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The JVC Gyls300 is still very relevant and capable in 2019 and well beyond it! I just finished a culturally important urban documentary, that I’ve been working on for two years, titled ‘Marcy Made’, which 95 percent of it was filmed with the JVC! The documentary is about DeHaven Irby. DeHaven Irby for those who may not know, was a very good friend of Jay-Z and was the person responsible for bringing Jay-Z into the game. Jay is actually DeHaven’s daughter god father. Anyways they aren’t friends anymore and things have been said on both sides about one another. Their friendship ceased when DeHaven was sent to prison and Jay-Z left him there without any explanation of why. When DeHaven was released, he published a YouTube video in 2008, which went viral. In it he talked about a lot of issues with him and Jay, but wasn’t specific, so he left a bunch of questions unanswered. Jay-Z responded in one of his records, “So fuck DeHaven for caving, that’s why we don’t speak, Made men ain’t supposed to make statements!” In essence calling him a snitch...... This documentary answers all of those questions and shows that DeHaven isn’t a snitch. It also reveals the true reason behind their split. I had a screening of it this past Friday (9/27/2019) at Firelight Studio in Brooklyn, NY and these are just some pics of the venue’s screening room. I must say that the GYLS300’s image held up wonderful on the screen! I prefer a higher bit color rendition from a cinema camera, but the 8bit IQ coming from this sensor is still capable of competing! Heres the trailer for the documentary: https://youtu.be/Gm1ug-Aa8TM

Here's a quick one of my current setup. Nikon Z6, Smallrig cage, and Monfrotto arm with a SmallHD Focus monitor. Recently got the Monfrotto arm and I love it, very sturdy and easy to adjust.

That'd be very cool, though I'd be happy with S35 and M43 combo again ?

Use the custom white balance function against a grey card.

We still can’t discredit the image quality from these devices, but the whole thing is that RED is unethical! Point blank period. All of their claims about how their camera came to fruition, which we know by now and no need to repeat, are false. Sure they researched the best off the shelves products and amalgamated it to a durable chassis and I totally get capitalism, but this feels like thievery.

If you're talking about my rigs, it's not fashion, it's weight and bag size!! I have to make room in my suitcase for the coffee machine my wife insisted that we bring on the holiday! ???

At the risk of taking the thread in an unexpected direction, here's my two set-ups from earlier today, pictured in their natural habitat, on a beach towel on my lap in a tour bus, with people around me wondering WTF I was doing taking a photo of two cameras with a third camera (my phone). Sony X3000 for crazy wides, gimbal-like stabilisation when walking and handy actions shots like getting in and out of busses, trains, planes, etc for b-roll and establishing shots. GH5 with Rode VMP+ and Konica Hexanon 40mm for a bit of reach for the main shots where I have a bit more time.

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots.

WARNING: MATURE CONTENT. Speed Date is a black comedy about Jack and Natalie who approach their allocated time together with different mindsets. What could go wrong? [Best with Headphones] Shot on a Blackmagic Micro Cinema Camera + Sigma 18-35mm Lens.

Yes it is connected to the bottom of the Smallrig Cage. Only thing missing from photo is a microphone or wireless lav receiver on the shoe mount. As a side note I really wish there was a hole for the monfrotto arm on the right side of the cage so I could swap sides if I need to.

Nah, pretty sure it's attached to his thumb ring....

I'm being lighthearted! It's whatever gets the job done, eh? ?

The Olympus 12-100 is a very versatile lens for photo and video work. I don't know the exact focus throw, but it seems to be around 90 degrees. The Rokinon Cine DS line of lenses are reasonably priced and have about a 150 degree focus throw.

I don't think 6k will be a delivery medium. However, I really like shooting in opengate mode on my GH5, it gives me so much lattitude in post.

Would love to see the Yuneec Typoon H3 in the form factor of the Mavic 2 Pro. The leica association seems to make it quite interesting, and the log and 10-bit seem to suggest great video quality. A small form factor will ensure that prosumers buy this in greater numbers.

That's awesome!

This is like one of those back and forward fashion things, where everyone would once be eager to show how big and complex their rig was, now everyone wants to show how simple and barebones their setup is ?.

Reduser still going on about how if Red cameras are just a pile of commodity parts then why don’t more companies do it which if they ignored their doublethink they would realize other companies are and that this isn’t at all the argument jinni is making. The mental gymnastics is 10/10.

You can do full manual exposure on the touch screen, but it is a little fiddly.

Talking of the Canon FD's I have just pulled the trigger on the Canon 20-35mm F3.5 which seems to match the other FD's well. I have a set of Canon FD's which look great on the P4K.

I agree. It appears they are incorporating a few features in all the new S lenses. Manual focus clutch with a linear focus choice and parfocal abilities by using the AF system to “fake” an optically parfocal lens. I get it. But OIS in a wide lens didn’t really make sense. I suspect adding OIS to the 10-25 just made it too bulky, especially when the GH5/G9/EM1.2 cameras have such good IBIS already. Bottom line is if DoF is on the top of your list then MFT is not your best option. For me, MFT makes all the right trade offs for what I need and want. And as camera phones have shown the future is in computational photography. I’m sure there will be a time where I can shoot on a MFT camera and select a few extra stops of DoF in camera with a push of a button.

@mallllias good work!! listen: im a negative asshole, so take it from me when i say that your lil video has PLENTY of strong points, and it is DEFINITELY above average. thats ?% true keep shooting ok!!!

I hope you're aware some of your cons list don't really apply anymore, isn't it? When there's a new firmware update to introduce PDAF and you can use a wide angle lens as for instance, correct? : -)

I am related to a few! They very much talk about their tools.

It's smooth and works really well, much like the Olympus PRO integration, but the 'soft stops' are something to get used to, there's a slight feedback once you hit the stop and then by its focus by wire nature continues to turn (which luckily doesn't do a thing, but still; also, for focus pulling (repeatable) this will be messed up unfortunately). I have the 18-35mm f/1.8 in Nikon mount and I'd say it probably does manual focus just as well. Don't know, more like a spot-on 'little baby Jesus' to me. It also kind of looks like... it could use a good rinse.

5.7K/6K sensors are really needed to output true 4K after the deBayering process required off the sensor. So to get true 4K, you need a 5.7K/6K sensor, as a 4K sensor after deBayering produces roughly a 2.7K image. The cameras with 4K sensors out there add sharpening that's not in the source (some more than others - e.g. Sony more than Canon) and aliasing. So yeah, for true 4K, you need the larger sensor. In terms of consumer, 4K is nice on my 65" OLED, but the HDR that comes with it is junk, so I don't watch 4K content for the most part. No consumer display can be calibrated for HDR REC.2020/P3, so the colors and black levels are all over the place and differ from display to display, as do mastering and display maximum nits. It's a total mess. 4K without HDR would have been perfect, but unless everyone had a 65" or greater, and the source was true 4K or scanned 4K film, nobody would be able to see a major difference worth investing in.

Speedbooster? I'd much rather pair it with 2x teleconverter.

Yeah, this is a good set up, but it's much better with a Metabones Speedbooster.

FS7 can output 10-bit 4:2:2 via HDMI up to 4K30fps. I've tested it successfully with a Ninja V even though it isn't really necessary since FS7 records 10-bit 4:2:2 internally up to 4K60p. The Ninja V with the SDI module should allow 10-bit recording from the FS5.

Well, it’ll cost you more than $1799 to pickup a S1H and an L mount lens. I have the 10-25 f1.7. It’s a brilliant lens. It will be even more brilliant on a future GH6. If the GH6 has as good lowlight ability as the GH5S then it’s going to be a huge hit as long as it carries on the GH5 tradition. I shot some video of some Elk a couple of days ago. It was dusk, approaching blue hour. I had my 50-200 f2.8-4. I was shooting at 200mm f4 at ISO 10000 and 12800 in 10bit HLG. The noise performance was more than acceptable. I lost a bit of color vitality but it was dusk so it really didn’t matter. The 4K footage downsampled to 1080p didn’t need any noise reduction at all. If I was to keep it at 4K I would have applied noise reduction to some of the clips at 12800. The images were more than useable. I switched out to the 10-25 for some environment shots at at f1.7 I could drop my ISO to 2500-3200 which is a piece of cake for the GH5S.

You've already seen some stills; here is the video. Constructive criticism welcome!

Yeah I think that was more the issue in terms of realism than the fake ambiance. I don't think you were going for realism though or else they'd probably have to be a lot closer to each other and talking louder to hear anything at a busy bar haha. You'd also have to put on some shitty pop music for realism. ?

If you get a chance, to do something like this again or something similar. Can you do a test.... i.e. have people like even 4 to 6 other people in the room, they can just be crew (behind the scenes i.e. people without any actual screen time), see if that changes the ambience and/or volume. You can even over-ride the actual ambient noise with fake ambient noise. Also, share the results, cause I need to know as I am curious too (cc me or try to grab my attention with @[my name]). I have a feeling it makes a difference... For example, my wife and kids were watching Cinderella (the live action one from 2015) and they happened to be watching the BTS.... they said that during the ball sequence, they had 500 extras... I thought it was excessive given that not all 500 extras would actually be shown in any particular shot. All 500 people had an additional 500 makeup artists and choreographers.... well you get the point. They could've gotten away with 100 or 200 people... But, now that I think about it, I have a feeling that those 500 people had to be there for the ambience of that scene - to sell that scene for what it is....

Oh surely it will shoot 6k. But in 15fps, with autofocus and manual exposure disabled. And the IBIS will only work with 3 supported lenses and only when shooting 480p upside down.

When I was buying hybrid at 2015 GH4 wasn't even close to what the Samsung NX1 could do. It was almost laughable how much better the NX was, but put me an GH5/GH5S/P4K in front of me and ask me now. M43 upped their game so much in video, that is almost uunbelievable.. To be fair the NX1 is still the better photo camera than any of these, but the video quality is lacking in 2019 terms.

Oh cmon, Panasonic removed a lot of video stuff to not take away from GH5 sales. They don't give you V-Log either, it's a paid option. People love to demonize Canon but none of these companies are church organizations..

Because Canon continues to hoard their 4K non-crop and DPAF features for their cinema line at a time in which most other brands are offering it in all of their cameras. That 1.8x crop is a killer when you factor in that you have to change lenses to go between 1080p and 4K to get the same FOV. If the 5D3, 5D4 or 6DII had proper 4K, most previous Canon owners would have never jumped ship.

No it connects over wifi as per their web interface stuff. Its actually going to form part of a far more elaborate controller for multiple JVC units so other versions will be able to more than just turn the record on and off This was more of a solution to a personal pet peeve I have with it and as a proof of concept after, erm, figuring out how their web control worked.

Those of you who follow me on Twitter (all one of you ) may have seen me referring to developing a controller for the LS300 and other JVC cameras. One thing that bugs me when recording externally with it it still having to use the fold out LCD display to see the current settings, which isn't ideally ergonomically but also its pretty difficult to see. So here in all its taped up glory is my first mini-product for the LS300 which is a small wireless status display which shows current settings and can be mounted on a tripod handle, a gimbal handle, a rig or on the monitor itself. And has a small switch in it tor remote start/stop recording.

Shooting some Superbike testing at the circuit today with the LS300 and his new best friend the Atomos Ninja V. And in one fell swoop its achilles heel of abysmal monitoring is solved and 4K60p added without having to wrestle with the bigger recorders. A very worthwhile upgrade for £550.

To be honest it's not even average. You have to study a lot and most important see great videos and search the way they did those. Catching a camera that is capable of decent to great image doesn't mean you are capable too. Don't give up and keep going.