Fritz Pierre

I would opt for the GH2 over the 1...I still shoot with mine regularly...though the features seem like ancient technology now, to my eye...2K/4K...the image is unequalled...I carry four small capacity SD cards in a little Pelican case with the Drewnet T9 Long GOP (my personal favorite), flow motion, Spitz and the EOSHD Vanilla hack...and the only card that works with all of these is the Sandisk Extreme Pro U3 95mbps...this essentially gives you four phenomenal options with the Vanilla hack giving the most reliability...I've yet to have a single failure with any of the four mentioned though, and L Powell has done some amazing versions too.

Not at all...if I included you in that category, why would you be asking questions about the GH5 if you owned one??

If you've never shot on a GH4 or 5, you cannot appreciate how the camera becomes an extension of your hand/arm...plus the ways you can customize the camera to suit your needs, are virtually unlimited...it you want a large Cine cam it goes on rails, cage and sticks...the modularity is fantastic....yet in the right hands, and especially with IBIS on theGH5, you can be on a street corner literally anywhere, and with what looks like no more than a tourist camera and get footage that looks locked off and and can cut together with virtually any camera...another value of walking onto an airplane with a couple of light lenses, a 16" travel tripod and one or 2 GH5s in a small backpack cannot be understated enough...I will get a second body soon....if you're curios about the camera...rent one for a week...don't go into a store and ho,d it and snap a couple of picks....this is no a camera for amateurs....it takes months to really master it, but when you do, the results, the operating experience, the ergonomics...it all becomes clear.

They have flexibility in cases like that....for instance GoPro footage will be excepted in small bits or some other action cam where it's impossible to fit another camera...it's the main camera where they probably demand a legal percentage (I'm just speculating on the legal end here) but let's say for excample your film/series had a plot driven 2 min s8 film clip that was found in a attic by a family member and viewed in the film, it would fly...Netflix has after all become one of the most successful studios in the world and not through stupidity....they are also a source for Indy filmmakers to get projects greenlighted, who would never have gotten past the 1st assistant of a third tier producer in the studio system of old...theyare planning to spend some 5-6 billion on original content this fiscal year, so it's all good for the filmmaker

The whole discussion about what camera Netflix would allow for their projects seem a bit curious...is this like a scenario where one has just negotiated a 20 million feature that Netflix wants to produce, and then the discussion of permissible cameras come up and the director storms out lol?...it's not a quick process, getting anything greenlighted...there are multiple areas that are up for discussion...with ANY studio, and Netflix after all, is just becoming one of the largest studios in exsistance...I could give a shit if Netflix allows me to use my cameras or lenses, if I brought them a project they want to executive produce....far more important to me would be the choice of Line Producer, DP, Production Designer, Editor and where I'd get to make the film....when somebody puts up the money to make one's project, the camera used will be decided by the DP in discussion with the Director, relative to the logistics and look and ergonomics of the project....it will almost never come down to just one make of camera, and is pretty far down the list of hurdles one has to overcome!..With anything done on a budget, the size of what Netflix could provide, if you did not already own one of the cameras on their list, production would rent what you needed and that would come out of the Film/TV series budget.

Their camera list only pertains to projects they produce...most content they stream are shot on cameras not on their list...when they put up 8 or 25 or 60 million to make a project though, they will decide what gets used...really no surprise there at all!

I have the 1.33 50 and rangefinder...I've hardly played with it though....it's a considerably bigger lens...so it can match bigger taking lenses...your point re the depth of field is well taken, but what is encouraging for me is the stealth of this adapter...and when he was shooting the copper pots in the the kitchen per example, he had to be a bit wider open,no noise in the image, so he was probably at around 2.8 or something close and the detail is lovely and the image holds an edge...I'll try and shoot a simple test on the 1.33 50 with Rangefinder, if I get time in the next couple of weeks...if I get anything decent I'll email you the result...I have a friend in the US now though, who can bring the 40 back for me...very tempting for 499...always thought it had to be 2x but the 1.33 in 16x9 gives a nice scope...I'm less concerned about oval bokeh and more with a clean image that does not distract from the story. I can't stand mushy footage??and focus?...I see so much footage out of focus on the internet...thought your GH5 time lapse footage in your kitchen/dining room? Looked great by the way...the color...the grade...spot on...the GH5 is a really impressive camera in the right hands! PS. the other thing I wonder is, does it matter if the front element is bigger than 40mm...not unlike using a FF lens on a m4/3 sensor...I think it would be more a question of the step don ring creating distance, which may affect the image adversely...anyway...I'll probably just buy it??I love anamorphic, but even the extremely expensive anamorphics are a nightmare in low light...in fact top DPs shooting features in anamorphic will often cheat with aspherical lenses for low light shots and crop the aspect ratio to the real anamorhic footage.....

I picked the clip up on DVXUser...a member used the 1.33 40 SLRMagic Anamorphot with a 25mm f1.7 Panny lens...shooting 16x9...immediately caught my attention...you can google the thread by searching GH5 as anamorphic travel camera...it turns up DVXUser and you can see the questions from other members too...I have the 1.33 SLRMagic 50 ...quite a bit bigger...and frankly not as good a result as he's getting...although the GH5 no doubt helps...anyway...give me your thoughts, once you check it out...I'm tempted to buy it to use with my SLRMagic 25 T.95...but I've also been looking at the Veydras...I have to check the specs...this fits on a 52mm filter thread lens or step up ring...down to 25mm wide on M4/3...which is wide for a taking lens with an adapter. Edit: just watched Painters Garden again...the thing that's the teachable moment for me in his short is, he was just walking around filming....hand held...when he is in focus the detail is great....under controlled conditions (narrative of any kind), if one nails focus, the old fashioned way with a measuring tape and marks, this adapter produces great detail and lovely Cinema Scope...might just have to spend the 499 to try it out. PS...too small to us on the Veydra Mini Primes...I know you got the 16...although maybe it would work on the longer Vedras...one would have to step down from the filter thread size, which would move the adapter rear element farther away from the taking lens...anyway...worth investigating??

@DBounceI like the look of this too...and unlike the 50 ((I have one) this is a single focus adapter and honestly, I prefer the optical quality too...I also own the Kowa 2x 16H, but it's much harder to shoot with. This looks incredible...especially because it's all handheld...he was walking around with this adapter screwed onto the 15mm Panny and the GH5 in his hands...he posted a 2nd one in this series that I will pass on to you when I find it...this lens defeats the normal weakness of anamorphic though...i.e. you can shoot wider open and hold on to edges of things....everything does not turn to mush The adapter https://www.bhphotovideo.com/c/product/1334046-REG/slr_magic_slrac_40133_anamorphot_1_33x_40_adapter.html and another clip with the same setup

@DBounce...this was shot on the SLRmagic 1.33 x 40 Anamorphot Adapter and a little Panasonic 25mm f1.7...all handheld on the GH5 in C4K 16x9 aspect ratio...not my footage.

I think he actually does it for the A6500 too...not positive though, but I know he does them for more than Panasonics. Yes...ditto the Impulz luts...bought them initially with the LUT Utilty but I never use them.

I've used Leeming's LUT with both the GH4 and now the 5...it's for both CineD and VlogL and it gets them to the same color space....comes with a settings manual and his follow up support is ridiculously good for what he charges...the big advantage is that CineD is a better choice for shooting high ISO and Vlog of course for higher DR...he calls it a LUT to get you to a point to begin your grade, but I do little to the image once applied...most the guys on DVXuser use his Luts for shooting professionally with their GH cams...he developed the first (for GH4) over a period of months with several members and through tweaking...testing and feedback, really tapped into the enormous pottential these cameras have...could not recommend it highly enough for the Pannys.

I've only had my GH5 a few weeks, with very little time to spare on it...the menu system is enormously complex...this is not a pick up and go shoot camera...as something carelessly selected in one area, disables other things elsewhere...I will say though, that once you've configured it to your liking, the GH5 IMO is simply unequalled in so many areas and in comparison to cameras costing far more...I would use it without the slightest hesitation alongside a Varicam LT (which I consider the current Holy Grail of cinema cameras!)

There are tutorials at Metabones' website, but essentially the is a metal housing with a setscrew...you loosen the setscrew and rotate the housing either clock or counterclockwise...it's an adjust, tighten down test and repeat procedure...I'll lock my cam down on a heavy tripod with sandbags when I do it...just Google Speedbooster infinity adjustment

Edward Burns does something a bit different...they do small features....the crew (skeleton) all own shares in the movie (no crew pay)...he writes and directs...not sure how they deal with equipment and then the big part is how do they distribute...everyone obviously have to be able to sustain themselves till the film sells and all get paid...I saw him discuss this in an online interview once...you may find it on line and pay closer attention than I did...perhaps some wisdom/usable info for you in his interview.

I did a test with the 11-16 Tokina Nikon mount with the XL speedbooster...handheld with IBIS on,it got me down to 7.4mm without any vignette...my issue was that I discovered I have to adjust the speedbooster as I'm not achieving infinity, but the 11-16 was fine.

I would ditto that, and add depending on the speed you need, that the Panny Leica 12-60 is outstanding to...and at the 35mm point only a 1/2 stop slower than the 12-35, but with a. Additional 35 mm of reach available....undoubtedly shooting with native lenses will yield more footage during a live event...plus you can have the 4K ETC enabled on a function button 12-60 changes to a 16.8-84 by pushing a function button twice!...of course you have the same crop of 1.4 to apply to the 12-35 with ETC...I've never used the 12-35 but the balance between the Camera body and 12-60 is one of the best I've ever used just in terms of feel.

@Zak Forsman....I just bought this little tripod...it's delicate...as in only I use it, but it folds down to 16"....you can balance it with a bubble level and what I like, is it fits in a backpack....like you I have a Benro monopod, but I find myself only using the head on a slider...the Manfrotto has a little fluid head...weighs 3.9 lbs and can comfortably handle 4-5 lbs...I only use it with about 3...but what I like most about it, is unlike my monopod, I can walk away from it without fear of it falling over with my camera, and it has a hook for a small sandbank or a camera bag....gets a bit wonky fully extended but for the sake of stealth I can work with it. The weakness lies in the fluid head arm, but the portability more than makes up for that. https://www.bhphotovideo.com/c/product/1273964-REG/manfrotto_mvkbfr_liveus_befree_live_video.html

Yes....extreme grade would be the understatement...if one knew the "look" you were going for, it would be simple enough to dial it in with a custom WB and then grade it to tune it...the 10bit codec is thick...colorists have stated that you can really push the GH5 footage....I'll be very curious of your impression of the Veydra prime....there's lovely footage of the Veydra's shot on a GH4 to an external recorder in 10bit....the GH5/Veydra combo should be killer.

@DBounceNever owned them, but I think they would be amazing on the GH5...If you could rent a combo as a tryout, that would of course be ideal...a pro-shooter at DVXUser owns the combo and he's very satisfied...as you know though, these are pricey but you get true Cinema Primes...really nothing to equal them for the price though...like you I was keeping my eye on the Terra 6K too...completely underwhelmed in the end by the footage...IMO the GH5 blows past it....I bought the Leica 12-60 to use purely as a lens, to use with the GH5 auto rack focus..to my surprise (I don't buy Panny Native Lenses) this has not come off the GH5....I love this thing...In combo with your DX1, a GH5 and Veydra Primes you'd have a "shoot anything" production package IMO...especially narrative...personally I would opt for the 12, 25 & 50 kit at around 2800 including a 6 lens Pelican case...then shoot 4K ETC so the 12 also becomes 18, the 25 a 35, and the 50 a 70...you land up with 6 focal lengths and if Vedra developes their Anamorphic primes, you have room in the case.

@DBounceThe IBIS on this camera is an incredible plus...if you have a camera strap around your neck, for some resistance and a quick release, you have a "rig"...you can do a panning shot or even a small slider shot, that looks locked off...period...the speed with which you can shots with this camera, that would otherwise require 30 min to an hour setup cannot be stated enough...as you shoot professionally, this will be hugely relevant to you...you see an interesting cutaway shot...there's sufficient light on it and you grab it...in seconds...and it will cut together with your 1DX...since the HVX200, this is my first use of a hybrid style camera with IBIS...color...bitrate...image quality aside...this almost instantly became the strongest feature for me in this camera! PS...this is no camera for a beginner, but I would also add that you could make the autofocus work for you, exactly as it is...it does not approach Canon's, but then you're no beginner, and would quickly figure out where and how to use it and when not....I don't use AF, but did some rudimentary tests out of curiosity, and it works much better than the internet videos suggest...I would say that it would not be an issue for you.

I highly recommend one of these...the key to so many things??the C version has been discontinued and can probably be found on EBay...equal to importance as the camera, a lens and a tripod https://www.amazon.com/Discontinued-Sekonic-L-758Cine-DigitalMaster-Lightmeter/dp/B000M3CCTM

You're right...and the Leitax mount adapter mounts directly onto the Nikon mount to adapt to EF...secured with screws...a professional mount sollution ....my concern is that the Nikon to EF to adapters are very thin....and my Nikon Glass or Sigma or Tokinas are heavy....bottom line....that would have been my sollution...your choices may differ...I did not want to buy the camera with an EF mount as the only option...my 80-200 2.8 weighs around 3lbs as an example...I also did not like the EF mount without a PL type locking ring on an $8000 camera....one of the things I like best about the Kinefinity cameras is they give you a professional shimmable mount....It was the customer service support on that camera that scared me off. PS...my long term investment lies in lenses not cameras...the camera just has to work the way I need it to....otherwise someone else gets my money....lol...I'm probably the person on this forum who cares the least about the cameras themselves!

I was interested in the EVA1...but before the EVA1, my interest was in the Varicam LT...and actually still is...when Panny announced the EVA1 at that price point I was interested...at the "under" 8000....probably 7999... could have just bought the camera....the Varicam would be for very specific project...not a camera I would have bought for myself...but most of my glass is in Nikon mount...not EF....I would have had to spend over a $1000 on Leitax camera mount adapters to EF...I also do not like the mount itself on the EVA...would have liked a proper locking mount at that price....and then adapters to use my glass on my GH5...so I dropped the idea...The UMP has a flexible mount system though, produces a lovely image and the EVF is a great price...anyway....that's my reasoning for not choosing the EVA1...I have a large collection of legacy glass....and the UMP cuts well with the GH5....for now I'm very happy with what I have...bit at @AaronChicago did a comparison between the UM 4.6 K and GH5 and I think the image out of the UM is lovely.

I thinks this would give you a perfect combo....as the A6500 is perfect for your gimbal and autofocus is far better than the GH5 from all reports (I don't use it) this will tick all the boxes for you....anyway....when you borrow your friends GH5, you'll know whether it feels right...I will say that in spite of the symilar size to the GH3 & 4 and only a slight weight increase, the camera feels like a completely beast...I use a grip strap with all my cameras, but with the GH5 it is especially essential to me....the grip is deep...