on set. I guess? So for me I agree with the original poster's comments on my own sets, but my own sets are just YouTube videos and fun stuff. But for a professional client, if they didn't ask for gimbal shots, then why does it matter if you can get them or not?

Little lensologist advice needed. I've seen a few videos recently (and yet struggle to find those videos again) which feature some lovely smooth zoom ins to people's faces. I love this style and would love to try and replicate it. Any idea what I'd be looking at buying? Would it only be possible with a par-focal cine lens? Let me know if my description is a little too vague. Basically, think wide shot, that quickly zooms into someones face, smoothly and in focus. Re: everything above. @jonpais For what it's worth, you may have to accept the occasional remark on the internet about a grey haired white man living in an Asian country posting videos of teen girls posing for the camera. The situation is so culturally and historically loaded, however unfair or inaccurate that may be for your individual situation. @markr041 You're being immature. There's no need to label Jon 'sick', and I have no clue how anyone would be shocked (SHOCKED) at Jon's video. You're picking a fight and what you have said and directly insinuated is incredibly insulting towards Jon.

Yes, and with A7rIII you would have a vastly better rolling shutter performance compared to the A6500.

Possibly; is there a way to get 10 bit from the camera? This unusual comparison will be relevant to the discussion; an image with two different color sciences (matched brightness and saturation): GH5 VLog + Varicam 35 GH5 VLog + Alexa LogC & Emotive

I just have to admit that I'm not at all shocked, contrary to students to whom you showed "model". (And what purpose has to be showing her as member of unpretentious Jon's efforts?) Maybe I'm without taste, but, in fact, I sincerely found that Huang is lovely girl willing to participate, enjoy, play, experiment in posing and grow in acting - just as Jon in his field of interests. Moreover, if it is really necessary to discuss some obviously totally unpretentious production - if Huang looks "phony" to some "professional" standard, I found that she unwillingly compensate/balance or substitute it with often wonderful radiation of always changing looks of naivety, innocence, pleasure and even ironic "look-I'm-playing-a-big-actress"... So, I admit that I very enjoy it. And what about that possibility that Huang actually deliberately/instinctively acts indeed as liking to have look on "amateurish" and "phony" side, finding that it is completely in line and appropriate to level of Jon's ambition? Than it all turns out that she has a capacity of truly professional...

If you're hiring people who you can't trust to keep their phones from ruining takes, then you need to ask yourself why -- not to treat crew like school kids. If I've caught up on what I need to do and I'm ready to roll at a moments notice, but we're just waiting for one thing or another, I see no reason why I shouldn't check my email. Besides the fact that quick responses to emails gets you more work, I wouldn't work for a producer who can't trust me to know when I should look at my phone or not. Also, if you see the time you pay as "your time", then it's your responsibility to make sure that there is as little down time as possible. If you can't keep your crew occupied, then that's your fault, and it's frankly unreasonable to demand your crew not check in on the state of their own business when they have nothing else to do.

I don't think so. In addition, it is often helpful for crew to be connected to the world outside the set, as, for instance, they might be expecting delivery of gear/expendables or waiting on the arrival of other crew, or if they are consulting a technical expert on a new piece of gear outside the set, etc. Are you certain that they have not consolidated gear nor prepped for the next shot? With pro crews, a lot of that work is built-in to the process and is muscle memory. Would you rather have pros who do their job without thinking and who, consequently, have free time to deal with any unexpected eventualities, or would you rather have inexperienced crew who must constantly focus on every detail and might miss something important or strike out when thrown a curve? If you are genuinely concerned about whether or not they are prepped for the next shot, you can merely have your AD remind the department heads what's coming next. If you do so, you will probably find out that the crew is several steps ahead of you. By the way, consolidation of gear is usually automatic and built-in, because it it makes the work much easier for the crew and makes it easy to deal with unexpected problems, and, most importantly, wrap goes much faster! If you see a pro crew sitting around on their phones or twiddling their thumbs, it's probably because everything is done, dressed, staged and prepped, and they are waiting for the department head to give them their next order -- it's usually a good sign. Also, if there are any sudden, unexpected changes, there is a free pro crew on hand to roll with the punches.

Its true. Can't wait. It was even on Amazon for a preorder but they pulled it, so not sure when, but its coming. Making a new print from the negative even. What I haven't heard is if it will be projected like the hateful eight, and/or if it will get an 8k scan and d-cinema like Dunkirk.