Matt Kieley

As for AF though, have you considered getting a lidar follow focus like the PDMovie Live Air 3?

Does it have to be MFT? I just got the Panasonic S5 now that it's cheap enough (I got one used for $800 on Adorama). It has great color (10 bit 4:2:2) and DR, dual iso, excellent ibis, and smaller/lighter than the GH5.

What about the GH5s for dual iso low light?

I was recently considering getting an HPX170 for a project, although I couldn't really justify spending the money. But there are some good videos on youtube demonstrating what handling the footage with modern upscaling and color grading software can do for cameras like it. It seems the majority people still actively using these cameras are Skate videographers.

I've been saying this for years. The DVX100 had the best ergonomics/size of any camera I've ever owned and was a joy to shoot. And it had a global shutter.

Been a while since I've made something that wasn't a paid gig. I made a music video for my friends' band with the TTArtisan 25mm 1.33x Anamorphic lens and the Sony ZV-E10. My first real video shot with either (the camera was delivered literally 15 minutes before I left to shoot the video). Also the first real video I've edited with Resolve (I finally quit Adobe). A lot of firsts here haha.

I think he's referring to the s16 sensor 4K camera being developed by Octopus Camera and CinePi. There isn't much info they've put out besides some test footage, specs, and a rendering of the camera body.

This is not even new for Sony. A handful of years ago there was a horror movie, The Possession of Hannah Grace, that was shot on the A7S II. It was released by Screen Gems (Sony) and there was also a lot of marketing around the fact that they used that camera. You could also see in the BTS material the camera was HEAVILY rigged out, which I thought was funny.

I would probably only use high resolutions (4K and up) for projects with a heavy amount of VFX which is where I would find the ability to scale and reframe useful. Or if I specifically want that super crispy look. In term of visual quality FHD and 2K are more than adequate for narrative films. Most movie theaters are only projecting 2K DCP. 35mm film prints were only about as sharp as 720p. I even kinda prefer a softer look, and I suspect a lot of others do considering how many people use high res raw shooting cinema cameras, and put vintage lenses and diffusion filters on them. Many of my favorite films are shot on 16mm, and I've always loved that soft, grainy look. I'm a big fan of/greatly respect David Fincher, who uses the highest resolution cameras he can for more flexibility. I personally don't like shooting this way. I prefer to have less flexibility in post. I get optional paralysis and would be too tempted to keep tinkering and tweaking endlessly when the options are limitless. It's easer to force my choices in production because the options and time are limited enough to allow me to make some snap decisions, or to force other decisions. I'd rather get the look I want in-camera. I'm more interested in seeing how upscaling software will advance. The martial arts action film The Raid, which was shot on the Panasonic AF100 (remember that camera??) is being upscaled/remastered in 4K and the frame grab samples released by the director look good.

Just got the TTArtisan 25mm T2 Anamorphot 1.33x. This is just a quick little test with the Sony FS5 and a Tiffen +2 diopter, shooting wide open. So far I love this tiny little anamorphic cine lens. No more janky DIY scope rigs, no more clamps, no more (occasionally) slightly misaligned footage. More than worth the $350 I paid for it. I hope they release a 50mm to pair with it. Look how compact and tiny it is:

Can this thread become dedicated to any older Sony camera? After 12 years of shooting with mirrorless cameras, DSLRs, and Blackmagic Pocket/Micro cams, I finally got a proper "camcorder" or "cinema camera" or whatever you want to call it. I got a camera I had my eye on for the past four years that finally popped up on mbp for $999 so I had to have it. The Sony FS5! I also preordered the Sirui Nightwalker cine lenses on Indiegogo so I can have some proper no-fuss lenses to go with my no-fuss camera. I haven't had a proper camera for video that didn't require a bunch if fiddly rigging since I moved on from the DVX100 (to the GH1) in 2011. The built-in variable ND is amazing. I got it yesterday so today I decided to test the DR and test with Slog3 in 10bit 4:2:2 2K (and grading with FilmConvert Nitrate). Since last year I've been doing this by sitting in front of a big window at magic hour. This is also partially an experiment to find a good set-up that raises the interior light while sill being somewhat moody. The goal wasn't a bright commercial or interview look but a naturalistic dark-but-not-in-silhouette look without the window going nuclear. The natural light was supplemented by an Aputure LS-60D at full blast shooting through the diffusion disc of a 45" 5-in-1 reflector just out of frame camera-left. The compression of the grab kinda butchers it and crushes the shadows, but at least you get the idea. Here's the shot before I entered frame, so you can get a better look at the window/space: I think the light just barely allowed me to achieve what I wanted. The room is super cramped so it was challenging, but I'm pleased with this. I think I still have some practice/testing to fully get the hang of exposing for and grading Slog3. Side note: I didn't think I would share any footage so I wish I had dressed a little better before getting on camera.

I have a Fujinon 18-108mm 1.8 c-mount zoom that covers s16 that's very light and compact. Here it is next to my Canon 17-102 and Panasonic 12-35, and mounted on my GH5: I don't know if it's compact enough for you, but it's the smallest c-mount zoom that covers s16 that I've owned (and I've owned quite a few).

The JVC LS-300 has a classic camcorder body with an MFT mount and S35 sensor although I think it's only 8bit internal. I was looking at camcorders recently and also came across a JVC camera with a small chip and built-in zoom lens that can record 10bit prores internally, but I can't remember which model it was. The sample footage I saw had some pretty ghastly CA. The beloved Sony F3 has the old school camcorder style body. It's kind of a shame that the camcorder form factor went out of fashion for cinema cameras. I still think the DVX100 is the most pleasurable camera I've ever used. It had the perfect size, weight, and shape.

Yes the front thread rotates when you focus. I tried a 46mm step ring but it's too small.

Since I haven't made any videos in a while, all I'm using is my Canon Rebel 35mm camera and my Yashica Rookie TLR for 120. And occasionally my 6D for digital stills.