Neumann Films

Go for it. I have always felt that way about the Lumix line of cameras but didn't notice it on this project much. If it is there, yeah it is likely due to being shot in 30. Panasonic wanted to utilize SLR Magic lenses as they have a good relationship with them. I really wish Panasonic would develop an M43 anamorphic like themselves

Thanks! I think I used Yukon at 40% and Basics at 40% for a lot.

Thanks Aaron! I just monitored in camera...which was rough. Never used the SmallHD, so I couldn't tell you why it's doing that! I'm really warming to them. If you just stop down a bit they clean up and sharpen up. The 35mm is really distorted but that's a look a lot of people want. A little lens distortion correction in post and stopping down to 3.5-5 produces some really nice visuals. Add to that 10bit and VLog for 4:3 Anamorphic in the latest firmware and you are cooking. They really need desqueeze in camera. That would make it a complete anamorphic solution. Even without it its still pretty good though. Thanks Jimmy, that nice of you to say

Thanks The shots in the ghost town at night were a bummer because I forgot the softboxes so they were really harsh. The wind was going crazy and we had a limited time frame...it was a frustrating night in a lot of way, ha! We used the Aputure 120d to light everything. The interiors had an Aputure 120d against a bounce and then another 120d outside the window and turned down quite a ways. A 120d lit stuff in the forest shots from a 24 foot Manfrotto light stand. Then I ran around on the ground with a handheld Lume Cube We used the SLR Magic 2x Anamorphic primes for MFT (the set, which is 35, 50, and 70mm)

Not sure if this is the right place to post this or not. Here is the second video we shot for Panasonic using the 6K Photo Mode (4:3 at 30p and converted to 24). We utilized SLR Magic Anamorphic primes. These lenses are a bit of an enigma, honestly. At first...I really didn't like them. Super soft wide open. Tons of CA, couldn't focus closer than 5 feet or something, and at T 2.8 you're struggling to get light into the GH5. This shoot in particular was challenging because we needed a ton of light just to get below ISO 3200. I really tried to keep these lenses above T 3.5 as often as possible, the shots where we were wide open will be glaringly obvious to most of you. All of that to say, if you have enough light and can stop down enough, these lenses clean up and really look great. The timelapses from this video show you a bit of what to expect with that combo. Unfortunately we didn't have the 10bit anamorphic firmware for this shoot, otherwise I would have shot in VLog and 10bit...who knows what that would have changed in the final images.

Yup, I agree. I use all of them at this point and Premiere is my least favorite..by far. I like Sony Acid as a replacement, believe it or not. Sony software is so close in so many ways, they just can't win enough people over to (seemingly) put the resources into it that would make it a player. Seems like if it will be anyone, it will be Resolve. After Effects and Premiere hybrid? Yes please. The only issue they have is getting everyone away from the Creative Cloud. It's not just about beating Premiere or AE. They need Premiere, After Effects, and Audition all in one. If they do that...they deserve my business over Adobe.

It's definitely not just the GH5 issue alone that is driving me away. Everything from bad cache managment to the Adjustment Layer integration (which seems like it was made by a 3 year old). Removing H.264 export from AE, trying to tie all of the products together by removing features (essentially forcing people to get the whole CC subscription). It's just not great. I love Audition for audio and AE is my preferred heavy lifter for grading (aside from no H.264). Add to that the snail like pace for support, the ghost town of a forum, and the fact that I'm paying them every month for a bunch of software I don't want or use just to get the ones that I do... I could go on, lol. I haven't been a fan lately.

I dunno...Adobe may have lost a customer today and Black Magic might have gained one. Final straw for me. This is not the first headache I have received from Adobe and I'm tired of the Creative Cloud thing. Over it.

Surely you read the part of my post where I clarified that it didn't bother me until the 2-3 week update that made things worse? Everything up until that point was annoying but understandable. The overall customer service is below par and that is something I will stand behind. Its also something that factors into this. Also, enough customers agreeing and not liking it DOES help make it become less true. Trust me.

Oh yeah, I have had that happen before. I think I resorted to rendering a master .WAV audio file and that worked. I'm currently getting the audio cutting out thing. I found multiple threads from 2013 that we're never answered on the issue.

You mean the audio cutting back during play back and not coming back unless you pause and then hit play again? Ugh...it really is time for a change.

Don't own a Mac

*assumes everyone owns a Mac

Yup, spot on!! That's exactly how condescending and unhelpful Adobe support was. Great impression man! (largest eye roll in the history of eye rolls) Good! No, don't have a Mac at my disposal. I mean, I'm not opposed to that but moving software is like moving where you live. Its an ordeal and I really don't have the time to do that right now. At some point...yeah, it might be time.

I cannot stand it when companies behave like Adobe has. First things first, I contacted them in December when we were shooting our video with the GH5 and tried to get some help on the software side of things. It took hours to get past the foreign level of customer service...nothing against it, it is what it is. That level of customer service can't do shit and we all know it. They recite the FAQ page for the most part. Once I finally got to someone that could DO something about the problem, they pretty much said I was out of luck. So I went the long route, I graded in After Effects, clip by clip. I viewed "proxies" on the camera to find the in/out points. I cobbled together a workflow in the time that I had. Now, keep in mind that Adobe HAD, in their possession, 10bit GH5 footage in December. Footage that they knew they would have to prepare for by the time the camera hit customers. They also knew what that date would be. Fast forward to GH5 ship date and the Adobe workflow is still a complete mess. Still, for anyone looking to at least get somewhere, After Effects is an option to get started. Fast forward to today. I updated to the latest Adobe AE and Premiere thinking "Hey, this has to be the GH5 update as it's the normal 2-3 week delay for new cameras and Adobe". Wrong. After Effects, my one solid rock on which I had built my foundation, was pulled out from under me. Now I'm left to transcode using some weird freeware that takes an eternity. The worst part is that the solution is so simple. Just...have real customer service. Don't be so greedy. DJI learned this lesson because people got fed up with shitty customer service. Now, you call DJI and yeah...you wait for a while, but when you get on the phone you're talking to someone that actually knows what they're talking about and can help you out. Have any of you ever browsed the Adobe forums? Are ANY of the questions "answered"? It's like in the US "Office" when Toby from HR reveals that all of the complaints get filed in a big pile and the point of it all is just for people to have a place to vent. Fuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuck that. Fuck that, indeed. All right, back to individually transcoding each clip in Rocky Mountain Movie Converter (...you read that correctly).

That's what we did in the tutorial as well.

How to get display LUTs working:

Yup, I agree. I think your tastes change over time and more often than not the grading should be based on the feel/tone of the project. That said...take some risks! If no one ever took risks with grading we wouldn't have the beautiful palette from something like "Mad Max Fury Road".

Anamorphic desqueeze

The 5D4 with C-Log needs to be unlocked. Stat.

I would as well. I'm sure you could raise the money to get him a used 5D4 in no time with this forum.

All someone needs to do is pool some money together to get Alex a 5D4 and he will make it happen for that camera. He's mentioned this several times. If he had the camera, he would do it.

I think it will be live at NAB!

I didn't grade that one but they look fine to me. On the more saturated side of things but there are no rules against that. All about preference.