fuzzynormal

I'm down with that as I recently bought an em10iii for $299. I used a FD 55mm f1.2 on m43 for a few years, liked it alot. Paired it with a speed booster most of the time and was able to shoot some cool low light stuff. Fun.

Examples like these should encourage filmmakers to question if pristine IQ is actually a benefit for one's movies. I know I have a good-ol-cowboy-western script on my shelf that, if shot, would be well served by lo-fi'ing the image a bit.

I have no idea even though I'm shooting on an em10iii now. John Brawley is a cinematographer that is familiar with Olympus cams. You can ask him directly as he might know.

Happy accidents.

For me, you buy what you need when you need it. For instance, I might buy something like this if I had a particular client on deck that would be put at ease seeing me run around with a "real" camera. (That's still a thing in the circles I'm in) Obviously, you need to know if you're served by playing this sort of game. I've rented camera gear just to impress clients, not for any particular production need. If I was in that situation again, heck, might as well buy a package like this for the same cost. Also, wouldn't be the last time I'd buy gear only to sell it again quickly. Which is kind of like renting, just with more flexibility. Once, a few years back for a client, I borrowed a bunch of unnecessary cinema rigging from a friend/colleague and buried my LUMIX camera under it. Looked cool, but was incredibly gratuitious. All that nonsense just to do a talking head interview. Whatever, the client enjoyed the spectacle. Afterwards I bought my buddy a nice 18 year single malt scotch for that one, which we shared. Win-win-win.

FWIW, I use Film Convert and rarely go "all-in" with what the presets offer; mostly it ends up being a blend of various things. Still, I kind of get the Fuji Eterna vibe here.

Looks like colors modified with the FilmConvert plugin.

I think it's well past time that we all recognize the world is full of stupid people and they affect things much more than many of us are comfortable with.

The most reliable solution I've found is to identify the correct clip in your finder/explorer, change the name of the source file, and then reattach the media in the PP project using that new name. Not sure how many clips you have with this issues, but it's a one-clip-at-a-time fix, can be a tedious chore. I made this mistake a few times early on with Premiere too.

Just decided to sell most of my camera gear. Figured better do it now in case the economy goes tits up in a few months. Also, it just felt like my current equipment was overkill for my projects. Anyone else getting a tinge of ‘anti-g.a.s. With everything that’s going on? My last 4 gigs were basically shot 30fps 4K with a single prime, and when looking at my lens/camera shelf it seemed like it was time for my unused stuff to get back into the world. Plus, the sales will help me pay some credit card bills. Full disclosure: while the GH5 and G85 made an exit, a refurbished Em10iii popped up on eBay for less than $300. So, while it’s certainly downgrading, gear acquisition is still going on...

My workflow relies heavily on proxy editing. When I gave Resolve a spin a few years back it performed horribly by failing to consistently create and use their version of proxies. What did they call it "Optimized media" or something like that? Any advice if that aspect of their software has evolved? Like many I'd like to just get off the Adobe subscription plan. I'm tempted by Resolve, but am skeptical. I'm also drawn to FCP, but would need to modify my PC into a hackintosh to get it rolling. Not a big deal, just a hoop to contend with. All these alternatives can take up my attention now that all my gigs have been canceled, but it's always good to get feedback from people actually using the software.

Well, I just unloaded my GH5 and G85. The 'way-too-many-lenses' on on the auction block next. No seller's remorse so far. I still have an old 5DII and Nikkor 50mm, which I'll continue to use for talking head stuff, occasional b-roll too; why not? My wife still has her X-Pro2 kit. The Oly EM10III is only $300 used on eBay, and I'm leaning that way... Round and round we go. It does feel good to unburden stuff that wasn't getting used a lot though.

I cut together GH5 and G85 footage all the time. No worries from me. It works fine.

I wish. Sold it when I did the GH5 purchase. That body with my 25mm Auto110 lens on it was such a perfect pocket cam. Used it for guerrilla video shooting more than a few times. My wife would also shoot video with it using a loupe and pistol grip, like a little super8 film camera. So much fun. It aged well too. The scuffs gave it more character than it already had. There's a reason it's still my avatar icon all these years later.

I like the Gh5, but his attitude when I look at him on the shelf is like, "Hey, how's it going?" The EM5II was more like, "C'mon man, what are we doing next!?"

They're always a generation or two behind regarding the spec sheet. The thing that I liked is that the IQ is decent enough (even if it's not as good as others), the color out of the camera is really nice, exceptional IBIS, and then -for me- the intangible factor of the ergonomics. You can't quantify that as it's a matter of taste. I just really really liked using the camera. It made me want to do more. Not many cameras inspired me to be more creative by simply encouraging me to go use it in new and exciting ways. Bottom line: Other cameras will squeak out a percentage of performance here, an extra percentage of performance there. 8-bit vs. 10bit, for example. But if I'm getting more shots (and more fun shots) with the EM5II than I would with a, say, an Ursa Mini Pro in RAW, then what camera is ultimately a better solution for me? It all depends on what you're trying to accomplish. I keep arguing with my wife that we should sell our more up market gear and just get two EM10III's! A majority of the things we do production wise has us running around and shooting things as fast as possible. The Oly's are good at that. Now, to be fair, the GH5's 240fps slow-mo is a god-send in that regard too. I'm partial to being small and fast on site, so that's my bias. Others like cameras that are rigged out to the maximum and are content to get one exceptional shot per hour. Whatever works. BTW, I switched to GH5 in 2017 'cuz we're making a series of docs that required 4K delivery.

I used to shoot the EM5II with the FD55mm lens and a speed booster. Always found it a lot of fun to use. I'd do entire corporate run and gun shoots, no lights, with that. Wonderful flexibility as I could get decent exposure anywhere I went. I'm not into wedding videography, but I always imagined that set-up would be ideal for such. A longer lens with a ton of character combined with an underrated but superb hand held camera? What's to to like? I'm with the GH5 and a collection of Voightlander lenses now, but still miss those EM5II days.

My wife is Polish and I feel the same about Poland. Mostly because I'm ignorant about what really goes on in Poland and I just think it looks pretty.

Do it for the gram?

I'm part of a film festival that takes place in January. We're already considering having to adapt to a "planB" and go to a streaming fest in 2021. Who knows? Vaccine probably ain't gonna be around by then, so...?

I was a somewhat new user on EOSHD running with a 5DII back then and the chatter here by Andrew led me to buy it. Solid recommendation then, still good today depending on your wants/needs. Another anecdote. Gave the Gx7 to my 14 year old nephew at my wedding and told him to get stills of my family's smiling faces at the reception. We put the Oly 45mm at f1.8 on there and set it to point and shoot. The kid got better shots than the Pro photog we had running around. Proof to me that it's often the skill of interacting with people that's sometimes most important.

I had this camera. Shot a few docs on it. GREAT camera. Man, the image was just so pretty. I'd say better than the GH5 in some regards. Never messed around with the IBIS though. No need. Still, if anyone wants to buy a cheap and awesome 1080 mirrorless cam, I'd recommend giving the GX7 some consideration.

Good info. Yes, as mentioned, it's potentially for a state park so the location will always be a bit remote and there's only 1 tower to serve most of the area. Consolidating a dozen SIMs and dedicating that bandwidth would go a long way to protecting the stream. And, yeah, costs passed on with the invoice, so no worries there.

Thanks for that suggestion. A few months ago I had a request for live streaming in a remote part of a state park. Knowing that this technology could be used sounds promising.

Try being an older video pro that's had a long career and now has to deal with the devaluation and ad-hoc nature of this new video production reality. It's hard not to keep one's head from exploding.