Fritz Pierre

Another reason why I chose the Oly....apparently they use a double glass insulating system on the front of the little lens which negates fogging in extreme temperatures....not planning on getting the housing yet, but shy of the housing glass fogging up, I doubt that the lens glass will!

A workaround for the display button is actually a modification...get a small clear silicone bumper (used kitchen cabinets)...any hardware store....cut out the center part, peel of the sticky protector and stick it over the display button...that makes depressing accidentally impossible yet you can still reach it with something small enough...I never change it from the display I prefer with the level horizon line...my sollution for the shutter angle is always looking in the LCD before rolling, but it is a PITA!

I'm going to shoot a promotional spot for a serious off road piece where the water is sometimes up to the driver's necks in the cabin...I want some underwater footage as well as close to river level as the truck goes down an embankment, etc....most filmed in an extremely muddy humid environment in the Ecuadorian jungle. https://www.bhphotovideo.com/c/product/1335061-REG/olympus_v104190bu000_tg_5_digital_camera_black.html I opted for this...goes down 70 ft underwater as is...300ft with an additional $299 underwater housing...mud on the lens?...squirt it down with your water bottle and keep shooting....f2.0 at the wide side on a 25-100mm zoom and Image wise blows past both the GoPro or my Inspire 1 camera....in fact, at 250g I'm going to figure out how to attach it below my Inspire camera so I can do things like very high boom shots etc., while using live view on the Inspire camera just to fly the bird...the Inspire can certainly lift the extra weight, albeit at the expense of battery life. In your case I would use it on everything while in the Kayak and the GH5 and Maverick for your "dry" establishing shots from a river bank or some similar safe zone....splash proof would not survive the GH5 going under!...anyway...test footage on PV....I'll have mine in about 10 days.

An XL Nikon to M4/3 speedbooster... no vignetting even on s35 mm lenses with a GH5 with IBIS on...though I don't move my camera much.

If you're intending to build out a full set of FD's, I would get a speedbooster...I own an Ultra FD to M4/3 but my FD set ends at 20mm at the widest...at the time the XL was not available...wider than 20mm the FD's become very expensive and slow...to get wider I use a Schneider wide angle adapter that makes the 20mm 30 percent wider or a 14mm...if I need to go wider still, I find that I can use the SLRMagic 12mm and the images match the more classic look closely, so that when shooting in VlogL matching the lenses works to my satisfaction. The wide angle adapter was converted from bayonet to 77mm filter thread so it can screw onto any of my lenses which are also standardized to 77mm...the adapter is large and heavy, but gets me down to wide with my Nikon and FD lens sets.

There are no hard and fast rules...it depends on the Director's style, preference and of course abilities...on big productions neither Directors or DPs operate as a rule of thumb...the 1st AC usually shoots most of the film, though on most shoots, the Director or DP may get in behind the camera for a particular scene, if the AC is not capturing a frame in the way a Director wants to convey something....when you're on a shoot and a scene is being filmed, the crew quiets down a lot...they are in a state of observation and readiness...the Grips, Gaffer, Make Up, Wardrobe, Art department, Props, Director and DP, Script Supervisor..everyone is watching what they are responsible for...while the AD and the AC and the actors are shooting that particular scene...If the Director can observe both the performance of the actor/actors, and how they move through the light and whether the light works as they hit their marks throughout the scene and make the decision as to whether everything meshed, well good for him/her. In the old days the ACs use to be sensitive to the expressions on the faces of their DPs after a take...the code for another take used to be "do you want a hair in the gate?"...this way the DP would ask for another take...circumventing the Director, if he saw something happening light wise, that he was not happy with....personally, I would never shoot without a DP, if I was making a feature.

I tend to shy away from quick releases in cages...if everything in the alignment is not locked off solid, the FF will move your lens and camera as you pull focus, and then the shot is ruined...I've even abandoned magic arms, because I can't stand the play in them and how the 1/4 20 fastening wheel suddenly loosens up and your VF or monitor goes flopping to one side or another.

@PannySVHS....the Tokina you refer to (28-70 2.6) was designed by Angenieux and is optically indistinguishable from their very expensive Cine version!...the Tokina is one if the great bargains in lenses and as you know, the image is lovely!

Trevor...have you installed it...and do you see a difference?

It's also feather light with Titanium fastening Pin and focal plane location on both sides of the camera...only cage to offer this I believe!!...and it seemlessly integrates with any rails/handles monitors you may already own!

I know...even corrected it in an email to them...but ahh!!...the Italian design is so good...the cage fits so closely, that the camera strap buckles had to come off and it has to be assembled around the camera...truly a 2nd skin, and incredibly robust craftmenship...good eye Jon!!?????

GH5 cage by LockCircle

I bought the LockCircle with the Multiport lock and focal plane pin (for tape measure)...the workmanship is nothing short of amazing!

Same for me Jon...I like quiet cameras that you don't "feel" in the footage...just because you can move it, does not mean you should??...but if you do, I like the slow control of a dolly/slider shot....For me the value in IBIS is getting away with a shot without a tripod!

I'm not seeing weirdness on the GH5 when panning and obviously you tried different speeds...also not familiar with the GX85, but @jonpais shoots with a G85 and has never mentioned an issue...and I think those 2 cams share the same IBIS

This camera is fantastic!...would use it alongside the Varicam LT with no hesitation!...Great in every way, but especially in the ease of customizing and the myriad of ways you can do it. Glad to hear you're doing a guide Andrew!...this is a complex camera...I have a feeling you'll sell many!

@PannySVHS...on a s35 sensor shooting 24p on a 50 mm lens, the appropriate pan speed according to American Cinematographer should take an object entering one side of the frame 23 seconds to exit the other side of the frame...for faster pans, you'd have to up your frame rate which defeats the idea of shooting with 24p motion blur....pans are meant to be SLOW...if it's still jerky when you pan slowly, I would check your FW or if that's up to date, with Panasonic.

@Cinegain Agreed!...the GH2 produces simply lovely black and white in camera...also...it has a Panasonic sensor rather than a Sony, but with the exception of the GH3, which I never owned, I still love my other GH cameras, including my recently acquired GH5...but the GH2 is something truly special!

@PannySVHS....sorry not me....it's a guy who wears a hat in his Avatar photo...his name escapes me now, but I'll PM you when I remember...I remember him mentioning his G6 another member just mentioned jazzbox...that's who you're looking for I believe.

The GH5 does not have poor lowlight performance at all!...lol...have you shot with one?

I would recommend the P/L 12-60 as a starting point with the GH5...@ 35mm it's only a 1/2 stop slower than the 12-35 and the extra 25mm reach is significant...then you have the very wide 8-18 for down the road if you ever need to go that wide (personally on the GH5 12mm is adequate for most wide shots for me) you can then add the 35-100 or any of the longer Native lenses down the road...the Leica build quality and weight for an all metal lens is very good, as is the IQ.

Congrats Mercer!! http://www.personal-view.com/talks/discussion/953/gh2-settings-vault-most-popular-settings-in-one-place-quite-old just came across this old Patch Vault on PV...you're guaranteed to enjoy this process!...just sign up with PV if you're not there already...and start reading??...my favorite is Drewnet T9 by Driftwood...you will also learn about the quirks of the hack...for example, when shooting in the Drewnet 9 9 patch...say a clip of 10 seconds, you have to turn the cam off and back on again to review the clip....another quirk is you always back down from a higher ISO prior to the one you actually want to use for least noise....and expose in the Ansel Adams zone...this camera benefits from a lightmeter (as do all cameras actually)...and lastly...I will have my last GH2 till it dies...would never dream of selling it! ☺️☺️?But mostly enjoy!!

In that case I would say get the GH2...and sign up with personal view...all the patches and how to's are available in their search section...just don't ask questions there??...the patches are effortless to change, as with each PTools Patch, the camera thinks it's upgrading FW...buy yourself a few 8Gig transcend cards...they are cheap, and load only 1 hack per card...a 2nd battery is recommended, as if you want to change hacks in the field, the FW will only "upgrade" with a charged battery...lastly, I think you'll love the camera...it's a simple and solid little brute...and it sings with the SLRMagic lenses!!

Any movement on wide anamorphics of the camera, have always been problematic anyway...your results are actually remarkably good, considering you're shooting handheld on a 2x...both the SLRMagic and the GH5 are very impressive in your footage!.. locked off...as is really the most practical way to use a 2x this would be a killer combo!!

@mercer...the GH2 gives a ridiculously good image...lol...there's little to touch it at any price in my opinion...and although old it's easy to shoot with...depending on what you shoot though, it can eat the data, but as you already shoot in RAW, I think it's a no brainer for you...I will say the thicker files in the GH5 is easier to grade to your 5D than the GH2...you should check out enough clips to see if it would work for you, as grading the 5D to the GH2, may be the easier workflow, but not give you the look you need/want...the movie Musgo was shot on the GH2 which I love the look of, as was Mandorla...I would suggest you check out the trailers to see if you like it. I would also add that as another camera, one in good nick picked up for 300 to 350 would give you great value for your money....not the camera for unskilled shooters, but you'd get great results if you like the look from the samples...