fuzzynormal

It's okay. Depending on what you're shooting, a shooter often has to skip it though. The algorithm will fail when high motion is present. Panning or tilting is not a good idea. That said, the GH5 under the standard IBIS will take the edge off of handheld shooting for sure. It's actually kinda nice that it "floats" a bit. Gives the frame some smoothness, but maintaining a nice kinetic energy. But the IBIS on my EM5II is still the best I've ever used. With that and a little practice, one could easily emulate dolly shots handheld. IBIS is not a gimbal though. If you think you can get it to work that way, prepare to be disappointed.

Oly stabilization has always been awesome for me. Not sure what lens you're putting on it, but if it's a manual lens you'll need to tell the camera what focal length it is or the IBIS won't function accurately. Sounds like you need to delve into the manual and menus of the cam.

Different lenses all have certain qualities aside from stop and FOV. I shot a short film a few years back on an Pentax A110 24mm 2.8. You can see the IQ shortcomings over modern lenses when you look for them, but the choice with the old Pentax lens was artistic. It fit the story. Even though most viewers won't pick up on my lens choice, it affects their perception of the story. Sometimes you want tack sharp, contrasty, and clinical, sometimes you want the flaws. These are considerations that are all part of the mix. That said, unless one's being extremely discriminating, I find it kind of hard to differentiate substantial lens quality between modern lenses at similar price points.

A good and fast 50mm is enough. I think I might actually shoot better if that's all I had.

Yeah, I guess so. It's fun in the sense that you're creating contemporary content, like friendly "How ya doing" correspondence, with an archaic medium and transfer/delivery system. The crazy is that 20 years ago the internet was still new enough that letter correspondence wouldn't seem odd. Now? Brave new world. But, hell, that's me. I have still have my grandparent's 78 record collection and a spring wound Victrola. Nostalgia works better on us old farts.

I'm still using a typewriter from time to time as a novelty. You ever send anyone a letter? It's fun.

Man you had the fancy Toaster 3000? Lucky guy. I had the 1st gen. Internal time base correctors I needed to buy in order to do live switching cost an arm and a leg. Still, I cut my 3D animation teeth on Toaster's Lightwave, which was cool. Actually, I still have the thing and the Amiga 2500 in the basement closet. "Star wipe, and we're out."

I see your videonics digital video mixer and will raise you a Toaster with Kiki wipes. It required a lot more pre-visualization. It was a skill that was part of the job for an editor.

If the market meets the level of my finances, I could see myself having a Medium Format camera mostly for talking head interviews. Until then, I'm good. Figure I might rent one in the near future to see how I like it. I'm kind of loaded with debt at the moment so I'm on a spending freeze.

I usually get these messages in my spam email.

I'd readily rent that Fuji for doc or corporate work.

In my experience, true and serious artistic types don't get caught up too much in the technical. I think we're more craftfolk here, so lots of public fretting about tools instead of creation.

I'm a fan of Leone, so the idea of doing audio overdubs in post is cool. Also, if you watch a lot of late 20th century films you'll hear the practice all the time. It was pretty common. It's a fun alternative way to do stuff.

FWIW, the feature film that won the audience award at the film festival I help run was shot by a novice on a FX-1000. It looked pretty lousy. Didn't matter to the audience though. The writing and acting carried the film. The only feature length narrative I've ever managed to shoot and edit was done on a Canon XH A1...no regrets. I like great IQ too and will pursue it, don't get me wrong, but just shoot your thing with whatever it takes. Nobody outside of other film people really care about the tools of the craft, just the results.

Eh, the contradiction was amusing to me, what can I say? Also, no. [sad face]

Spoken like a true camera enthusiast.

What will you want to have once you have what you wanted to have?

Eh. You want sanitized opinions, lots of other places online for it. There's drama here, but it's pretty innocuous stuff -- it's simply about cameras and the misc things around that. It's not life and death.

Still can't stop liking Oly. It's just...man, the things you can do easily with their stuff is just fun. The enjoyment factor compensates for the slightly-behind-the-curve IQ specs. Cant wait to see the Em5III.

"Why I won’t be buying the upcoming Blackmagic Pocket Cinema Camera 4K" Ha! This is awesome and why this forum is legit. Warts and all. Andrew feels slighted, lets everyone know why, and lays it all out online. Don't have to agree or admire the guy, but at least he lets you know where he's coming from.

FWIW, Fuji's default images go readily into the blacks more than any other brand I've worked with. I like the look in stills, but not so much in video. It's a subjective thing.

Time to incorporate a Fuji camera into the banner logo?

Well...what market, exactly? The consumer photo enthusiast market? I mean, I've literally had an Olympus high-def camera shoved up my ass. So there's the "camera-that-gets-shoved-up-a-patient's-ass" market and all the accompanying medial field stuff.

I don't know. It seems rather simple to me. When the enthusiast market evolves to offers what it offers, enthusiast consumers in that market tend to buy those items. We're in a era where regular people aren't really buying cameras anymore and that really shifts development priorities among manufacturers. You also mentioned filmmakers. I don't think commercial filmmakers play around with hybrid cameras. They have the means to go up market. That doesn't mean that hybrids aren't great tools, jus means that pros go to pro gear.

The market is going places that are completely logical. My credit card will get bruised yet again in the coming months/years. I just find it ironic that I'm going to end up, with the development direction of hybrid gear, pretty much where I started a decade ago: Shooting FF video on a stills camera. And, when you really get down to it, modern IQ in hybrids is a lot better --but it's not like it's mind-blowingly better than what well-lit scenes shot on a 5DII can capture. If you told me I HAD to shoot a 5DII tomorrow for a job, I'd feel fine about it. But that's me. Even though I shoot a lot of 4K, I still finish my edits in 1080.