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@John Brawley I just want to thank you for your patience and the information you've shared. It's truly appreciated.

Shall we ask him back, by popular demand then? I must admit I do miss the guy a bit. But it was a bit like having a spambot around.

I neither want to derail this thread, nor I agree with everything jcs has said over the years, but for anyone feeling depressed, the above steps can be a good alternative to medication. He shouldn't be banned though. He was never offensive to anyone, he just often expressed his opinions as facts like everyone else in any forum ever existed. Oops.

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L. https://imgur.com/a/FTy8OtI

What I'm able to do is precisely match the LogC format, and add a rich neutral starting point (EC). Its true though, that there is a lot that goes into the magic of a cinematic image. I've seen some visually terrible Alexa films shared on forums; those were funny and eye-opening, because they reveal that the Alexa can only do so much for a production. I think its likely they effectively had no color backend, which the EC component addresses. Though all the factors come together to make a great image - The great DP, who - Uses great organic lenses - Frames well (with motion) - Lights beautifully Costume and Set Designers (with a budget), who - Coordinate the color palette in concert with the story atmosphere, and the colorist's intention And a great Colorist, who - Carefully balances (with restraint and good taste) all shots with each other - In service of a singular atmospheric concept for the scene I do think these are very attainable. And when a production is in motion, its really pretty cool what will result as they all come together.

Here are the goods - as they are Log, they are best looked at in Vectorscope/Waveform, or with matched boosted saturation & contrast to verify that they are the real deal GH5 VLog GHa LogC Alexa LogC GH5 VLog GHa LogC Alexa LogC GH5 VLog GHa LogC Alexa LogC GH5 VLog GHa LogC (With OLPF Sim) Alexa LogC

The discussion about the sensor stack thickness affects the optimisation of the speed booster (as I understand it) It means they have to alter their optical design to make certain lenses perform better post speed booster, and I believe this tends to affect the faster lenses or faster apertures at F1.4 and higher. JB

Available to buy now - click here for details Cameras and displays have come a long way since the old standard definition Rec.709 standard came to be. From today, Sony's colour science now gets EOSHD's cinematic overhaul on the A7 III and A7R III. Read the full article

Haha lucky! Yeah saw one go for $80 the other day, then $150. Seems like $200 US is the middle. Some go for $400, who knows, you can never tell with anamorphics they go up and down and up and up and up lol

Cheers! Yes it is all with the SUN... a lot of people overlook that lens for some reason, and I never see anyone talking about it..I personally love it; it flares so beautifully, and is nice and sharp. I have listed everything including the rectilux/clamps/diopters etc on eBay for £1700, or best offer.

And I appreciate the work you’ve put into it. And I don’t mean to sound like a grumpy dick on a forum... Grr. I’m a self professed bad colorist. So obviously take my opinion with a grain of salt. But a lot of the images, although really nice seem to be missing some of the magic that an Alexa offers? I wonder if it may be a good idea to take specific high end color grades from popular films and try to emulate those looks? For instance, when I think Alexa, I think The Revenant, or I think of The Witch. Btw, I remember that conversation and I appreciate the samples, but with life being as hectic as it is lately, I’ve been on my phone more than my computer, and I cannot download the images. Anyway, nice work and carry on. I enjoy seeing what you guys are coming up with.

1,100 clips is a LOT of clips. Maybe first start with a piece of paper and a pencil. sit down with your favorite beverage and just write down what you remember from the vacation as being great moments. Then maybe try to search for those particular clips that have those great moments. Then of course you will want some B roll. A wise man once said, if you don't have a destination, then all the roads are the right road. So I think working backwards like this might be a good start. I know myself that I wouldn't be able to just start scrubbing through 1,100 clips and saying, "Is this a good clip or not?" I would just give up.

I think that's my favorite still you've posted. Totally sick (in a good way) And thank you very much! I might bring the Emotive Color component to Alexa users, as many crews likely don't get the best from LogC

Yeah that will do it. Thanks, looks damn good.

Png does seem to help a lot with these posts. Your skintones are second to none with your lut. No one else is doing what you are with the subtractive nature of GHa. The smoothness and gradation of color is totally amazing! Always look forward to your updates!

I was wondering how that one would look with V2; its quite stunning as the sun hits the scene! Did you try .png? Curious if the colorspace will be handled differently for uploads I am a big fan of the natural color handling of plain GHa, but the contrast in the film look with the sun is great. And my god, skintones Btw, I took a little step towards something big this week, I know you'll love it.

A Couple more. First with just GHa and second with my film look. Superb highlight roll off!! Side note - My god does the contrast get messed up with direct photo uploads!! Color looks SO faded compared to the actual stills. I gotta get a flickr account lol.

Popular demand then!! jcs back again!!

Just to clarify the sensor readout issue someone here brought up. I filmed the drift video that is shown in the article. I should have mentioned to Andrew that the H6D-100C is apparently using pixel binning. My bad. Still pretty cool that it shoots 4K raw at all. Cheers Matt Carmody

This is probably the most complete database for what is [potentially] out there, in terms of Anamorphic Attachments: http://super8wiki.com/index.php/Anamorphic_Lenses

A Tascam DR10L (or even a Zoom F1) is a better set up now than an H1 with a lav. 100% agreed. I tend to feel that f4 on APS-C/S35 (or f2.8 on MFT) is the sweet spot for general purpose / run&gun shooting. Or a bit more or less is good too, such as even f5.6 on APS-C. (same as f4 on MFT)

Still a hell of a lot better than say a Panasonic GH1, and I've done just fine with that with many many shoots in the past. Still better than most RED cameras of that era. People need to see the context of when it was and that is was a cinema camera.

The examples showed in the link I supplied look great to me. Maybe Tony does suck at doing it.

Thanks for the positive feedback. I am biased but I honestly think EOSHD Pro Color has never looked so good as it has on the new cameras, so Sony must take some credit after years of getting it wrong on colour. They are on the right track. A step forward between A7S II and A7R III / A7 III especially with the 14bit sensor output and the new HDR compatibility.

Luckily for you, the a7 III is sold out for at least the next three months Again, if you have a stabilizer and a monitor (I think you said you do), then the a6300 might work. Stabilized lenses help with rolling shutter. Oh... almost forgot... meditation. If shooting handheld, meditation helps with rolling shutter, too. SIDE NOTE: I have been shooting stills with my a6500 for a long time now, and the other day I was trying to shoot with my D750. Now, a lot of people say the touch screen on the a6500 isn't worth it since it isn't all that accurate, is a bit laggy, and you can't swipe through menus with it. But I will tell you, after using a camera with a touch screen, you shure don't want to go back to one without (like my D750). It's kind of like the tilty screens in general. Once you get used to a tilty screen you never want to go back to a flat screen. So with stabilized lenses and a gimbal = a6300 Non-stabilized lenses but with a gimbal = a6500 or a6300 Non-stabilized lenses and no gimbal = a6500 Or get an original a7s. Also, be sure to get EOSHD procolor no matter what you do if you get an a6300 / a6500 Final tip: I found (for my tastes) 1080p on the a6300 / a6500 is usable with very shallow DOF. Otherwise, it is aliasing city.

Here are a couple quick stills from some current work - shooting Vlog. First still is just with Gha with some grain, second with a film print lut and the gamma converted to Cineon. Loving this GHa lut!!

4K? 10-bit? Low-light? Budget limit? Surely that's a no brainer. The GH5S is the only fit (until the BMP4K arrives). Don't know what you've heard, but it's a fantastically capable camera.

A couple of days ago I wrote to Metabones: "Will Speed Booster XL 0.64x m4/3 work with the BMPCC 4K or are you developing a new booster especially for the new BMPCC 4K?" Their answer: "Sorry! We still waiting a test with BMPCC 4K …."

I actually liked shooting m43 because I had more DoF -- even now with my C100mk2 my go to lens for completely uncontrolled run and gun is the 18-135, I'd set that thing to 5.6 and let the AF take care of the rest. Sometimes it's more important to get the subject in focus than to worry about separation. Plus I think it's weird to blur the background so much that you completely remove the subject from its context.

This looks really.. really. good.

Dude, if your budget is that tight then I’d suggest not buying anything, because you already have the gear you need. With the Ex Tele mode you basically have a range between 24-160, which is about all you need. Since you’re travelling I’m assuming you’re looking for work when you get to wherever you’re going right? I’m guessing from the advice you’re after you don’t have a deep portfolio behind you to be able to pre-book work before you leave. So really, the work you should be looking for is as a second shooter for someone who is already established where you’re headed to, in which case what you want is to provide a specific utility. You have a gimbal and a lightweight and versatile camera/lens combo, so be a gimbal/second shooter for event and wedding videographers. That way you leverage the gear you have, and you get a foot in the door of that market, and you start building a network of other creatives who you can lean on for work. If you’re really itching to buy something get a decent lav mic (I have a cheap Rode one that sounds fine) and a Zoom H1, and a Rode VideoMicro for your camera. Oh, background separation is a function of camera / subject / background distance, don’t buy anything until you get a handle on that. Trust me, you can spend a lot of money and still be disappointed if you don’t know how to achieve what you want. And you can achieve separation through other means, like colour/costume, and composition, and lighting. And stop worrying about bokeh — concentrate on the parts of the frame you want people to pay attention to, not how pretty the blurry background is.

I'd suggest working backwards from what you're trying to do. 1) Work out what types of shots you are likely to want for your style of film-making - it can be useful to look at your previous work and look at what ended up in the final cut 2) Work out what you need to get those shots - there's no point having all the primes in the world if the situation requires being able to quickly change between a wide and tele shot to capture a moment, but also if your look is more important than getting every shot then a slow/bad lens may never make the final cut 3) Then work out what is the nicest / lightest / sharpest / fastest lenses you can afford You might have the nicest lens in the world but if you miss the shot then the lens is worth less than a bad kit zoom that would have at least framed it right.

Hey guys, Finally joined up after watching for a while. I'm Webrunner5's Son in the -Reals Life- and stuff like that. Anyway, I'm trying to understand how this whole ML thing really works, but the more I read, the more I'm confused about a few things. This buffer on the camera and the write speed is #1. Ok for the 5d III, what can I actually record say....10 minutes of Raw video without something filling up or stopping? #2. This crop factor, how does this factor into Compressed and Uncompressed Raw on the 5d III? Finally question #3: I keep seeing the 70D is compatible with ML....but isn't? Can someone help me understand a few things, because it looks amazing and I'm prepared to really jump into Canon here, but there is always a catch.... Thank you for your time and knowledge. Brian.

To my untrained eye the footage looks really nice.

This is the test I did for the 2017 edition of this thread Nikon 70-200mm f2.8 on a full frame (Nikon Df), a crop frame (Nikon D500) and an MFT (Panasonic GX80). Shot at 70mm f2.8 on the crop, 100mm f4.0 on the FF and 70mm f2.8 on 0.7x Speedbooster on the MFT. These images show an identical equivalent depth of dirt on my wall.

Go to dvxuser and find jcs. Banned here for too much new age alien drug speak. Super rich coder dude from the hills of beverly. Not sure if he will have time, but he knows the ins and outs of the c300ii and is very amicable.

My dear erstwhile member can you please stop attacking John Brawley now. I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

I'm not really worried about what someone calls me. I've sure heard worse. I don't really care what you think of me either, but thanks for taking the time to let me know. I don't wish to derail this thread any more than it already has been. Don't bother reading below if you don't wish to. I accept the way I use a camera isn't the way others use a camera. I love a robust, informed and respectful discussion about features and approaches to workflow. I'm happy to argue the pros and cons till the cows come home and I love being proven wrong. But some users posting here seem to want this argument to be more than that. They are specifically trying to look for contradictory quotes from me for the purposes of muddying the issues being discussed. I'm happy to chat about that too. With regards to use of language, I'm going to respond in kind when I perceive that someone is vilifying someone else with language that absolutely has a problematic past. All I actually did was ask the poster to re-consider the language being used. The poster then argued he didn't use the word in contention. Language is highly subjective and contextual. I merely pointed out that I don't think it's an appropriate way to describe another user of this forum because it's akin to saying you're the equal of someone that's effeminate ( you're the SAME as a woman ) or gay because of how often they change battery. That's what sissy means. You may have thought he meant something else. But I didn't have to look it up to understand he was saying. https://en.wikipedia.org/wiki/Sissy "Sissy (derived from sister), also sissy baby, sissy boy, sissy man, sissy pants, etc., is a pejorative term for a boy or man who does not conform to male gender stereotypes. Generally, sissy implies a lack of courage, strength, athleticism, coordination, testosterone, male libido, and stoic calm, all of which have traditionally been associated with masculinity and considered important to the male role in Western society. A man might also be considered a sissy for being interested in traditionally feminine hobbies or employment (e.g., being fond of fashion), displaying effeminate behavior (e.g., using hair products or displaying limp wrists), being unathletic, or being homosexual." I guess you're OK with that choice of language or you genuinely thought it meant something else by wanting to argue it, but I'm going to call it out if I don't think it's appropriate and invite the poster to edit their post in case they don't realise that some may find it offensive. It's just decent courtesy on a public forum like this. We're not at the pub with your mates. I'm going to go out on a limb here and guess that not a single one of you posting here is a woman. And actually I would love to be surprised if there was someone lurking who wanted to out themselves and weigh in with their views. I don't think you get to decide if it's offensive or not. You can still call me names for pointing out though if you like ? While you may not care about such language because you can take a joke, it's not you that's being vilified. Why do you think women don't post in forums like this ? Because they are out there. They read these forums and choose not to engage because of the boys club that this place can be. Especially when talking about the very kind of issue that makes them not feel comfortable and welcomed in a forum like this. This is not about being PC . It's about us as men calling out language like this because it does matter. You're wrong if you think those who are vilified aren't here lurking and choosing not to post. Maybe it doesn't matter to you, but to those one describes by using this language, it matters a great deal. Maybe you can try asking them. JB EDIT . Oh and by the way, in the ACS, the Australian Cinematographers Guild, female members make up about 10% of the membership and only 2% of the accredited members. I can't think of many other fields where the gender disparity is so high, can you ?

It sounds like you’re threatened by this camera so you’re making sure you point out any and all shortcomings you can. Isn’t sissy a bit emotional ? You’re reaching. Some people will be happy with 10bit 422 as their maximum image quality as long as they have a tilt able screen and autofocus. Most serious image makers know that 12bit raw and 10 bit ProRes for half the price trumps the MILC features you’re desperately trying to remind everyone your precious GH5s has. Mostly because “filmmakers” don’t tend to use those features anyway. I don’t use AF. But I shoot narrative drama. What I need isn’t what others need. For the majority, they will prefer the utility of the form factor, longer battery life, AF and IBIS on the GH5 and will find the bare minimum for serious work 400Mbps codec to be good enough. People who care about image fidelity will likely prefer what a Pocket 2 produces side by side and will also decide that they can work around the shortcomings that pertain to the way they work. The same way others will prefer to work around the shortcomings of a lower bit depth more compressed and sub sampled image because other features are important to them. On board batteries on an Alexa mini on my last show were lasting about 40 mins by the way. I guess you’re calling me a sissy. JB EDIT by the way, I don’t think it’s at all appropriate to use sissy, a word that means effeminate man or homosexual. Maybe you want to change that.

Hi. Thank you for the words. I only used a Gimbal in Curiosity and it was only for a handful of shots. The orbit around the actor on the bush track and the wide in the water pumping station along with a few shots at the end. Intrigue, the other clip, is entirely hand held aside from a couple of obvious car mount shots (where I forgot to turn IBIS OFF) I have mixed feelings about gimbals and just like IBIS, they’re good in certain situations. I tend to use something like a gimbal for tracking shots rather than relying on IBIS. As I mentioned way back, ibis works best to stabilise hand held shots that aren’t tracking in some way. Which is not the same as locked off shots. Any good operator knows that on a long lens the shot is easier to hold steady if you keep it moving slightly. This can be a gentle rock of changing weight as you operate the shot. By keeping the shot “alive” you’re less likely to notice jitter. With very light and small MILC and dslr style cameras they’re actually harder to hand hold when they have less mass. IBIS helps smooth out the jitter on hand held shots like this that aren’t tracking but you’re also not locked into one position. Depending on the storytelling style you might prefer hand held in a more “natural” style too. After trying gimbals out for a while when they first became available I’ve tended to not really use them except for very particular shots that they’re great at. But for 97% of my work it’s not stabilised by gimbal or IBIS, mostly because I only use these kinds of rigs for shots where I need IBIS. JB

I'm not sure what point you're making ? I use many cameras in the course of the work that I do. One of the reasons I CHOOSE to use a camera like the EM1 Mark II is because it has IBIS. I just used it recently on a pilot I was shooting in Chicago for some tracking shots in a vehicle. The small size is perfect and the IBIS works great. Those shots are in the finished pilot and the director loved them. But I wouldn't use IBIS all the time because it's not really a replacement for a dolly move or slider, though a lot of people expect it to be able to do those kinds of shots. Does that clarify your confusion ? JB

Nice topic. This one i did with a modified Isco 36 (now cine Iscorama mkII). I used different taking lenses (voigtlaender 40mm 2.0, Nikon 50mm 1.8, 58mm Helios and i think there was a 80mm Nikkor as well) I used the Gh5 on a Letus gimbal in 4:3 full sensor mode. So the final frame was a 2:1 ratio in 4K. Which gave me a lot of freedom for reframing.

Grow up you clown. You’d just sweep a complaint under the rug would you ? The were complaints raised within my department by those affected directly with the HR departments of the studio I was working for. I leaned about it after the fact. It’s disgusting that you’re still picking a fight here. Move on. JB