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I'm way late to the party, but just ordered the GH5! I have no illusions that it'll be some supremely groundbreaking image, but I do think it'll be the funnest and easiest camera I've ever used to just pick up and shoot stuff with.

New picture I took with the FD 35-105 F/3.5. I'm trying to make my pictures look like paintings.

The banding is caused by my the DPAF and is only visible under extreme conditions. That said, missed focus is visible under ALL conditions, so that’s a trade off I’m willing to make for my shooting. Speaking of ergonomics, the flip screen on the Canon is easily a better option than the tilt screen of the Panasonic so there’s that also to consider. The aforementioned also extends to the convenience of being able to flip the screen inwards when carrying it. For myself, I’m fine with heavy cameras, if the performance is there, as shown by the 1DXMK2 which is also great for fast action shots. But if I have to make a trade-off I want a lighter body. As to the OP, I would buy the Canon. While he clearly stated he does not care about AF, he made mention of native EF glass. If he’s not inclined to purchase new glass the EOS R is a smarter choice. With the Adapter, the EF glass works as native glass. Zero issues. Honestly it’s the best adaptation I’ve ever used. That said, any of the current batch of mirrorless are good enough for 95% of users. The bar has moved far enough that frankly we are down to the point of just being nitpicky.

You're talking like I haven't already got a hacksaw, some wires, a few switches and the good old epoxy out

I just noticed that now DR16 has the Cut page, there are no more gaps in the shortcut keys. Shift-1 is Projects Shift-2 is Media Shift-3 is Cut Shift-4 is Edit Shift-5 is Fusion Shift-6 is Colour Shift-7 is Fairlight Shift-8 is Deliver I'd always noticed that there used to be gaps in those keys, for example Shift-4 was always Edit but Shift-3 didn't have anything, and now those gaps are gone so they've obviously had this architecture in mind for a few versions.

thank you! lol exactly i hear ya. i basically decided that since so much of this short is about sleep, i wanted to show that my way, insofar as not like this although shows get away with this shit all the time, and i understand why, im not an idiot, people want to see the actors faces ? but this doesnt feel dark to me, sleepy dark time feels (a) dark and (b) low contrast so i went with that. in the first shot, i wanted the young man to wake up ~in the dark~. he cant sleep. so, that being said, this IS supposed to be dark af, darker than anyone goes on almost anything i just saved the above .png screengrab from quicktime, put it online, and tumblr compressed it, but look how much you can still pull out of it this image gives you an idea of what the original exposure looked like. i would post stuff from my resolve file, but after imac broke its gonna take a couple days to put that timeline back together again, but u guys have inspired me im totally gonna do it...! your assumption is correct~! yes, i said to myself, Self, what is 5d3 raw GOOD at? well, COLOR. DEEP, RICH color. its good at... looking kinda filmic, way more lo-fi and analog compared to say, a gh5, right? totally different look. so that was my idea: make it look like that, to exploit the strengths of what ml raw is good at, and avoiding its weaknesses whenever possible in my shots. that was kinda the plan liike i said, you guys might be somewhat interested in what i did with the color creatively, so when i get the resolve project back together ill post some stuff. i mean, a lot of how this looks is the grade u know in general tho, i simply exposed for the highlights i wanted, and ALL the dark shots have been graded down in post, some WAY down, to avoid the noise of high ISOs. that worked – i did zero denoising in post, and i shot up to ISO 6400. yes. that exposure looks like absolute shit, with all the noise youd expect from ml raw at that iso, but like i said i reduced the exposure SO much that all that just disappeared~! lol i kno it sounds crazy but i did some tests before hand and it worked fine, and it allowed me to shoot the whole thing with practical/natural lighting~! ☺️ oh, i have a great answer for this – the actor in the first shot posted an even less finished version online EVERYWHERE – and called it a "trailer" for his own movie. he knew i was furious, wouldnt answer my calls or messages, and i had to do like 6 dmca things against him. sooooo he can go fuck himself SO MUCH. i mean where do i even start? the main thing is that doing ALLLLLLL this by yourself, with NO ONE TO HELP YOU AT ALL ON "SET"... is insane? its too hard, you start to fall apart, forget things, cant think straight, etc. its a surreal level of stress... sooo i wouldnt do that again without at least ONE person to be a general PA/script supervisor. that was a bad idea and im ~lucky~ things turned out the way they did, but again all this is much easier said that done when you have ~no money~ my main epiphany about making this lil thing is that JUST DOING IT has been SO empowering to me, because NOW I FEEL LIKE A FILMMAKER. i can be a shitty filmmaker, a lil baby filmmaker, but im sure af not an imaginary filmmaker. not anymore! and you CANT make a second film until you make a first film~! so my SECOND and THIRD films are already in development! wow!!! amazin @ Zach the OTHER thing is the process, that you just need to complete to see as a whole: from start to finish, writing, storyboards, casting, locations, etc etc, post, color, vfx, sound....... i see the gestalt of it now, and thats huge. hard to explain, i just "get" it, so im rlly looking forward to doing better in the future that would be the above post, talking about ISOs and so on... ill pull some shots from the actual grade tho, might be fun~! will do soon! nothing else worked brilliantly. everything else ~kinda~ worked pretty good lol. oh, one thing: i literally shot this in 2.39 to (A) save data and (b) hide my feet in the first shot, i kid you not ?

Has anyone here seen the series 'Happy!'? The camera work in the first season is remarkable, and the second season is even better. I'd love to know more about the lenses and framerates used.

I also thought it didn't have PDAF in 4k (it was limited to 1080p).

I think you are completely right, It adds to the emotion of the whole movie. The fear, the excitement. It is about as good as it gets. Amazing for who shot it, and the budget. A near Classic. A case study for any young, or hell, old film maker. ?

Malick and Lubezki certainly would agree with you: "Song to Song" (in enormous quantity) and even "Knight of Cups" are full of wobbling handheld shots. And there it was not even intentional pseudosymbolic usage (as, say, in chasing to describe distorted perception) - they simply and really didn't "give a shit about little wobble" mesmerizing spectator in constantly flowing, poetical, juxtaposed, surreal movement. Actually, there's no more rules in movie language. Moreover, probably never were - except to now how and where to cut across them in most efficient way. Personally, I think that creators of that war movie obviously use wobble with purpose, as much as colors and light leaks.

1. modern glass, so native high quality M4/3 glass from Panasonic or Olympus or veydra. 2. cinelux ES 3. Rectilux HCDNA You will get oval bokeh and some corner distortion ,that will be very sharp but sterile . You should rather consider vintage primes as taking lenses, you will get less sharp results but something with more live in it.

Really don't know... maybe you didn't check posted BTS clip which explains shooting process? Obviously they think about, see and value result different.

LT storage rate is just over 40% of HQ so roughly 2.5x the record time per TB.

≈ 360 min. And I was wrong before (I was looking at my CF2 128GB card). So, 4K DCI (4096x2160), BRAW Q0, 1TB ≈ 150 min. (Or ProRes 4K DCI HQ 1TB ≈ 170 min.) My apology. In theory one can make almost 2 feature movies with 1TB; in practise, for 1 feature movie 5-10 TB. (And if Kubrick resurects and starts shooting with the P4K, he would need 50 TB.)

4K DCI (4096x2160), BRAW Q0, 1TB ≈ 30-35 min. (Or ProRes 4K DCI HQ 1TB ≈ 30-35 min.) Start to reckon from here.

The second camera is the Sony X3000 though. In its (I'm guessing) primary role as a second angle its not issue but even in 'selfie' mode its plenty wide enough and small enough sensor to get in focus shots without needing too much reach. Well for a normal human that doesn't have T-Rex arms like me it is anyway For what its worth, though, if @kye was open to suggestions about alternative cameras (which I appreciate that he isn't), I agree with your earlier one that the camera I would be using for something like this would be the Osmo, not least because it has a screen but also because it can be driven remotely by a travel companion from a smartphone, something which opens up a ton of additional possibilities to squeeze additional coverage from a fixed position as do the automated tracking options. I'd mount it on a flat bar in the hotshoe but mount the bar facing forward so it overhangs the top of the GH5 lens to give distance back to yourself when its in selfie mode. Mounted in one of these brackets (which has a 1/4 20 mount in the base) its really fast to take it out to use it standalone as well.

Yeah but the EOS-R doesn't have DPAF in 4K. So that is the reason I am not big on Any of the new cameras out. They all seem to have some goofy thing that just makes you want to pull your hair out. Why everyone one of them has to half ass some feature is just crazy. I will cut Nikon some slack as it is their first big time effort but.. It just seems to me if Someone would come out with everything but the kitchen sink, the best there is available in one they couldn't make them fast enough. The GH5, PK4 is the only 2 that looks like they tried to do that. Well the Fuji X-T3 looks like a nice effort, forgot about it. And the PK4 by not having good AF and no IBIS does not appeal to a broad audience. Lots of normal people bought them, but they won't keep them long. Well there is the Olympus EM1 X, but that is crazy money, maybe rightfully so, but they won't sell 35 of them. The new cameras are getting better, but now the big boys have screwed the pooch by changing their mounts. So they are still a shit pot full of money if you want to go that route. It never ends how they scheme to get your money.

https://www.aliexpress.com/item/3D-Printed-Handheld-Gimbal-Stabilizer-For-DJI-Mavic-2-Pro-Zoom-Drone-RC-Camera-Accessories-Handheld/32917638365.html?spm=a2g03.10010108.1000001.12.5d2a3013Ng48VD

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

Yep! That's the core reason why indy film-making is possible. Not too many other businesses can create a broadly similar product for 1% or 0.1% or 0.01% of the typical budget!

I found one of these in a thrift store for less than a pound. It works really well and folds down to fit in my back pocket.

lol, Walmart.... Nice! People who are a bit organised and have confidence and conviction can really bend the rules and get away with things. I'm not a rule-breaker in general, but in todays world so many rules are BS and if you're not hurting anyone then it's all good.

oh wow thank you so much @Jimmy G. im so glad you HEARD it! lol yeah thats something i should point out – all my shots (with NO audio) seemed lifeless and SHIITY and DEAD until i started adding sound, and then the film CAME ALIVE this is my first attempt at sound design, and truth be told... i wasnt gonna do it, someone else was ? this girl i found online, we talked about it at LENGTH, over months and months, and when it came time to actually do it.... she just didnt come thru. she made nothing. it was too much for her i guess. so, i was expecting to see some stuff finished at a certain point, i find out shes done NOTHING, and i was like... *drinks a beer* FUCK IT ILL DO IT MYSELF ? and in two days i was like.... damn i love sound design this stuff is amazin ? i used all kinds of weird sounds, thats a huge part of the fun~! theres everything from gunshots to deep space noises from NASA. theres even a pine jay squawking at the end lol oh @kye i thought of one thing i did brilliantly: the shot of the girl working at "walmart". i designed a badge, printed it, bought a clip-on badge holder, bought the blue vest online, had her walk in walmart with me, shot some footage for a few minutes, and walked out. how do ya like that for stealing shots ?

Just so happened to to have the "cans" on my head when I clicked on your video...I truly love the audio landscape you created here. Also, I found the color choices for your world engaging. Thanks for sharing this here. :)

True, it would be dank if the A7siii got mini SD instead of HDMI

No worries! This field is absolutely huge and is a never-ending challenge for everyone. It's got all the great ingredients: it's hugely technical with a fast pace of change so you're always learning to keep up, it's almost always a team activity and involves working with people both behind and in-front of the camera, and is an art-form not a science so there is no final answer and there is always something more to learn. Here's my advice - learn as much as you can, but learn by doing. Make films, learn from them, and then make more. Lots of people are all talk or all tech and don't actually create anything, don't fall into that trap.

The S1 can be manually set to shoot video in either FF or APS-C crop, as seen at the 11:15 mark in this video from the kind folks at CVP... Panasonic S1 | In Depth Review - YouTube: ...which they claim "will allow creatives to use Super35 or APS-C lenses". However it's not clear to me (nor do they explain in that video) as to which video rates (e.g. 4K 30?, FHD 60?, etc.) allow for that choice between these two frame sizes. Also, based on that same fleeting sequence there seems to be a user-selectable Pixel-by-Pixel (dimensions also user-selectable?) aspect ratio, as well. In all of my online investigations into this camera I have only seen mention of this capability in this video. The function is located in the "Others (Video)" menu and has apparently escaped detection by other reviewers of this camera. FWIW, Panasonic, themselves, have done a fairly poor job (IMHO) up to this point (as of this writing) in not providing prospective buyers with a full, downloadable User Manual for these new S-Series cameras. Perhaps one of our fellow EOSHD posters already using this camera can investigate the above functionality and report back here as to how and when it actually works or doesn't?!

For the price of an iPad and iPhone I got my phone, Surface Go and a gaming laptop. Do not know why you have to bring Apple to everything we talk here. These foldables are quite expensive now, but in 3 years they will be quite mainstream. I am sure there will be an iFold in a couple of years, more expensive than anything else and you will jump to it like is the greatest thing ever! What @BTM_Pix said, and I have expressed before, is that Samsung with 4.6"/7.3" are too small for a smart phone/tablet and the whole concept would be more interesting/practical if it was a tablet, becoming a super tablet. Phones are big enough already, and small tablets are not selling very well - if at all, but 10-13" devices are becoming very popular productive tools and they sell easily for 1000 and up to more than 2000$€£, so foldable prices already..

I mentioned this in my other thread, but in short the GH4/5 are known for HDMI delay, however I get way more delay into Ninja V than with other monitors. And until we get SDI on mirrorless bodies HDMI is the boss the short delay I saw on the Z6 setup the other day would work great for my use-case, where the GH5+Ninja V is unusable for anything than static shots really.

No prob! Usually I'm not a big fan of video reviews and much more prefer the written word, but the videos you do with Chris are an exception - I watch them all, from soup to nuts and never regret it. Anyway, back to the point: the footage looks great. Pleasing colors, nice contrast and good looking motion. It's intriguing to see that Panasonic didn't ignore S1's video capabilites even though they initially stated that it's mainly a stills camera.

Beat me to it, thanks!

Voigtlander 40mm 1.2 with the A7III or A7s II. Plenty brightness for your needs and sharp from wide open. Anything wider or faster on full frame will up your budget considerably.

Good definition of Knee, Point, and Slope by Tom Roper.. "Raise your hand above your head. The height of your shoulder above the floor is the Knee Sat Level. The height of your elbow above the floor is the Point. The amount of bend at your elbow is the Slope". Knee adjustment really only helps much in very bright situations. When I was doing my ENG thing that was one of the few adjustments we were allowed to adjust in the field. And it was only used if you were forced to shoot into the sun, or really bright lights. And even then nothing too drastic on the curve part. You are not going to gain much DR at the top no matter what you do, but it does tend to look ugly blown out, even to an untrained eye more so than say crushed Blacks. Video is more about compromises than anything else. Hardy any perfect scene to shoot unless you are on a Hollywood studio set where they have all of it covered. That to me is why I am not too big of fan of Run n Gun though a lot of the short, or a lot of quick cuts. Unless the story is just so amazing you can't look away, you can't maintain smooth transitions very easy exposure wise. And you can't recover something in Post that was never there.

This prototype image was posted on the fb group... Not much info but hopefully we see a few more third party options!

I kind of doubt it is a camera or a Ninja V problem. It is more of a HDMI problem. The Z6 is probably using a newer version of HDMI. There is a reason Pro stuff uses SDI connections, even Fiber for really long runs, not counting a more secure connection.

Just to say - for those that dont know (like I didnt) - it is actually possible to send A7iii/A7riii videos to the ipad pro via usb-c (to usb-c) - you send directly from the camera. 1. Set the usb connection on the A7iii to MTP. 2. Turn off usb power supply. Connect the ipad. If your card is relatively full it may well give a 'no photos to import' message but it is just taking its time to read the card. You import via the photos app. Import time are painfully slow - 8MB/sec - so I timed a 1.9gb file at 4 minutes to transfer

I didn’t say that, I only say Canon and Sony can get focus hunt/lost focus as well Not being defensive just sick of people thinking mirrorless have to be small and fragile, for pro work I want them to be tough and able to stand abuse for field work. I am looking at it as pure workhorse and nothing else. I use R/Leica T for casual photography and G1xiii for travel, though R is also used as bcam for c200.

Yes, image stabiliser works too! I use them a lot as I work full time in video production, that speaking from my experience since I have huge sample size not just shooting once in a blue moon. Obvious S1 is not targeted to you, there are many tools out there to suit your needs, I just buy whatever fits my need. Compare to c200 it is much lighter, I’ve done c200 handleheld for half day, so S1 weight is totally fine for me.

Arri Mini LF, Alexa LF, AMIRA, Sony PMW-F3/F5/F55, VENICE, Panasonic Varicam S35 / LT , etc etc etc would all like to disagree with you!

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."

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

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.

Specs-wise, it's actually pretty much everything I'd want from a camera like this. Price is the real issue - £1,079 with a lens is getting awfully close to the G9's price range. EDIT: Just realised, it's got the same crop factor as the GX8 and GX9, rather than the less severe crop of their 16MP cameras. That's... not ideal.

I've used the EOS R pretty extensively, but looking forward to my S1 arriving this week. After I test it, I'll let you know, but I'm pretty sure the Panasonic S1 is going to be way more to my liking for shooting video and with your GH5s, a much better combo for color and picture profiles.