fuzzynormal

If one can tell a good story chances are one can be a good filmmaker. now with the barriers to good motion picture IQ falling away, those that are creative will be the ones valued...unlike the past, where if you had the gear you were automatically established. EOSHD's 2013 review of the GM1 and GX7 lead me to get my hands on cheap consumer cams with wonderful IQ. Making movies with that gear has been a ton of fun.

I hope the Panasonic CM1 evolves and offers a little more video-wise in the next generation. Even so, I've been tempted for awhile with the current version.

I agree, brilliant advice. I'll put it into motion and see if glazed donuts with sprinkles work.

Even though it was shot on consumer grade gear, it was exposed pretty decently. I'd like to do a color grade on Resolve --as that's the software I'd like to upgrade to next year, but I'm not particular. More interested in collaborating with people with talent than anything else. Thanks! Well, that would be perfectly wonderful for someone like me. Since it was shot with a camera that shares the same sensor as a GH4, I wonder if that would generate any interest? Any suggestions on a practical way to initiate a process like that?

Thanks for the feedback. We made a sweet very straightforward little film where the theme is the importance of friendship against a society's measures of success. So, in my mind, I believe it deserves a sentimental color palette in warmer hues. Here's the blurb: "An aspiring housewife living in the heart of Japan creates an international English language publication. After three decades struggling against cultural, creative, and family challenges, her and the staff must then reckon with what it means to be successful." If you or your colleague would like to see a draft and get an idea how the footage looks, I can send along a link. Let me know if you're intrigued and I will definitely follow-up. We shot the film on Panasonic Lumix cams, the GM1 and Gx7, for whatever that's worth. And if anyone else is interested, regardless if you're "pro" or not, I'd love to hear from you. Indeed. Some people can paint even though they've never had formal training. Since that's not me, I do need some 'learn-by-example' sessions (in a bedroom or studio, I don't care) And anyone's that's good at it, that's fine by me. Thanks all!

So, I need a hand in grading my 30-minute doc. I'd really like to hire someone with serious skills in coloring, but outside of the "biz," because I can't afford those types of rates...although I CAN afford to compensate reasonably. Very indy, you know? I've dabbled, but I tend to end up making stuff look somewhat ridiculous rather than polished, so I really need to rectify this issue. Also, I'd love to watch the process and ask dumb-ass questions along the way so I can glean some knowledge. I'm not sure if this sort of thing is an appropriate request, but it doesn't hurt to ask, so I'm asking. And if this should be posted elsewhere, let me know. Are you self-taught and really good at coloring your own stuff, but would like to make some U.S. dolores showing an idiot how it's done on his short film? Or, do you have a friend that's talented and is looking for a gig? If so, I'd love to hear from you. Or...heck, even some advice would be appreciated...

I hope it's innovative and shakes things up. However, my DJI Phantom had an impressive spec sheet when it was released a few years back, but the IQ was horrible, so I'll believe it when I see it. No doubt that the tech is evolving for it to be a nice product though...

Anything that represents your skill set and the level you can do things will probably be beneficial. This works well enough. I like it. You have an eye for light. That's one of the things that folks will be attracted to, consciously or not. That visual informs folks that, "yeah, they probably know what they're doing." I do need to learn how you color grade because the way you pull your color together is a good look, I think, for corporate. The only thing is that there's not a lot of different clients in the reel, but you'll build that over time.

I'm with you. I've been shooting gigs for a few years now where I certainly don't look "pro" on location, and quite honestly I don't want to; there's more things to worry about for the jobs I do. I've played the game where I "dress up" for a client and bring along more stuff. While I can do it, it's typically so unwieldy I really find it kind of annoying. Your ability to plan out and then find the shots you're getting while things unfold (more or less) in real time is impressive. I don't think too many people understand what a real challenge and accomplishment that is. Limiting yourself to minimal glass is brilliant. I do that as well, and it was a major decision that finally allowed me to actually get more considerate as a shooter. I'd recommend that to anyone/everyone. Is it all just weddings with you or are you into making documentary films as well? You've obviously got the aesthetic visual ability.

Talent trumps gear. If you're under the delusion that it doesn't, consider this yet another exhibit that should dissuade you from that notion.

what's the most difficult aspect of directing a film for you?

Well, looks like I'll be completely re-grading my documentary then.

You think it's getting bad in the motion picture "industry" as things get more democratic? You should see what happened to the indy music scene over the past few decades. I've been a clown in that rodeo for awhile. And endless amount of young new people are dabbling in the profession without a clue and they grasp at everything and anything for a foothold --which makes them ripe for exploitation. Back in the day a tradecraft was protected simply because it was a somewhat exclusive club to get into. Forget about that with movie making, for better and worse. I just assume I'm a mark for that sort of legalized grifting and carry on with as much skepticism I can muster.

Yes, this is true, but one is still poking at the body of the camera rather than turning one of the knobs after activating a function key. For me, using the knobs and have them dedicated would be preferred during actual shooting. A little more customization options with a firmware upgrade would be nice.

I'd like to see more frequent firmware offerings to make the em5ii more ergo friendly for video shooting. Those kinds of software updates are easy to create. The fact that I can't simultaneously program control of ISO or shutter speed or frame rate to the two rotating dials on top the camera bugs me. Right now, from what I've been able to figure out, it's only ISO and white balance together...not ideal for exposing video IMHO. I'd like to have those two things side by side. Just more freedom to program anything to function buttons would be appreciated. Also, you can't control exposure with knobs when shooting, which is unfortunate. I don't run into the need to change during a shot much, but when I want to and can't it's annoying. You actually can change ISO values when shooting, but only through the touchscreen menu. Meh. Worthless for trying to keep a shot going while you're poking the camera body with your finger But again, all things that firmware could easily tackle. Hope Oly is more assertive than other companies in this regard.

I do have a lot of fun shooting with my em5ii, but I'd like it even more with 4k. Its always something. One day soon though we'll have great 5-axis with 15 stops of DR and great low-light capabilities. Not this year, but not far off either.

An EM5II.

My f1.2 FD lens glows in the dark. Is that a problem?

No, but I shoot with an old Canon FD f1.2 lens which pretty much accomplishes the same thing. It's MUCH less contrasty than the modern lenses I have.

Yeah. If you're patient. I have a low-end shoot tomorrow. I usually shoot 60p with the 51mbps, but I'll roll off some 24p@77. FYI, I use the "Natural" profile. Contrast -2, Sharpness -2, Saturation -2, and then on the image curve settings I lift the shadow 1 notch and turn down the highlight one notch. However, I can put the Natural profile on default as well as the curve so you'll have a base to judge. I've never charted the camera. I use those settings above as my best guess for post production flexibility.

"Dji stealing costumers?" They don't want costumes, just the people that make them! But let's be fair, the OP is probably someone that's not using English as a native language. Still, DJI has a rep for having non-existant "costumer" service, so it's most likely a legitimate complaint. Still, you have to be prepared. If your business success is dependent on one battery, you need to reconsider things.

There is, but it depends on what sort of AC current frequency you're sending or is being sent to those lights. The only way I've found to diminish light strobing without adjusting the shooting frame rate is to decrease your shutter speed to 0°. Doesn't get rid of it, but makes it less noticeable. Almost imperceptible dependent on the type of shot you're doing. It's a fine idea. I'd even conform 30p to 25p, but only if it's the type of shots that don't require sync to voice. The slight bit of slow-mo you get when doing this looks rather nice too. I've shot characters in film narratives at 30p knowing that I'd conform down to 24p, simply to exploit the aesthetic of it.

No. I hold it to my eye or I cradle it. Whatever works for the angle. And then I drift the camera as needed. A lot of times I'm doing what would probably look kind of like Tai-Chi to a casual observer. It's the M-IS1 setting, which is Sensor+Digital Yes, the AWB changes way too much in shooting situations. You have to pick a color balance and set it; no cheating! This particular video doesn't have much aggressive color correction, really. I adjusted white and black levels, tweaked white balance on some shots, put a cooling filter over it all, and finally added a slight bit of grain. I guess that sounds like a bit of a process, but that's what I do to all my stuff, so it's pretty basic for me. The Oly colors match my 5D quite well. Almost the same, really. In fact, there's a few 5D shots in this edit. With this video there's no LUT's or anything. Although, I've been wanting to delve into that process and experiment. This video would probably be perfect for that. If I accomplish anything worthwhile in that regard maybe I'll share. The thing I appreciate about the EM5II isn't that it's a great camera for IQ, (my old Gx7 is better) but that it allows me to adopt a certain shooting style that I enjoy and have FUN with. It's "floaty hand-held" --and it's helped me create a certain aesthetic easily that is serving me well on my jobs. I know some Sony cams have 5-axis on their spec sheet now, but it doesn't seem like it's in the same league as the Oly. For me Oly's stabilization is the killer feature that has me using it more often than not.

I'd recommend you should go give Oly a hands on try. The stabilizer on the EM5II is at a whole 'nother level. Crazy good/cool. At the very least it can be a useful Bcam for specific situations. Driving in a car, sailing on a boat, scooting along in a tuk-tuk. If you want or need it, it's a very very wonderful tool to have in one's arsenal. Or, grab a cheap EM10! Anyway, all these cameras listed here are pretty cool; can't go wrong, really.

I just did a 10 minute corporate thing with a gh4, 5d, and an EM5II. If you shoot clean and expose properly you can get em to match pretty close in the color grade, but you need to be patient at it. The GH4 looks like it has more resolution, because it does, but you can't really tell the difference in the final online delivery unless you're looking closely. FWIW, I shot for a month last summer in Indonesia (hot!) with LUMIX and Olympus gear and it held up fine. I got tons of great video and looked very unassuming while doing so. I'd recommend the Panasonic cams. Cheap and really nice video IQ. Not sure how particular you are about having the GH4's 4k, but the EM5II's 5-axis stabilization might actually allow you to capture better shots on the fly. That built in stabilizer is something else.... Plus, the camera is weather sealed, which is nice to have; something else to consider.