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Canon ones have a special gnome prison in theirs where they keep all the dissident gnomes that want to paint on the whole area of the canvas instead of just the fenced off area in the middle.

tysm!!! yeah, im from SD but i moved a couple years ago, but being that its the place im most familiar with besides LA, i decided to shoot it all there~! @Jonesy Jones is from the hood too! [warning: the golden west hotel is like arkham asylum ? and the horton plaza parking structure security guards are REALLY humorless ?] lol thank you. i hear ya. @Snowfun @thebrothersthre3 heres a thing: one scene is out of order like honey bunny and pumpkin at the beginning of pulp fiction, where youre getting a glimpse of the last scene, theres one part that isnt chronological: the part when the girl finds the red book in the hallway happens AFTER the following scene where the young man tears a page out of that same red book. he presumably drops it, and she finds it – its his journal. so she reads it, or something, and learns how to meet him "out of body" on the roof. hes been taking notes on his experiences previously, the young man goes to the old man with a pen, and tears a piece of paper out of his journal, because they have communicated about this astral projection phenomenon. the young man wants the old man to write something arbitrary – it could be anything – to see if he can subsequently "read" it at night, (which is a thing that i dont believe in called 'remote viewing' lol. the CIA did have some psychic spies tho... ?) so the film goes like this: (1) the young mans day (2) the womans day (3) the old mans day (4) the meeting on the roof BUT 2 and 3 would have to be switched to make it chronological maybe that helps a bit ? naww, dont say that about yourself~! ive made plenty of stuff that turned out to be a complete disaster, thats why im getting better~!!! ? my biggest reflection on making this film is that it was a TRANSFORMATIVE experience for me because you just dont GET the whole filmmaking process until you DO it. you might have a strong intellectual understanding of it, but much like being in a NASA swimming pool it is not the same as being an actual astronaut in outer space lol. we learn by doing! at least i do. seeing the process as a whole was eye opening in an indescribable way for me, hard to explain, but you guys know what i mean~! ?

Quite true. That’s why there are dozens of non IBIS cinema cameras to choose from. Don’t see why there can’t be one IBIS video camera though. Lots of professionals use a GH5 and its IBIS - and know when to turn it off and on depending on the shooting situation. I’m not asking for a cinema camera to shoot feature films on. I’m asking for a FS5/C100 workhorse MFT video camera (or Fuji X) with all the things video cameras have - and some tech transferred over from mirrorless cams.

Nah, but they have all the musicians, artists, free thinkers, and interesting people, so you can just hang with them instead of watching them on TV

This is what a OG BMPCC Can, and does look like. Now granted it is wasn't done by just Bob down the street. But you can see what it is capable of. And it isn't all crushed Blacks and noise. Bottom picture was their rig. Mercer sent me the link to the film. From their Facebook page. "Our main camera throughout the shoot has been a BMPCC, with a range of C-Mount and M43 lenses (and one enormous M42 - the Pentacon 300). That camera has been powered by an Anker Pro 2 (with a modified cable, to fit the tiny input on the BMPCC). The Anker is mounted to the rig via a 90 degree metal plate from B&Q, some 15mm plumbers clamps, and some velcro tape. We've had a bog-standard manfrotto tripod throughout, a cheap rails/plate set from India (Cine City on Ebay I think..?) and a cheap camtree cage. On the front we've got a Fotga mattebox (with barn doors and a swing-out front - invaluable), a set of Tiffen NDs (kindly donated), and a Hoya 82mm Polariser screwed in to a filter tray and left in one of the slots for the duration of the shoot."

And here's a grab from that clip (handheld shot! : -)

If only that was true! I had a brief look, but didn't have time to go through all of them. My first impression though, was that his grading didn't seem to look much good. I know there's taste involved and there's no such thing as 'wrong' but it didn't make me want to listen to what he had to say. Juan Melara on the other hand......

Yea it seems like a slam dunk if they can combine the GH5s low light with GH5 IBIS in there too. I think there’s a big user base who wants a stabilized mini cinema camera - but nobody will give it.

Speaking of IR and the Pocket 4k... talk about perfect timing! Test starts about 4:30 in.

actually, youre all wrong. a digital camera is a lightproof box that houses a tremendous number of little creatures that paint the pictures – theyre kind of a cross between the so-called dmt "machine elves" and the south park underpants gnomes anyway, thats the amount of bits that your camera has. the more bits (gnomes) it has, the more expensive it is, and then the gnomes can draw faster, better pictures. its p simple really

My pocket has finally returned from assistance (pixel burned on the monitor). My first test .. Every criticism on the color is welcome (I'm studying).. The lasts shots are too dark and noisy.. Sorry PW: ISOLA BRAW 12 downconverted to HD Metabones xl 0.64 Tamron 24-70 2.8 ef Canon ef 100 2.8 macro usm Canon 70-300 4-5.6

Actually taste counts for a LOT and that includes taste in camera images.

I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.

While comparing gh5 and xt3 to choose which i prefer, i see now and then some S1 footage that look really amazing. Of course is another price range, but for what i see there is no competition with gh5 and xt3 and certainly deserve some more savings to go for it I don t see much talk about S1, any opinion?

ok so in the spirit of eoshd togetherness I have decided to share this video to see what u guys think. maybe it will inspire zach ☺️ let me explain: i made this short at the end of last year, but I never completed the edit/fx/etc 100%. Got busy with other stuff, and I was working up my gumption to come back to it with a fresh eye. then my iMac broke, and I have a new ‘puter on the way, but I’m anticipating the nightmare of opening resolve and Siri saying ERROR: NO MEDIA FOUND, because my files, ALTHOUGH BACKED UP, are super disorganized, there might be a few things missing, but at the very least it’ll be a big pain in the ass to relink everything to get going on this again aannnyyyway I always feel bad for posting literally zero videos but numerous dog pics and I was like Screw it, its not perfect, but here ya go. this is not the best file, its the one I had in icloud, there could be a better render, etc etc, and its getting murdered by youtube compression, but my first reaction watching it after not messing with it for a few months was…. …Hey~! Its not too bad! ☺️ not bad for a first film i made all by myself! imagine if I had a crew, a budget… ? so, if youd like to see, pls check it out, and if you have any helpful feedback that involves changing/adding things, that’s great, but I do NOT have access to the actors/locations any more and there is almost no chance of me shooting additional footage, so as long as suggestions don’t involve me spending any more money on this project, I’m all in ? at best, I think this is a cool example of what one person can do with a 5d3 in 2019 with no budget, crew, or resources whatsoever... as indie as it gets lolol

I was recently a part of making a short movie, and the camera combination used, i thought might interest someone here. Also there might be someone thinking if the FS700 still works today, as i myself did. The film can be seen here (there are no subtitles, but the story is about a woman that gets stopped in the street by the police, because of the hoodie she is wearing. It's at satire on laws currently being implemented i Denmark) https://www.ekkofilm.dk/shortlist/film/trojen/ For the dialogue parts, we were cutting between a Gh5 and a sony FS700. It worked out great I think, all though it was difficult to get the colors to match. We were also filming outside, so that did not help, with the ever changing sun clouds. For lenses, we used a Canon 24-70 2.8 (with focal reducer) on the GH5, and a Tamron 17-50 2.8 on the FS700. Can you tell which is which? camera A camera B I would not use this camera combo for anything that should be matched quickly, but if you have the time, the FS700 files in 10 bit prores slog and the GH5 10 bit vlog files, were super great to work with. The result is not perfect, but we like it. I love both cameras, and I am amazed how great the FS700 and the odyssey 7q are! We were afraid we would have to change batteries all the time, but big NP-F batteries lastede around 2 hours each (1 in the cam that lasted longer and 1 in the odyssey 7q). Mounted on a shoulder rig, the FS700 is also pretty comfortable, in comparison with for instance, an URSA Mini and weighs about the same, with the odyssey. The buttons are a pain to reach though. For those interested, the dialogue was recorded with at Røde NTG1 shotgun mic to a Tascam 60d. Here are some other shots from the film. (if there is banding in the footage where you see it, it is jpeg/web compression, it is not in the final video file.)

Glenn's club standard ; ) Seems he's not alone on that one, well, I fully understand his call anyways : -) At least, you'll be sure then he won't let you down from the other side when St. Peter : P will ask you about that bald dude with the cat in in his back : D Better a pretty rare one than just another pet you can find in any store of the neighborhood ; -) @mercer

I don't really think its necessary. 1.4 is very fast on full frame especially since you can crank the iso up pretty high.

There is also the 7Artisans 50mm f1.1 Cheaper than the Mitakon too.

Looks like Red has made some big gains on making 8K footage doable even on a Laptop. https://***URL not allowed***/reds-easier-8k-workflow-with-realtime-gpu-decode-and-new-redcine-x-pro/

Yeah for a cheap ass camera and rig it is pretty amazing. It took them years to do according to their Facebook page, but I don't think much of it was due to the camera. Just stuff when you are trying to do a zero budget film with friends, and limited gear, and not much time more than anything. Kind of a Mercer type film LoL. I have a bad feeling I will be dead before he finishes it. And I doubt they have cable, or internet in Hell. ?

Absolutely astonishing.

According to the technical info: <<The clips were recorded at 1488x1900 pixels and were resized to 4464x1900 using lanczos algorithm. Grading is done in MLVApp only. No LUT was used. Gear: Canon EOS M Viltrox Speedbooster EF 16-35mm 2.8 USM L II Variable ND filter Cullmann Nanomax 290 Monopod>> Here's another 5K anamorphic mode test from one of Danne's builds: Impressive definition from such hack UHD trick...

Yeah if you think just crushing the blacks and adding noise mimics a OG BMPCC, and think clean as a whistle is a Cine look to strive for, well... Better off with a C100 if you want a clean look. You don't have to buy any add on extra stuff for them. Just Grab and Go. Shoot for hours with one battery, and one cheap ass SD card. Really don't even need to grade it if you get the exposure right in camera. But I guess everyone has a different idea what good or bad is, so maybe you really like that look. And yeah I guess at times even a Arri crushes the blacks, especially night shots. But no camera for as cheap as a OG is, can produce a better looking output If you want a Cine look. Now it is not going to produce a clean look like the PK4, C100 can, and probably most of the time you want that clean look, especially in this day and age. So the OG is not going to be a good choice for that. So I guess the PK4 is a good compromise for both a modern look, and the ability to sort of look like the older one with skill. But that is the key, skill for any of the cameras. But some are just a lot easier to Look like you have skill lol. The new Fuji XT-3 comes to mind, the old C100, etc. The OG was not a point and shoot by a long shot. There is a lot more bad looking footage from them on the web than great looking footage.

So you didn't understand.... We (old BMPCC user) don't miss this nasty look you created ? If you own a old pocket (Fairchild sensor) , you'll understand.

Yes, because it is so obvious that it's impossible to shoot feature films with IBIS, as well as any part of it because every spectator immediately leave theater when notice that ugly micro jitters on screen.

Sorry I couldn't test HLG yet, the only external recordings I got are not HLG. Something interesting: with the help of @Papiskokuji and a friend of mine I did some tests with Sony footage coming from two different Sony bodies, and it seems the files require the BT.601 matrix as well, but they are not even flagged. In Resolve all files look off, in Premiere some are okay, some are not. More testing is needed, but I'm surprised I don't see topics or videos about this.

and I'm saying ( from the experience of actually owning a P4k) that there is no more DR in RAW than ProRes.

You really can't totally turn it off, it still floats, that is why they came out with the GH5s. I think the Z6, Z7 has a way to lock the IBIS mechanism to help it a bit though.

Yeah he is a wiz at HLG stuff and Luts.

so much better than mine, wish we lived closer so we could collab ?

Nice job, I liked the color a lot. If this is you studying, I look forward to what you do when you graduate! What lens(es) did you use?

Camera A is actually the FS700. I think the colors are not bad, but their cine-cams are a lot better with than the mirrorless sonys. I read someone saying, that the colors are more natural, and thats what we view as bad? I think the sony colors are great for products, landscapes and so on. But for people, canon and blackmagic are great. But then again, with the raw to prores on the sony, you can grade the colors to be awesome on the sony also

yeah, hard not to be bulky when slapping a 600mm f/4 on the front. the fs700 and recorder combo is big, but it's definitely manageable when you have proper camera support. No doubt the fs5 has the advantage there. Still, for 4k slowmo, the fs700 is still pretty bad ass when recording externally. More than enough camera for what I'm doing. Also, to go the other way, here's the fs700 with the Pentax 110 24mm 2.8 lens on it, just for shits and giggles

This time last year I couldn't resist anymore when I saw an fs700u pop up for very cheap. I snagged it and have slowly been acquiring the kit pieces that it was missing as it came without accessories. Need to send it into Sony to have is R upgraded and I'm keeping an eye on Shogun Infernos, especially now that the new shogun has come out as well.

Cameras convert ideas, planning, setup, teamwork, passion, skill, practice, attitude, and luck into files on a hard-drive. Then editing software converts vision, taste, timing, essence, persistence, and files on the hard drive into a finished film. This is why a great camera makes no improvement to a bad situation, and a bad camera takes only a small amount away from a lot of hard work and dedication.

Fabulous. I thought some of the angles and composition were superb. I’m not sure I am clever enough to follow the story but thoroughly enjoyable. Indeed, inspirational!

Hey everyone! We shot this a few years back in Massai Land Kenya. I thought that I would share with you all since it was filmed pretty low key with a couple of DSLRs. A7sii/GH5 and an Rx100. Let me know what you think and GO Maasai Land!

They could have used older lenses to make it less clinically sharp, but apart from that I thought the image looked very cinematic.

Buy a camera that is "good enough" and learn to colour grade. Seriously. I used to be like you, but then I worked out what I wanted in an image and bought the right camera and lenses, and now when I hear that there's a new 12K RAW 16-bit pocket camera with built-in gimbal and AI drone I don't even care. It happens that the camera I bought was a GH5, but if you have different needs then it will be a different camera. The other part is learning to colour grade. I was "done" with other cameras when I pulled the GH5 files into Resolve and it looked and felt like when the pros grade cinema camera footage - they pull in a shot and it looks flat because it's log, and then they push and pull it around almost mercilessly and it just does it and looks great, and the GH5 files did that too. With all my previous cameras the file was fragile and would break given half a chance. I'm not getting spectacular images out of the GH5 yet, but that's because I just need to learn to grade better. I know the GH5 is great and it's about my ability to grade, not its limitations. Specifically I think that's because it's 10-bit and the colour science doesn't have problems, so I know I can work with it. Your results and preferences might be different, but when you're wishing you had something else it's because you're not happy with what you have. There are always better cameras and we all wish we had an Alexa but many of us are satisfied even if the Alexa has a better image.

Hi yes I tried it and it works fine. although liveview is a bit crazy with the screen heavily stretched vertically. When corrected in post, the image comes out at an aspect ratio of 4.6:1 which isn't very useable. You can crop the sides off down to 2.35:1 ratio but then you loose quite a bit of resolution. I'll test it further though. There's someone who stuck an anti-aliasing filter into their EF to EF-M adapter using sellotape, sounds like an interesting solution! I might try that one day!

The best way to think about these things is in terms of colour spaces. If you film in HLG then apply a LUT that is expecting HLG then the LUT will work as designed. If you film in HLG and apply a LUT that is expecting VLog then it will not work as designed and the picture will go all strange. You can use the Colour Space Transform or Input settings to change colour spaces if you like. For example, you could film in HLG, transform to VLog using the GHa Pre LUT from @Sage, then apply a Colour Space Transform to go from VLog to LogC, then apply a film emulation LUT that is expecting LogC footage and the results will be fine (I've done exactly that). I highly recommend Juan Melaras YT channel to understand how pros use Resolve - it's completely different to all the other YT colourists. He's the only YouTuber that I've watched the videos over and over again, studying them to understand what he's doing and how it all works. https://www.youtube.com/channel/UCqi6295cdFJI9VUPzIN4NXQ

I think this is the best footage I have seen from the GH5/GH5s. Fujinon MK lenses

You guys know that "cinema camera" doesn't mean it can only shoot for cinema? You can also make weddings, ads, youtube videos and more with it. And for these scenarios IBIS is super useful.