Orangenz

Best bang for the buck. If you want better, go RED at $50-100K+ and by better I'm really talking more about the extra 2 stops and ease of editing access. I don't know what "slider" you're talking about but the difference in grading of more plain backgrounds like sky is HUGE and totally gets me the image that I always wanted the GH4 to give with vlog. The codec and compression goes with the price point but the whole "this is too small for any decent image" is kinda bollocks as it has a good history across all the GH cameras. The kind of conversation goes like this: me- yes!! no magenta blobs in that cloud!! family member- i see no difference, they both look great.

assuming your monitor is calibrated, remember your camera lut can be different from the one you actually use on the footage so use a contrast boosted lut for your camera if you like. Mine look ok though.

Nice find. Summary might be: - probably have to add a little bit of sharpening in post - expose for highlights if you don't want clipping (80 ire) - expose for middle grey (18%) if you don't mind clipping (42 ire) or if clipping isn't a problem - the log curve is dark weighted 8:4 so you don't have to overexpose to the right if you don't need to. (ie. don't chase 80 ire 2 stops up for no reason) His summary: "aim to expose an 18% gray card at about 42 IRE, keep your Caucasian skin highlights to below 55 IRE, and set your Zebra 2 to 75 IRE to keep from clipping highlights." With the last point at 75 IRE being that some colour channels might clip before the white zebras show it at 80.

Ahh, yeah that would be soft 1080. The resolutions won't match. I would use Instant4K Red Giant plugin if uprezzing and exporting 1080 as 4k. Takes a lot of time to render of course but in the end you generally can't tell the difference between 4k and 1080 if you use it. https://www.youtube.com/watch?v=lygWL2unr_Q

Either HFR or frame interpolation from slowing things down will do that. The high rez timelapse will make the effect more obvious, as will the youtube compression.

Video AF needs those magic two ingredients. 1) Smooth quick focus to whatever is inside the target focus area and 2) stay focussed if that focus area doesn't change, ie. lock on

That loses the "Focus On" setting that is so useful in MF mode. Speed and Sensitivity. What settings do you want?

The only way is to set to manual focus and push the lock button to temporarily turn the af on at the set area. Or to drag and drop the focus square on the screen. Holding a button down constantly for 5 hours to lock AF while you are in AFC mode is not an option.

Nope

AF lock is not so useful as it seems you have to hold the button down? There is push and hold on AF in manual mode which is sort of ok. My RX100 has push on/off toggle for AF which is the most useful as it is very soft and doesn't bump the camera like the heavy rotating AF switch.

The foreground stays in focus but there does seem some pulsing in the background. AFC with 1-area box sitting on players (ie. tap to focus). Might try MF, with slide to focus the 1-area box.

spotted in the wild, some very expensive panasonic ii cards

Yes they have commented, yes they are working on something. This thread is mostly about rewrapping, not transcoding. To keep things out of the subjective realm it would be good to take a 2 second clip of a color chart, then screen shot the various wave form monitors for the files as they appear in your editor.

Rewrap won't do that. What's your player?

Have you tried a manual rewrap using ffmpeg?

Quite a few shots with the PL 8-18, everything so pretty!

There is not quality control on most of these sorts of things. There can be huge range of internal parts used. Some work, some don't. The one I have doesn't work and actually crashes cameras. Won't buy cheap smart adaptor again.

The smallrig cage has arrived. They will need to alter the design a little as the cutaway for the left side strap holding lug is not enough. The left strap lug on the camera touches the cage. I will need to get the dremel out. I'm not sure how they managed to get that basic dimension wrong. Otherwise it's a pretty sweet little cage, very light. Really very nice to hold as all corners are nicely rounded off. I'll have to get some accessories for the cage though. By itself it's a bit limited. I had a closer look at the hdmi cable holder that came with the GH5 and don't think I'll use it. It is the lightest bit of plastic you've ever seen.

Agree with Fritz. Also, in terms of usable zoom the 12-60 is far more versatile. I used the 12-35 for a few years and the limit on it's use was the zoom range. In terms of the extra stop or so at 35mm, it makes no difference on the GH5 as it is already a couple of stops better than the GH4 I was using. In terms of low light shooting, neither lens is ideal. F2.8 is just as insufficient when pushing things as F4 is so you go to the 25mm 1.4 at that point regardless of what zoom you have. For the ultimate daylight walk around zoom it's probably still the 14-140 for the biggest range on one lens. Not sure how the stabilisation compares but you can see the daylight IQ lacks nothing

Beautiful visuals but the rest doesn't click for me, mostly due to the robot, I mean Gosling. Could be a computer generated actor. Really quite disappointed in the trailer. Is the story title Search for Han?

Duct tape. I'd leave the limiter on though. I think I'm agreeing with you but I've only done very subjective observations, nothing concrete. It seems to me that -12dB should be the default 0 and that you should be able to decrease another 12db from there. This is because with things set to -12 the average normal audio level seems to center around -12 on the scale which is marked as being the optimal recording level with maximum dynamic range. The 0 setting means peaking all the way up to 0 and averages closer to -5 or so. Which is way too high for optimal results. If I was doing a wedding no way would I use on camera mics, I'd use (at the least) the Tascam TM-2X which has a low sensitivity setting. Great sounding mics on it. https://www.bhphotovideo.com/c/product/1009303-REG/tascam_tm_2x_x_y_directional_stereo_condenser.html

Sounds like the problem lies between the lens and the camera.

My opinion is more important if I repeat it. But lots of bonus points if you make it funny at the same time. Minus points if too serious, that's only for facebook. I prefer the 100-300 for portability/weight. The stability of the longer lens is amazing though. Yes the ex tele. Mode.

PL12-60. Was the 25mm 1.4 prior to getting it. Depends on what your work is. Rokinon 7.5 fisheye is great but can be used with the 4k crop mode for less warping. Prolly go the coming PLwide angle eventually. Love the PL100-400. The Oly300 is too restrictive and sadly too heavy to be carried around by anything less than 2 Kenworth trucks and a strongman