JazzBox

I really hope in this GH4 update: I'd love to have cropmarks for safe area (2.35:1 etc...), RAW and ProRes 422 (HQ) files direct to SD cards in BPCC style... And, since I never liked the GoPro "look", it would be great if Canon could offer an alternative!

Thank you very much Gh2sound!

Thank you Gh2sound!

Thank you very much Jonesy! I hope to have many other answers, so we can start to figure it out I have some ideas about it (it is more like a mix, not like a master), but I would love to hear something from lots of people.

Ciao! I'm going to shoot and edit a short: I normally just shoot music video so, no audio other then the track and maybe some spare FX here and there How would you set the average and pick levels of dialogues, soundtrack, FX, foley etc...? I'm a music recording engineer and I often record voice-over and ADR for clients, but I give them the tracks mastered and I don't know how high or low they use them in their editing software. Could you please me suggest a good starting point for a nice broadcast safe audio level? Is it possible to use a limiter on the "master fader" of the editing software as we do during mastering? Or there are some other "rules" in video's world? Thank you very much for your advices

Thank you very much, M Carter It seems that all the guitar players / recording engineer are going to video, that's GREAT

I'm going to buy DR60 or Zoom H4/H5. What about batteries life? How the DR60 handle signal such as Rode NTG1/NTG2? Thank you

I use 2 Panasonic (GH4 and G6): they are stunning and I'm very happy. The only thing I miss from my Canon time is the color from "Neutral" profile. But, since I grade every single clip I use in projects it is a non-issue. And I've found that shooting with Cine-D or Cine-V without messing too much with contrast/curves/pedestal give best results. Or using "Natural" with contrast -3, saturation -3.

I love my GH4 and it would be great if they could add 1080 RAW possibility in the style of Black Magic Pocket.... better then the V-Log

Thank you! I start to understand!

You are a great cinematographer! Some people is just negative because they would be creative but they are lazy and they are not ready for the sacrifices that every creative work ask. It goes like that since Aesop's time: The Fox and the Grapes, you know what I mean I just retweet you Don't let them stop you!

Are you sure? I ask because in video, more then often, using a crop of the sensor give a better quality (i.e. crop mode on Canon T3i/600D). Why it is not true for GH4? It could be at least the same id not better. But I'm not a scientist, I suppose and I'm very curious about it, since I use a GH4

I never use AF on my GH4 for real work, but I when I try (with Olympus and Panasonic AF lenses) I always have problems after some minutes using the AF in single area mode. Any of you have experiment the same "problem"?

​But even in Hollywood movies you can see clearly some "movements" that make shots alive... and, if it's too much, probably it's not a camera problem, but an operator's weakness.

Jim, I had the same noise. Then, after some tests I saw that if I underexpose the scene, GH4 has noise even at 200 ISO. So it is way better to use an insanely high ISO to proper expose or overexpose (without clipping the highlights): you'll have a better image with less noise. Take a look here: http://www.eoshd.com/comments/topic/7922-ettr-the-ultimate-exposure-technique/

HPRC is a very good alternative to Pelican and you can configure them with foam or with divisors etc... http://www.amazon.it/HPRC-custodia-bauletto-fotocamera-digitale/dp/B00JJU5Q4C/ref=sr_1_4?ie=UTF8&qid=1423671998&sr=8-4&keywords=hprc One of the case I own: ​http://www.plaber.com/2500.htm but they produce a lot of different cases: http://www.plaber.com/2530.htm

I have a good set (not complete) of old Canon FD for my m43 cameras: 28 f/2.8, 35 f/2.8, 50 f/1.4, 135 f/3.5, 35-105 f/3.5 Macro and a Tokina FD 28-80. They are very "cinematic" but not so "vintage" for my taste, I mean, they are very organic, but they have not freak flares or low contrast. I also own a Pentacon 29 f/2.8 and a Carl Zeiss Jena 50 f/1.8, also very sharp and "modern" to my taste. The only lens I own that seems "vintage" to my eyes is the Helios 55. But some friends that have a different FD 28 f/2.8 have lots of flares from it, so it probably depends from the different models (I have all "new FD").

Great video! I like it! Canon FD always looks super cool! :)

Dear Ebrahim, after some tests with different cameras (Canon 600D, 60D, 70D, 5D MkIII, Panasonic G6 and GH4 and my father's Olympus E-M10) I came to the same conclusions! Some years ago I started shooting searching to use the lowest ISO possible, now I try to ETTR whenever is possible. Also Robin Wong on his blog talks about clean high ISO: http://robinwong.blogspot.it/2014/11/about-high-iso-shooting-with-olympus.html Just a question: how do you correct the exposure in post? I ask you because on that argument there are some different schools of thought and I find your images very convincing. Another question: how do you ETTR when you shoot in night or in a very dark environment? Thank you very much, I really appreciate your post!

In one of the last video I shot I had a problem in a couple of shots: some "ghosts" in one take and an horrible "moire-like" in another one. This was thanks to the ND filter: I had a Tiffen (120 € more or less) and it screwed up my images... Before that Tiffen I had an Hoya (same problems) and a variable 100 € ND... From that day I stopped to use ND at all: I do my best to shot in the magic hour or with a higher shutter angle. p.s.: Revello, I read "Crete"... wow you are lucky, I had the best food in my life in Vamos at Parasia Rakadiko! Not to talk about the amazing beaches (Elafonisi, Marathi, Balos, Gramvousa...)

Great, I'm going to install it! In the next update I'd love to have aspect ratio crop marks, V-Log and maybe a 1080 RAW or prores possibility

If you are after "hollywood look" you probably need more then one lens, at least 2 or 3 lenses, as the great Andy Lee says in this post: When I used Canon (a 600 and a 70D all the time, a lent 5DMKIII sometimes), I had both the 40 f/2.8 and the 50 f/1.8. The 50 was really better for portraits, close up etc… while the 40 was a little too "boring" for my taste. For 70% of my shots I used a 35 f/2 (the old model, not the USM: http://kenrockwell.com/canon/lenses/35mm-f2.htm ) and for the 30% the 50 f/1.8. The 40 was 2.8, so a little less fast. my 2 cents

I like this images! I own the Olympus 12mm, that cost more or less the same price. Even if someone says that new lenses are "sterile" or characterless, I love this lens. The only real disappointment is the focus ring when used in manual mode with distance indications: it has mini-digital-steps... it is clearly designed for foto, not for video. I hope in a firmware update, maybe they could correct it. Anyway using it - still manual - but in normal way it is very nice and easy to match also with old lenses such as Canon FD, Zeiss etc... It would be cool to see a test of this SLR Magic near the Olympus 12!

Thank you very much Axel! I really appreciate your comment! While I'm quite positive that limitations help to be more concentrated on the main focus (i.e. bringing 12 lenses on set is maybe more time consuming then choosing 3 lenses to shoot with and trying to adapt all the shots with them) I don't like to have too many rules when creating: I read all those books about screenwriting, but they remember me when I was a jazz student and in the school they told me which scale was supposed to use on which chord... So, I want to be free to tell my story, but this is my first screenwriting narrative experience, because I only shot shorts as camera operator, not as director. I wrote some stories for music videos, but that's way more simple I'm going to read the article by Paul Schrader, thank you very much Axel!

​That's a great idea! For the whisky it's simple, for the box I'm going to work a little more, but that's definitely THE idea! Huge thanks!!!