Chrad

The short is actually pretty good. The final shot is a little unclear. We didn't get much of a view of the SUV earlier, so it's not an 'ah-hah' moment as much as it should be. And now that we're in this upper layer in the meta fiction, the meaning could be shifted...is that her actual vehicle in this world? It would be more clear if we had a shot of both of the cars. Maybe show her car and the SUV creeping in, still following her. The other main problem I had is that a lot of the first half of the film felt like filler. I understand this is necessary to an extent and common in horror films, to put you in the protagonist's world so you feel the tension as they start to be menaced. But, a lot of little details could be trimmed. Since we can't actually see what she's writing on the laptop screen, a lot of the time spent around that could be trimmed. Or her running sequence, etc. Just generally tighten things, since nothing essential is being communicated. For a short like this, minimal is best. Love the BMPCC image on this. The noisy/grainy image is great for narrative, it really is today's S16 film. What lighting was being used when she turns the lamps off in the bedroom?

This has always been a feature of GH cameras. They can crop in to the central 1080p (and now 4K) of the image in ETC mode. On GH5 the 1080p ETC mode should bring it to 5.6x.

You'd tell the camera 72mm.

Don't understand why GH5 isn't your first choice? It has everything you're asking for.

Pretty stunning footage. Highlight rolloff seems great.

The BMMCc option will likely go over the price limit when you add the monitor.

The crop for 4K ETC vs Canon 5D in video mode is actually 2.80, so it's a slightly oversized super 16.

GH5 1080p up to 60fps is very sharp (reportedly on par with Canon C300), it has the best IBIS under Olympus EMI Mk II, and the best rolling shutter level you can get on an ILC right now. If you don't have to use the Metabones and 18-35 right now, you could get that for under 2000 euros.

I think you're underestimating how long it will take, but that does seem to be where we're headed.

That's already happened.

Nah, noone's right on this one. The Speed Booster gets you to a super 35 field of view on the 50mm f2. An easy way to remember it is that APS-C's field of view is roughly 1.5x the focal length and depth of field of 35mm film, and micro four thirds is again roughly 1.5x the APS-C equivalent focal length and depth of field (actually 1.4x, but 1.5x is faster to calculate). This works backwards as well as forwards, so you can calculate how the 50 will render relative to the smaller sensor, or what lens you'd need to emulate the look it gives you on a larger one. On a super 35mm camera, the 50mm is going to act something like a 72mm f2.8 would on full frame, in terms of angle of view and depth of field. Which as we know is close to what a 36mm 1.4 would act like on M43. The advantage of the Speed booster is that you get the light transmission of the 36mm 1.4 as well, not just an F2.

Unfortunately not.

Pretty sure I read somewhere that the focus pull only works with Panasonic lenses.

Dual IS 2 for the original 2.8 zooms is cancelled : (

I'm sure it's designed for locked down shots. However, as long as it holds the same focal points regardless of whether the frame shifts (and I don't see why it shouldn't, since autofocus isn't running) it should work for shots where the operator and/or talent hit pre-rehearsed marks, and give a very professional looking result with no hunting.

I recall Andrew requesting this feature in an interview with a Panasonic engineer years ago, and writing that said engineer wrote it down in his notepad. Interesting to see it finally come to fruition, and I can't thank Andrew enough for the part he may have played. If the focus transitions are triggerable through the Lumix app, the production value it makes possible is incredible. Remote follow focus steadicam like shots with only a light gimbal. All you need is a 'focus puller' to trigger the pre marked points off their phone.

He does state that it's based on Shane's impressions though, and when Shane wrote the V-Log skin tone latitude test article he echoed the sentiments about the default settings GH4.

1080p 10 bit 4:2:2 intra at 200Mbps could be great. Prores HQ at 1080p is 220Mbps. It all depends on the implementation of the codec. Let's hope it's better than the 200mbps 8 bit 1080p intra on the GH4.

A guy sponsored by Canon, and probably the only professional cinematographer who would choose to shoot with the C500 as an A cam over the Alexa on a Hollywood production. No relation between these two facts, of course... His claim that the 5D will always trounce the GH4 no matter the setting was and still is completely ridiculous. I believe that he was genuine in his dislike of the GH4 footage, but his stance there is super subjective, to put it lightly. For the record, he came around on the GH4 when V-Log L was released and said it created very nice skin tones in 10 bit.

I believe AaronChicago has one, but he's not in Europe. EDIT: Just realised this not what was being asked. That's what I get for posting on no sleep.

I would just record 10 bit 1080p60 through the HDMI, because this time around it looks like quality will be exactly the same. The videodslr.pl tests show the exact same rolling shutter for UHD and HD, which suggests the 1080p image is simply an in camera downscale. The resolution to my eyes looks identical in 1080p.

The GH5 being used to shoot 'serious movies' isn't so inconceivable to me. The 10 bit 4:2:2 4K make it a good option for very low budget films that are hoping to eventually get picked up by platforms that are seeking out or require 4K content. Yeah, it's no Alexa, but it's $2000. On that note, if you know what you're doing, pretty much any recent camera can be used to make decent theatrical content these days. This was shot on two GH4s:

The best thing that's come out of 4K on consumer cameras is finally being able to make sharp and detailed 1080p.

In many ways the GH4 is still better than the A7Sii. Sony's sensor is amazing, but everything else is bad. Panasonics are wonderfully usable and reliable cameras. It's true though, the merry go-round of better and better cameras never ends.

Based on videoDSLR.pl tests for noise, resolution and rolling shutter, it appears that the 1080p is just an in camera downscale, so the performance should be identical. I'm very happy about this as it will mean I won't be so inclined to shoot in 4K and downscale as I am with the GH4, unless I really need to crop in. The 1080p looks superb.