Oliver Daniel

Well it’s just like TV really. Most of it is nonsense and garbage, however there’s plenty of brilliant content in there. I think the problem is, it’s much harder to find the quality stuff, and people get hypnotised by the low quality click bait stuff, and the good stuff barely has space to breathe. The way I use it though, I find it a great resource. Plenty to see.

Is this the first and only feature film created about a video editing application? Website for the film here. I've not watched it yet, but I can see the creators have passionately made this film to prove people wrong about FCPX. I agree!

I pre-ordered a BMPCC 4k that minute it was announced, too good to miss!

Well so far, this is how the race is going: 1. Panasonic EVA1 + GH5's. 2. FS5 mk II + (A7S-III) + A7 3. Kinefinity Terra 4k + not sure. 4. RED Monstro + RED Gemini + Arri Alexa Mini + Varicam 35 + Sony Venice + GoPro. 5. Cinemartin Fran + dishwasher.

I'm with you on the C200, it seems like a great camera, but it lacks that essential feature that I'm looking for: Solid, beefy, thick HFR up to 240p that won't fall apart in post. The C200 simply doesn't have it, and if it did, I'm a customer!

Easyrig... possibly. Think I'll need it at some point. Mistakes... buying gear that I don't use. Also being indecisive about my cameras. I have loads of lighting. Probably too much. I may look at this again. Very curious about the new A7SIII. That could be a decisive point. EVA1 is in pole position (given my VLOG workflow) at the moment, but there's no massive rush. I'm way more experienced with Sony, up to F55, so the door is always open. Canon would be a no-brainer if only they took more features out of their ass and put it in their cameras, such as decent codecs and HFR. They are a very frustrating company!!

@Sage, just installed your new Verde version and about to have a play. I'm considering the EVA1, do you think you'd provide a profile for this?

I had an underwhelming experience with the original FS5, minus some brilliant shots I did accomplish with it. Maybe I didn't get the best out of the Atomos linkage. I juts found teh GH5 experience so unbelievably liberating. Totally with you on the gimbal AF for Sony cams, yet I do love the GH5 10 bit and video centric design. @Sage Emotive Alexa LUT makes it sing! But that AF on Sony.... damn you all! Logically my best bet would be the EVA1, although I'd secretly like to get my hands on the Mavo! I have to make the right business decision. I've f***ed up on gear choices too many times!! Essentially, the A-cam must: Be compact and lightweight (I'm very handheld, my back needs light). Have very thick quality HFR (as it will be used a lot for the Chromaflex green screen). Have that client sex appeal (give these brand video guys a high end impression, it does suck, but it works!) Have seamless integration with B and C cams (same workflow, brand, lenses etc). I'm in no rush and have time to monitor these options, as it has to be the right decision that will last years of service (or my finance manager will kill me). Also - Canon, Arri and RED are not an option. Too much £ and hassle.

Wow the FS700 is kicking ass here! (with a highly skilled operator). I'd cope with just the GH5 however my requirement is really thick, chunky files for HFR - which the small little Sony's can't get close to. Thank you for clarifying! Shame it crops to m43 at 240fps, although not a dealbreaker as a lot of cameras do that anyway.

@Sage, you've definitely turned the GH5 into a different camera with this work, you're a magician, very well done! This update makes the GH5 look like a £15k + camera. At first, I was struggling with the Gha LUT as I was getting a lot of red in my images, but from the later version and my increased obsessive approach to better white balance, I've been getting much better results, and I'm now using it pretty much exclusively. Not been using my own LUTS at all. I've been making my own personal "quick looks" with extra styling using the LUT, wondered if you've thought of making some for your product?

Yeah, saw a Scarlet-W package for £9k today. I find the older REDs too heavy really. Would love 4K 100fps continuous (Kine cams do it), also love the lightweight build. Thanks. C200 is a no as HFR options aren’t beefy enough. FS700, too old now. Used it loads!! I’m so far favouring an EVA1 led Panasonic setup, although the relish of Kinefinity is whispering in my ears...

The C200 HFR options are simply not up to scratch, otherwise it would be a no-brainer. Yeah, the colour looks a lot better than before and I'm wondering whether ProRes RAW will be better than what was before. The original FS5 output via an Atomos was disappointing. The A7 cams have great autofocus for gimbals although 8-bit. Yes. The HD windowed 120fps isn't what I'm looking for though, and it's a bit on the heavy side. I like the idea of putting one of the cameras on a Ronin-S for the odd shot. I've got a lot of experience with the FS7 but still a bit too big for what I'm looking to do, plus to output to an Atomos you need that extension thingy. Having got a GH5 and a VLOG workflow, I am looking at the EVA1 more closely. Do you know if this crops in HFR modes?

I've been shooting on the GH5 pretty much exclusively for everything. It's a lovely camera! (I since sold my FS5 + Atomos). Ironically, now my business has changed tactics - brands in fashion, sports and lifestyle are knocking on the door with serious projects. One of the main features of this new model is a wide studio Chromaflex LED green screen, and these type of brands love slow motion. We'll be using it a lot. With this in mind, with beefy high frame rate recording required, I now have to look at this camera segment again..... What would be really ideal, is that I have a set of matching cameras (A, B and C cams) to cover a wide range of possibilities - such as multi-cam, audio, stills, run-n-gun, gimbal and motion control. HERE'S THE PROBLEM.... you can't simply get all the features you need. It's trivial...... So, help me decide. Haha. Ideally I need: Very high quality 4k capture. High frame rates up to 240fps (10 bit and higher) Lightweight and compact all round. Decent to awesome dynamic range. Great colour. Decent stills. Great audio. Good autofocus for gimbals is highly desirable. Ability to fit all cameras on Ronin-S and Edelkrone Motion Kit. Easy to hire to others as a kit. EF lenses compatible. Also got great M43 glass. Choice 1 Panasonic EVA1 (A cam) Atomos Sumo (clients want big monitors) Panasonic GH5 (got it) Panasonic GH5S (B Cam) Issues: Unreliable autofocus for gimbals, prefer the look of S35 and full frame sensors. Can cope though! Choice 2 Kinefinity Terra or Mavo (A Cam) BMPCC 4k (B cam, pre-ordered with small deposit) GH5 for everything else. Issues: Lesser known brand, hard to get, no gimbal autofocus, never used before. LOVE the image. Choice 3 FS5 II (A Cam) Atomos Sumo Sony A7SIII (B-cam if it's good) Sony A7III (C cam and stills) Issues: Had FS5 before with Atomos Shogun, FSRAW and ProRes were barely any better than the internal XAVC-L. I do know Sony VERY well though. What do you think? And no, I'm not getting a RED Raven or a Scarlet or whatever. ?

Awesome. I've used this on my previous 2 videos and I'm loving the results. Just something to think about @Sage.... ... I feel V-log can really hurt Variable Frame Rate footage, so I've been capturing it in Cine-V with the highlight /shadow curve on -2 / +2. In post, I've used a Cine-V to V-log conversion, then I've used your "Main" GHa conversion before any extra styling. It can look very clean and pleasing compared to shooting VFR in V-log. There's no room for error on exposure though! Wondered if you've thought about doing anything similar for your product range?

I'm known to be very fast at cutting music videos, had a lot of practice really. Plus I'd say FCPX was a huge influence - the multi-cam is brilliant, the Chromatic grading plugin is brilliant, the effects and plugin support is brilliant. People still dismissing this program need to grow up. Indeed. Just make stuff. Koko in London. I'm not sure I can share budget information on a forum. I could get in trouble. Jagermeister did sponsor yes. Glass mentioned above. I feel you in the vintage glass. Love using it, however they can be frustrating to use after prolonged use. Still vibe more off the images more though!

The post is just a demonstration of the GH5 being used for a music video. iPhones and GoPro's are very capable devices, but are certainly not the right tool for the job on this one! "Big guns" often require higher end cameras, but "lower" end tools have proven to be more than enough on many productions. The aesthetic I don't like isn't the GH5, there's a few lighting / grading tweaks I would of liked, maybe I'll replace the video with the tweaks given time, not that anybody would notice! Glad you got it! Bulk of the lighting was balanced via a lighting desk which controlled the entire stage, took a while to get it right for video use. The holograms were filmed against a Chromaflex on location, using Vinten Flowtech 75 tripod. (awesome gear!) The GH5 was shot in V-log, monitored using the standard Panasonic Rec.709 LUT. B-roll was Sony A6500 shooting in S-log 2, using the 18-105mm f4. The portable lighting was Aputure Lightstorm and Lupolux LED's. Lenses were Sigma 18-35mm, 50mm ART. A few Olympus 40-150mm f2.8. Stock footage and voices were supplied via the public domain. Edit, grade, and VFX all done in FCPX - using Chromatic for the grade (FAR FAR better than Color Finale). Gimbal was the Zhiyun Crane V1. I could of softened the sharpening a bit. But didn't. Woops. There was no budget for an Arri I'm afraid, plus a larger setup would have slowed down the process a lot. We didn't have a big crew, only 4-5 inc make up artist!

Cheers sir. I don't like everything about the aesthetic, however it's very liberating to be able to make great images with this camera. Plus the GH5 is good enough for the big guns. Arguing over which camera is best these days isn't even worth the debate.

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). The new album (last I heard) was at No.7 in the official UK chart. I'm a big fan of what Panasonic has done with this camera. That said, the shining star of this video is the band.

Awesome! Got a release date yet?

I've been using FS700 / F55 / FS7 / FS5 + Atomos for years, but I started to feel your pain too, and I've only shot on mirrorless cameras since. I have no plans to buy a larger camera in future.

I purchased the first version and I've used it often. Is this a free or paid update?

Well the Universal Records submission had IBIS footage. How incredible! Here's a screenshot from a recent submission, there's loads of stuff that fall under these categories but give you an idea:

@jonpais, I recently submitted a broadcast file via the Universal Records system and you have to pass numerous quality checks. One of them, is motion cadence. You can't submit a video that has 4:1 cadence, which has 4 progressive frame of video, and every 5th frame is a repeat of the 4th frame. (This is more to do with people using content shot at a lower frame rate (like 24fps), and converting it to 30fps incorrectly). They are preventing the video motion from looking unusual or low quality with this check. I'm in NO WAY WHATSOEVER a camera technician or scientist but I'll explain my understanding. Apart form the obvious frame rate / shutter speed / global shutter / codecs influence on motion cadence, all cameras capture and interpret frames differently. Some cameras may capture in a "false progressive" (interlaced frames which mimics progressive video), frame capture that is made up of some progressive frames or some interlaced, or cameras that have a truly progressive frame capture. Now there's motion blur. Motion cadence on modern TV's is destroyed because they are defaulted to a special motion setting (like TruMotion), which manufactures say makes the images look clearer and smoother. The setting when turned "On" makes the image feel like there's a bunch of new frames thrown in, eradicating motion blur and giving us the dreaded "soap opera effect". With all of this considered, an attractive, cinematic motion cadence is the ability to capture full progressive frames smoothly with intricate motion blur (as long as your frame rate is half your shutter and if it's global then BONUS!). To do this, you must start with the right codec first (the best of which, to my experience, is uncompressed RAW converted to ProRes). It's no coincidence that expensive cinema cameras (and BM cams) have this motion cadence (very high shutter readout, RAW and ProRes, high bit rate) and consumer cameras do not at all (besides the 5D Mk 3 Magic Lantern). An external factor I find is the lens. A lens with electronic contacts with I.S and all that jazz, usually overly sharp and contrasty, hurt motion cadence. I feel it's because they heighten the "electronic" factors (sharpening, aliasing, moire, noise, jittery look). Lenses with a smooth rendering, regarded "creamy", very often manual glass and high T-stop really smooths out the motion of the image and hides the electronic factors that make our images digital looking. So in a nutshell, for beautiful motion cadence, shoot in RAW at 24p and 1/48s with a very fast rolling shutter /global shutter, with manual "proper" cine lenses and finish in ProRes. Come think of it, I now find my post pointless, as I thought we all knew that anyway!!

I'm loving this M43 revolution... Got the GH5 (not the S). Pre-ordered the Pocket 4k. Will try out this E2 thing. The dawn of not having to spend more than £2000 on a professional level camera, ever again, is here. (more budget on lenses and lights then!)

Haha yes, you missed the bit where I said I don't use the Zoom H4n. I have one, But don't use it. It's old. And cheap. To give more clarity, I'm trying to get clean sound recording straight into the GH5, either via a Saramonic Transmittor with lav mic.... and/or a Rode NTG-1 straight into camera. Then setting up the levels properly for a basic interview scenario. I can do it fine with the FS7 - just the GH5 scenario that sucks. But I want to make it work as I've seen it done. Thanks @fuzzynormal for your unorthodox methods.