sanveer

I watched it on QHD Smartphone. There was fixed pattern noise in the background on the GH4, but it wasn't as much, as the difference between the G7 and the GH4. That was huge. Maybe I need to watch this on a Bigger Screen.

This is Extremely Disappointing. I have been a secret fan of Ebrahim Saadawi senior, and I have really liked most of his posts. Now if the grandson (with the same name) is Scamming People everywhere, I am in No Doubt that the Grandfather and Many other Members of the Family, are in the Know. If Ebrahim Saadawi Senior has any sense of morality, he should have his grandson Return the Money and Apologise. If Not, it would Appear, they are Both, Hand in Glove. This appears almost like and International Phishing Scam.

There are 2 parts to the issue: 1. Your ability to tell a story. 2. Your ability to tell a story in the Screenplay Format. While the 1st bit will depend on many aspects of your personality and how you tell stories (,jokes, narrate incidents and other things) in general, the 2nd bit is more for how you play to the galeries (the film fraternity actually). Curiously the majority of people that want to see, read or hear your story won't have any freaking idea what a good or great story is, but they wanna hear it in the structure that is stereopically of a story. And, the narration style can be changed in Edit, if it is structured reasonably clearly (ala Momento). To be honest, it does refine a story a little. The rest is your own talent. And mostly what you're born with. For where to find stories to tell and how to tell them ... newspapers and people around you are the biggest source of fresh and good information. Read newspaper stories and re-narrate them differently, and create chracters out of people you meet every day. Especially the ones with unique and unusual personalities (ones with OCDs, extremely slow reaction, over-curious people etc). Also study all the formats for Loglines, Synopsis and (Shooting) Screenplays. Those help everyone else on the team too.

What sensor does duty in the GX85 is a Dirty Little Secret, NOBODY in Panasonic wants to talk about.

I saw this video a few hours ago. I did not notice as great a difference as I was expecting (ala G7). But, the Crop factor on the GH4 is way too much.

Try and pick up something that is exceptionally bright and turn down the brightness. You could also bounce it off ceilings or walls. And if size is not an issue pick up something seriously bright.

F&V made an interesting round spot light for on camera use (around the lens actually), but for some reason many of the retailers including B&H are not stocking its products anymore. Try this. This isn't too small, but very bright and pretty narrow beam angle too. http://www.bhphotovideo.com/c/product/1146129-REG/aputure_amaran_al_528s_daylight_led.html If that is too large (or out of your budget) try this one. It's tiny and quite powerful. http://www.bhphotovideo.com/c/product/1114779-REG/aputure_amaran_al_198_198_on_camra_daylight.html

Ok. I have been doing the Custom White Balance for most (Panasonic) Cameras. It's ok, but has some strange green or orange tint. I guess, this seems much better.

Thanks again. Will go through it.

Oh ok, thanks. Is it like the Olympus layout. The colored grid with boxes?

What is (A3G3)? I read someone John Matthews(?) mention something similar on this thread or somewhere else.

Oh ok, that's nice. Please post a lotta pic on Flickr (I love pixel peeping). This lens + camera combination is excellent. The 20mm f1.7 (i and ii) is a very strange lens. Its focus speed is quite slow, it is quite noisy, and it has one more curious issue that I suddenly cannot recollect. Avoid it, if its Tiny Size is what is attracting you. It is reasonably sharp, though.

This guy, https://www.flickr.com/photos/derbyshiredave/ Dave Harden has some excellent photos with the GX85/80/7mark ii on Flickr. I guess one needs some seriously sharp glass to be able to see the level of detail one can see with the camera. I am guessing that the lack of an OLPF and almost No Shutter Shock makes this thing sharp, almost till the last pixel. Many of this guy's pics look like they could be printed upto some seriously enormous sizes.

Whoa !!! Every once in a while, someone blows up in one of the threads. And, its amusing how people make guesses about everyone else here. Btw, are you the guy who was given sh!t on www.nofilmschool.com lately, in the discussion boards ??? I know they shot down a troll. Was that you?

I am a huge fan of multi-cam setups. While personally I haven't use multi-cams (yet), unfortunately, I have been part of a film where we they used like 6-7 cameras, and though I did not like the camerawork, or the setup, I thought the idea was really neat. For dialogues, and for many other setups, a multi-cam setup can seriously reduce the time required for the shoot. I am actually thinking about picking up (Atleast) 2 cameras, for a film I wanna shoot. I guess that should help speed up things substantially. Superb Idea, Lee.

Fuji's X-Trans sensors have a different color pixel array/ configuration than the Bayer Pattern. Fuji has designed them so as to reduce moiré patterns, without the need for an optical low pass filter (OLPF). I am guessing, that the end results of both of them are very similar. Maybe bayer pattern cameras without the OLPFs are mildly sharper than the X-Trans Sensors. Also, while the read out speed is governed by the sensors (which are made by Sony, btw), if anything, the X-trans would slow the read out speed, if read out speeds are governed by the pixel array. Though they would be by a few micro seconds only, at best. I am not sure you have understood what helps put 4k and recording limits in place.

If it has the same sensor as the Sony A6300, it should have similar rolling shutter. Maybe the algorith tries to compensate for that, jumping between faster shutter speed and doing the opposite effect of Twixtor, and thereby having a mini circus in the camera. Very amusing. Also, the battery grip has 2 power options, the higher one being able to use higher volt or something for 4k, as well as have a higher burst rate (or just longer battery life, which I doubt). Adding a headphone socket still doesn't justify the much higher battery cost.

Nice camera. Though the only thong weird for me is moving from one system to another. I like Panasonic best. Better than Nikon and Canon. The Olympus systems look quite confusing too. I feel the VLog in thr GH4 still has a long way to go. Also, if Fuji the video really right in this one, and theGH5 doesn't have far better VLog (than now) and atleast 1.5 stops improvement in Low Light (from ISO1600 to about ISO5000), then a lot of other people might eat into its share. Also the burst rate on the GH5 needs to be better for continuous shooting. Maybe Panasonic pushes the GH5 prices to $2000+, considering the demands of users.

Thanks, will msg you for it.

You photos look like those taken from early phone cameras with resolutions running in 1 and 2 Megapixels. Even the one from the GX7. What could be the secret?

I had seen this one. Though, it's nice to see it again. Matthew tests stuff quite well. Though, I find the CameraLabs.com photos to be some of the sharpest out there. Thanks for posting this. I wish someone would hack the GX85, and get VLog and CinelikeD on it. Apart from log profiles and a mic input jack, it seems to be perfect for the price.

Wow. I'll be really looking forward to that one. I read a few user reviews of the GX85, and US users said that they got almost or over 1 hour, with the camera, until the battery drained. The time limit is only applicable for Europe. Anyways, I am eagerly awaiting for the review.

I am on the fence wrt to buying the Panasonic GX85 or the Sony A6300. Here the Sony is available (while the GX85 isn't), and it costs as much as the Panasonic would. Prices are all erratic around here (the Rode Video Mic X costed as much as the NTG2 here, a little while ago, and if it didn't have those horrible 9V Batteries and such a crazy wide pickup pattern, I would have probably picked it up). I hate the fact that the Sony does not have touchscreen (have become used to that), and that it overheats. My city isn't too hot, but I have traveled for film work to places that go above 40 Degrees Centigrate (upto 46-47). The Sony could almost certainly explode. It may even injure people around. Also, the Post Focus and Dual Stabilization seems pretty stellar. One can easily add upto 4 stops, which can be great for landscape or non-moving subjects. It makes up well for not having very high ISO. I dunno how many people use 24MP photos. 16 seems sufficient for almost all purposes to me. I know a lot of film people who use Canon 5Ds and they crop a lot, so the extra megapixels help them. Also, I wonder what lens has Optical Stabilisation and is reasonably fast (and not too expensive) for the Panasonic GX85. I may do some night videos. I like the older Leica 25mm f1.4 for the look and bokeh (it doesn't overdo the Leica boken effect like the 42.5mm), but it doesn't have stabilization in the lens

I have a huge collection of short films from big Film Festivals, and most of them are Absolute Rubbish. I am guessing, it's more of creating hype and propaganda, and getting an agent, or becoming one, that gets you through. For most things. Also, while some films have excellent cinematography, or other technical bits, their stories and direction are good for toddlers, at best. Start systematically. Ensure the edit is good. Most often, faster cuts (and large angled camera shots, where faces aren't so visible for bad actors) can make an average film seem good. Also, ensure the sound is good. Check ADR as an option, and put in a good background score. Good coloring and grading are also necessary. Also, good posters, and working stills (along with a good trailer) would be a great idea. Make a list of Film Festivals like this: 1. Ones closest to your house. Like within a radius you can travel to (like 100-500 kms) with your parents or friends. 2. The ones that are Free. Or have very low entry fees. Sundance charges $40 for early bird entries for their Short Films. SOTC (short of the week) charges $29. The $11 isn't exactly huge, by any standard. And, many famous film festivals charges almost nothing, many even less than Sundance. Do your research. There must be atleast 30-50 like these. 3. The ones, whose owners, producers you can meet and discuss, and get some mileage out of, for showing in their festivals. 4. Film Festivals where you can meet and intereact with people for showcasing of your film, and taking their feedback. Sundance seems like a great place for meeting people, learning from them, and maybe even collaborating with them. 5. Do a round of as many film festivals as you can. Give yourself a budget. Of like "$100-whatever" to do a round of all possible film festivals. Don't spend more than 50% of that cost for the big ones, because they may or may not take a film (read my first para above). There is no criteria for them selecting a film. 6. Rejection means nothing. I am quite dismissive of many famous people. One should never discover how they made it big (as opposed to their version of the truth). Also, most people in the films festival circuit didn't either think much of Paranormal Activity or hadn't even heard of it. As a matter of fact, Sundance rejected it outright. So, like I said, rejection means nothing. 7. Show the world your film. You job is not to sit in judgment of it. Let the others do that. Just push it down everyone's throat. Whether they want to, or not. That's your job. I hope this helps with the timelines, and the Fee/ No Fee option : http://www.thetakes.com/festivals/#.V3zbhbh97IU

Thank you for your replies. I thought the GX8 exhibited huge shutter shock too. That's what I read online. The 14-140 (the first version especially) is (in)famous for creating shutter shock. Maybe it needs re-programming, or it needs its mechanical parts to be re-worked on. I asked cause I was thinking between getting a G7 or a GX85 (or even a Sony, since their pricing is similar to Panasonic's here). Have been without a camera for quite a few months, and I have become restless.