Fritz Pierre

@Jonesy Jones's camera options seems perfect to me...looked at the EV1 first, but for lenses I've collected the EF mount is dead....love the GH5...first IBIS camera I owned...seems unreal, that before one shot without it...the UMP is also an attractive option down the road...beautiful image...cuts well with the GH5 and flexible mounts at a very reasonable price....for small and nimble though, the GH5 IMO is just rock solid...and it does not produce moire and rolling shutter is excellent...very happy with mine...and as you shoot professionally, it's a very good choice...the ways you can customize it to suit your style/needs (something rarely mentioned but very pertinent) is amazing....lastly...I would use this alongside a Varicam without any hesitation to get difficult shots.

What's particularly remarkable about Fincher films is how little movement he uses with the camera...he's films feel very dynamic exactly for how he cuts...the camera is virtually stationary all the time...

I was thinking about one of these for the GH5 & a Shogun....in the end I opted for a pricey battery to Dtap for the GH5 and Dtap to Shogun...both run off a battery pinch and Vmount....they seem to have discontinnued the Atomos Power Station Phot version...I never liked the mount option personally.

+100 for the other most important piece of the puzzle...arguably as important as the actual image itself!...

In the case of working with kids, having say a 5 min loop system on a camera where the camera starts rewriting over the previous data at a chosen time period can be fantastic (HVX 200 for example)...for any other professionals/actors/crew I don't think it works...but everyone has their own method of working...the greatest skill and perhaps the hardest thing IMO is for any artist to know when something's finished....be it a take, a painting, a book or a sculpture for example...you cannot lose your nerve....look what happened to Cimino after Deerhunter and Year of the Dragon...started doing 30 or 40 takes....sometimes higher...no idea what the backstory was in fairness, but he vanished into obscurity!...

I would add, shoot as if you're rolling film, not digital onto a memory card....read a comment somewhere recently about a producer mumbling about digital cameras always rolling on set...it causes confusion....an overload of data and I think creatively causes fatigue...that goes for the entire crew and the talent...but especially for the talent....they peak at the wrong time and mistakes get made by the crew, so you may miss that shot...and you land up shooting the same scene again the next day.

I think when you're doing a large production and you're directing and you have keys and a producer you're dealing with, a camera like the Varicam or UM4.6, or Alexa or RED are essential as an A cam...but of course they come with the necessary bodies to make them work properly...and their value lies less in the superior image quality and more in the robust nature of these cameras and their simplicity...but along with that comes what I would describe as the clutter...and you're right...things slow to a crawl...when you're alone, with a hybrid style camera it frees things up completely...no pressure from location schedules, crew questions and all the logistics involved in making a feature for example...and that lack of clutter is liberating...but it's entirely dependent on the project...these two very different types of tools are very much project based, as to what works and what doesn't...and a lot of the enjoyment with hybrids IMO come from that silence one's able to work in...

+100...the funny thing with a lot of videos I see online, is few are even in focus...pulling focus properly with the GH5 and shooting in 10 bit makes this a very substantial tool!...in fact I was just shooting a festival for a marketing campaign I'm doing and opted for my GH4...delivery will be in 1080p and I'm always impressed by the footage out of the GH series of cameras!...and yes...the freedom too....my only limitation is my eyesight lol...but I use the EVF almost exclusively

@buggz...personally I would always opt for the widest FOV and the fastest adapter: the XL...others may not feel this way, but disregarding vignetting on some lenses, is an extra 1/3 of a stop worth it to you?....could well be the difference between getting a shot or not...for me, that alone is worth doing a bit of cropping in post, in the case of vignetting on some lenses...as everyone does some post now anyway, why not simply crop in post on this more versatile and faster adapter...for my needs that seems the prudent choice.

OK...enough rambling on my part....did not want to steer you in the wrong direction lol!

Yes....they are bomber...the only higher capacity cards I use (more Gigs) are 240 G SSDs...but I'm old school!...SSD is a much more robust media format...you may find with time you add a 2nd GH5 and a Shogun...you can then record in Prores HQ at 800mbs and your footage gets ridiculously good...the other seldom mentioned fact about something like a Shogun, are the exposure or focus tools...I use reading glasses, and a DP lol...but most of the stuff I see posted on the internet is out of focus...you catch focus on a GH5 and the image is amazing!...if I get funding for a feature plus a series I would pitch to Netflix, I would buy the Varicam LT, and use the GH5/Shogun as a Bcam to the Varicam LT...not the EVA1!..and I don't mean by that, as a crashcam!...but as a second camera in a 2 camera shoot...of course...image is totally subjective....you ultimately have to make up your own mind....but RELIABITY is not subjective...it's an absolute must for any paid work or narrative....I would also caution against buying the camera and shooting a wedding with it a couple of days later...you have to put in the time...this camera may be rated as a consumer level camera, but it's not...it's very much a camera for a professional.

This is why I'll never sell mine lol...this camera will always be unparalleled in so many ways...primitive by today's standards,but a rare image....as is the case with the BMPCC...these are and always will be jewels, if you speak purely in terms of image!

I would use 4 of these instead :https://www.amazon.com/SanDisk-Extreme-UHS-I-Flash-Memory/dp/B005LFT3UW the 2 card slots are hot swappable and having 4 smaller cards are more foolproof...I've used these for years, and they are the only cards I have never dropped a single frame with....to me this is another huge feature to this camera....and for extra security you can write to both cards at the same time...in that case buy 8....the media is cheap...I doubt that you'll ever need the 400mb Intra update...I would give that time for the card requirements to sort themselves out anyway...you need reliability!...you will need extra at least one extra battery too...that would give you around 4 hours of recording time...the camera boots up instantly, so you can turn it off too, but if in doubt buy 2 spare batteries, as they take a while to charge...I would buy Panasonic batteries...and lastly...I have never had a Panasonic camera fail on any project....period!...and as you know, "hell knows no fury as that of a Bride who does not get her wedding footage!!"

Everyone hates their own voice, as our inner ear hears quite differently when we speak, than when it's played back on a recording...for years doing doing production design on commercials, agency guys would ask me why I don't do voice overs...when I hear myself, I cringe!...you have to overcome this...shoot in short takes....always the best practice...no one wants to watch even the best actor ramble on and on....the same rule applies here, unless you are doing reviews or tutorials...it sounds like you are actually an introvert compensating for it by behaving like an extrovert...this is also very commen...public speaking comes with practice...put the time in. Lastly, and perhaps most importantly, I'll repeat what Matias said about sound...do not skimp on sound...as important to what you want to do, as it is in a feature film...so good sound and small bites....also look at the speaking style of anything by Hugh Brownstone (I think) ...his channel is 3 blind men and an elephant...lots of pauses...he takes his time...pauses....thinks....like a real conversation...watching his stuff is a pleasure...this is not intended as a recommendation for imitation for you, but a sample of how someone does exactly the opposite of "radio DJ voice" and it works well!

Even all the more reason to try before you buy!...however....the combination of IBIS and the EVF pushed up against your eye will give you solid focus and extremely detailed footage...and the Voightlanders like the SlRMagics kill on this camera...forget all the mumbling about oversharpened and on and on...I repeat....this camera is extremely DETAILED!...the "negative" is very "thick" at 10bit...you are going to use the camera professionally...this camera is ridiculous at $2000!...I would also probably recommend a Tiffen pro mist 1/8 or 1/4 depending on your needs....you need to play with the picture profiles to see whether you can match to the C100 to your satisfaction...not sure I would recommend Vlog for you, but then again, you sound like you already know what you need!

The EVF is fantastic for focussing manually...actually preferable to me to the LCD screen...for the first time ever, I actually autofocussed on something...on a tripod and then dialed my diopter in on the EVF....it's that precise....as a focussing tool in this price range it's as good as it gets IMO...one of the reasons I mentioned you try the camera in a store though, is if you've owned a GH2 or GH4, this is not it!...it's considerably bigger, the grip deeper, and it's much heavier....and there's no comparison in image quality...I own 2 GH4's and a GH2 still, and this is a far superior camera...but in the same way as many forum members like Canon colors, and don't like Panny colors, I like Panny cameras and would never shoot on a Canon...so my advice is subjective....this is also a very complicated camera....no one will learn it in a week!

Agreed...different lenses give a completely different look...good enough reason by itself, not to mix and match...my set of SLRMagics have a warmer "classical" look, and yet are completely distinctive from my set of FDs...one of the best aspects to the old Cine Zooms...Sergio Leone shot his films on an Angeniuex 25-250...and they are still one of the most beautiful examples of Cinematography around today!

No sign of this on my camera. I would however recommend as always that you try the camera at a store if possible...or rent it. In fact...the viewfinder is superb....lol by comparison the viewfinders on S35 film cameras were a nightmare...no seeing what you got beforehand...it was a skill to know what the image was going to look like...the processing lab saw it before anyone else! thats why I always thought the complaints about the BMPCC LCD was funny considering the incredible image out of that little 900 camera.

The slrmagic lenses are lovely...occasionally the 25 & 35 are offered as a pair at a great price....they balance beautifully with theGH4/5 for handheld...I have a set of FD primes on a speedbooster...the problem is below 20mm they get very expensive and slow...so if you go that route, you'd need to pair them with something like a Tokina 11-16 Not sure what that would do on IBIS on an Utra speedbooster, but you can simply zoom till any vignette dissapears or fix in post...personally I would sell the EFs and get the SLRmagics....the pricey one is the 10mm...I own the 12 and decided to stick with that...a 12, 17,25 & 35 make a lovely set...the 12 is 570 T1.7...the 10 is 700 T2.1 and comes with a variable no as part of a kit at B&H....

Today yes...but again it depends on what you shoot...sometimes, in say the case of narrative, a 2nd unit camera would pick up shots missed the previous day or establishing shots to name an example..could be exactly the model/camera....shooting in a completely different location...as cameras get cheaper and closer to each other in image, depending on the scene, you may have an A,B,C & D cam...however, the money shot is always going to be covered by your Acam (best imaging) while B or C cams will film alternative angles and perhaps even be sacrificed in the shot, say in the case of a crash or something...I think today the use of more than one camera per scene is far more common than in the old days...it of course presents far more challenges in lighting scenes too.

The stabilized/moving sensor on the GH5 may be an issue with the BMD speedbooster. The XL is not a problem, though it does a bit of vignetting with some S35 lenses....still well worth getting rid of in post, for the extra 1/3 stop faster and slightly smaller crop factor.

Polyester style glues/ resins take a long time to off gass...I would also stay away from any Polyurethanes...5 or 10 min Epoxy resins or any cure time epoxy will be best...they will also bond best with both metals and glass or plastics....if you glue to plastic,a small trial test where it does not matter may be in order...for example Styrene in Polyester resin eats some plastics...lastly once the Epoxy reaches it's designated cure time, it turns completely inert...no off gassing once cured...I would choose between 5 or 10 min Epoxy depending on how much time you need to do the work....the mixture is somewhat forgiving too...more or less 50:50...but it will cure if you're off...it just varies the cure time.

Really just a distinction used in marketing/ sales....something on the refurbished camera could fail the day after you receive it...not that different from the concept of insurance actually...we all feel good until our house gets flooded from a river overflowing nearby...only to find out that's not "covered" by the insurance...below is a quote of how refurbished electronics are defined...as is immediately obvious, it can merely be equipment having been tested and found to be working properly...a somewhat misleading distinction IMO Refurbishment is the distribution of products usually electronics and electricals that have been previously returned to a manufacturer or vendor for various reasons. Refurbished products are normally tested for functionality and defects before they are sold. It is repaired from manufacturer and resold. The main difference between "refurbished" and "used"[1] products is that refurbished products have been tested and verified to function properly, and are thus free of defects, while "used" products may or may not be defective. Refurbished products may be unused customer returns that are essentially "new" items, or they may be defective products that were returned under warranty, and resold by the manufacturer after repairing the defects and ensuring proper function.[2]

I think one exposes to the occasion...with any camera...period...and when confronted with too large a DR you make choices...I would not hesitate to blow a highlight, if the DR was to high, for whatever camera one's shooting on...Kubrick did it constantly in his films... (not comparing myself to Kubrick???, but we can learn a lot from the masters) ETTR on the GH4 and 5 seems to give you a cleaner image in the shadows....if that detail is important, you expose accordingly and lower the shadows in your grade rather than raise them...unless you of course don't care about the noise...but it's always down to what you are trying to say with what you are shooting...I will say this much! IMO @jonpais exposes to as close to perfection as I see on most forums and on any camera...so whatever he's doing, he's doing right!...we are all lucky to have a source of knowledge like Jon's on the forum, tirelessly sharing with us all!!

It's likening the camera body to a desktop printer...they're selling you the ink!