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Had to let y'all know about this great deal that Adorama emailed me. Better jump on it before they change their mind

I'm going to pitch this to YouTube as a new option so I don't have to keep switching otherwise potentially interesting videos off.

I had to google what that was. The advantage of VR headsets though is they can do mixed reality so you can carry on playing your game whilst using the in built forward facing video camera overlay function to safely navigate to the toilet without having to compromise the integrity of any hosiery. Even better, if you are playing some sort of Star Trek, game you can confirm the successful dispatch of the payload to the rest of the online players and stay in character by saying "Captain's Log".

I'm guessing that from the protracted development cycle then it might well be going back to that as well as going full frame. You'd imagine that they could have put the SD Quattro into an Fp body relatively quickly and I'm still surprised that they haven't as an interim version. Switching to L mount would open up their own APS-C 16/30/56mm f1.4 lens range which would be an absolutely great match with the existing sensor. Being in the Fp body would also mean it not being built like a brick shithouse. I think they're committed to full frame though and I'm hoping that the delay is also being caused by them managing to squeeze video out of it. I'd take APS-C and video over Full Frame and not.

Easily the best and most accurate guide out there…and I’ve seen them all. Personally, I use f2 Sigma glass for anything that does not require forward tracking which is 95% of my needs. The 20-60 ‘kit’ lens for the 5% tracking needs. No guessing or “I heard in the internet” BS, simply a fella that owns and tested the kit and can clearly explain best practices.

Hello everyone ... I preferred to open a new topic rather than continue to abuse "my Journey to virtual production" With the carnival I was able to do some more tests with unreal and this time for I recorded my subject up against a yellow wall ... As you can see, in controlled working conditions, the results can be really good ... Obviously there is still a lot of room for improvement, for example I have to synchronize the two video tracks by recording a common audio track, I have to balance the gimbal better (I have a crane-m and with the mobile phone mounted I exceed the grams it can support, so it vibrates a lot) , but apart from that, if I had an actress who does something sensible apart from shooting all the time 🙂 I might at this point think I can shoot something decent ... What do you think? Opinions, advice?

Everyone pisses about crappy AF on the Panasonic cameras. Heck don't buy one or give the one you got to charity. 😃 Then buy a Sony or a Canon. 😮

MrSMW owns a S5 and S1H, no need for a a7iv. 🙂 @webrunner5 I held a Sigma FP in the hand for a short time and it did not resonate. Plus, not having a mechanical shutter is not appealing neither to me. I think the rangefinder style FF camera with 10bit video and IBIS would be great for the L-mount lineup and for me.

@Jimmy G My two cents:) Dont buy a Ninja V. Your S1 does good enough without it. So either keep the S! and save your money or sell it and get a GH6. Like I said, my two cents. 🙂 Or keep the mighty S1, still buy a GH6 and compare the two.:)

Sounds like you need a Sony A7 IV LOL.

You had better buy a used Ninja V now before everyone else does! 😬

YouTube cutting sometimes makes me feel a little ill. It's usually constantly cutting within the same linear shot, so not removing content, just putting in a cut so you can constantly punch in and out, plus it's often accompanied by brickwall mastered pop tunes with every frequency at maximum all the time!

Ok fair enough. You said you found it "strange" which to me means "out of the ordinary" but I understand what you mean. It is quirky especially if you use a light meter like I still do.

User manuals (English full, English Quick Start Guide and French full) now up in UK... DC-GH6 https://support-uk.panasonic.eu/app/products/detail/p/28412

No it really seems like you just didn't understand my post at all....I never said that it was a problem, nor did I say I was expecting something different, if you reread my post all I did was mention that to me, mounting a 50mm lens on a camera and cranking it wide open to F1.0 but getting a F1.4 focal plane is what I consider "quirky" aka not typical.....in other words using a speedbooster in general is not something that I am used to but it is what is needed on the C70 if you want a FF FOV....that literally was all that statement meant.

I can definitely see it as a crutch for narrative film-making. I'm exploring this in the videos I'm looking at and my own work, which for travel is mostly montages with music. The works I'm analysing seem to use the intensity of cuts as an added device to build and release tension along with the music and wider sound design. To a certain extent it's like b-roll is part of sound design and as long as the visuals are remotely relevant then you can kind of cut them up in whatever way you want to, creating everything from a slow peaceful progression to frantic wall-of-sound-and-visuals type moments. There was a particularly good example of this in one of the Parts Unknown episodes in a high-pressure region (IIRC it might have been Beirut) where they built up to fast cutting of b-roll of the signs of war there / a heavy metal rock band / and the whistling of a pressure pot steam valve in full release. ThusGuyEdits did an interesting video on that.... Definitely editing for short-attention spans...!

Coincidentally, Shane from Geeky Nerdy Techy came out with a new video describing his "best practices" for focusing on the GH5 II and the S5 (as well as the older GH5 and GH5S). it is definitely worth a watch: I don't think there is a 1:1 macro lens for L Mount... maybe Sigma has one. But in general, the continuous autofocus of sigma lenses is pretty bad (for video, at least). Viltrox makes some Extension Tubes for L-Mount now, so that should get you pretty close to 1:1 macro (you might have to use multiple tubes). The problem with extension tubes is that you lose light / have to raise your ISO / lower shutter speed. you might be able to adapt a macro lens. I think Sigma made old DSLR macro lenses in 70mm and 105mm??? In which case, it might be best to find them in a Nikon mount and then buy a Nikon F to L-Mount adapter. The issue is the ADAPTER must have a way to adjust the aperture of the lens, since I believe those lenses don't have aperture rings on the lens. Tamron also made a 90mm f/2.8 and I think Tokina has a macro lens around 100mm and f/2.8 All of those would need an adapter that could adjust the aperture and would be manual focus. Then there are vintage manual focus lenses from Olympus and Nikon and Canon and Pentax and Minolta.

Yes, it's robust video matting.. In this video tracking it's bad but it's my fault, fps in the 2 videos doesn't match... I'm using virtual plugin, an app for unreal engine to install on a smartphone... Projected background it's better, but you NEED a studio, a very large studio, with light etc etc.. Here I'm in my garden.... Now i want to use blender camera tracking for videos where exact match is needed..

The matte is pretty good! Is it this repo you are using? You mentioned RVM in the other topic. https://github.com/PeterL1n/RobustVideoMatting Tracking of course needs some work. How are you currently tracking your camera? Is this all done in real time, or are you compositing after the fact? I assume that you are compositing later since you mention syncing tracks by audio. If I were you, I would ditch the crane if you're over the weight limit, just get some wide camera handles and make slow deliberate movements, and mount some proper tracking devices on top instead of a phone if that's what you're using now. Of course the downside to this approach compared to the projected background we're talking about in the other topic is, you can merge lighting easier with a projected background, and also with this approach you need to synchronize a LOT more settings between your virtual and real camera. With projected background you only need to worry about focus, with this approach you need to match exposure, focus, zoom, noise pattern, color response, and on and on. It's all work that can be done, but makes the whole process very tedious to me.

Very useful info thanks folks. I will definitely try the 1-area + face option. So far my work using CAF is solely based around keeping a talking head in focus, with me (and them) moving around a bit to add some dynamism, all hand held, all outdoors (sometimes in quite challenging, off-the-beaten-track environments). I rarely use zoom but do move away sometimes for a longer shot or let the subject walk away. I like using ultra close-ups too so you see the real details of a face. I think the best bit of advice here from SMW is to keep the camera steady as much as possible and nothing too rapid; don't ask too much of the CAF system basically even if you think it should better. I only use the one camera, and one lens (S 20-60mm F/3.5-5.6), with a Tascam 4-track mounted underneath for a stereo pair of DPA 4060s mounted on top (for good ambience - very important to my stuff) plus a radio mic receiver (Sennheiser G4), connecting to a COS 11D on the subject. I run a line out from the Tascam into the S5 as back-up and guide for audio syncing. I can very easily lift this off a tripod as a single unit and go handheld and this is crucial freedom to be creative without lots of faff. I can get phasing issues with the mic set-up but having the radio mic and stereo pair on separate tracks, I can fix any of this in post if need be. I would like to expand my lens collection but am a bit unsure what I would really benefit from as have little knowledge, and they are not cheap. Like most I like shallow depth of field when focussing on the subject but also deep focus when capturing vistas as cutaways and for longer 'pastoral' passages. I also like real close-up detail of natural things like leaves etc

It was a tough call but I had some editing I wanted to finish AND the same theatre is showing The Conversation next weekend. So I decided to wait on the trip to Nashville and I did finish the editing 😀

I have had this lens now for about 3 weeks, shot a few different types of scenes, and am really impressed with quality and over all ease of use. Canon's VR utility renders/converts the video and pictures much faster than I thought it would. Though some of you old guys (yeah I'm 51, bite me) are sounding like my grandfather did when TV's showed up on the scene...."nobody's gonna waste time with that thing" or "What kind of idiot just sits on the couch and looks into a box?".... well between Facebook (Meta), Microsoft, and Disney there are literally billions of dollar getting dumped into this format because it is clear to them, and me, that in the next 3-5 years damn near half the people you know will have some form of VR gear in their family or household. It really is incredible if you let yourself actually consider the ramifications. I took my first picture in a family party setting, a few days ago I took my Oculus over there to share those clips and pics and literally everyone was amazed to be "in" that party again, seeing everything exactly as it was like you're standing in that spot again. In fact my uncle, the oldest person there, was the one to point out how absolutely amazing it would be to be standing in his childhood home again, looking at his brothers and sisters and seeing it all again "like time traveling to the past" is what he said. I don't think many people are recognizing this aspect of VR yet, but it's going to be huge. I've already had my first wedding party request a VR shoot, I might make this the focus of my future photography business.

Here you go, try it with this thumbnail to tick all the boxes that will get you on the front page.

So I have un update on this. I had somehow missed some firmware update that was supposed to fix a stabilization bug. The IBIS could stop working after a WB setting or something along these lines. I flashed the FW v.1.3 and it seems to be working correctly now. I obviously want to test it a bit longer but first observations are encouraging! 🙂

Sometimes dreams come true, because I just picked one of these up for $40 CANADIAN DOLLARS at a pawn shop. I'm happy to add it to my 28mm 2.8, 35mm 1.4, 35-70mm, and 50mm 1.4 Contax Zeiss set, which all cost me a hell of a lot more. I've never had a 135mm lens, and find it a little odd, but I think it's going to make an awesome intermediate lens for filming events with a tripod.

Cannot wait to try mine! C-mount adapter still traveling across the world though. Thinking about getting the 22mm pancake for shuttertherapy. Reminds me of the good old days when I read with exitement about the GF1 on Steve Huffs blog, which was my internet leisure time spot No 1 back then. I can feel some of that old exitement with the outlook on using this little beauty soon! Fujinon 12.5mm and here we go. EOS M and Angie 75mm on a light photo tripod (baddie even covers S35 with soft vignettes) and we are set for ultimate nerdom camera pleasures! Gotta get a kewl hat like Zeek🙂

@ZEEK has made another EOSM Super16 instructional video!: