DBounce

Had a chance to screw around with the SLR Magic Anamorphot Compact on the GH5S over the weekend. Hell of a time pulling focus, just could not make out the screen and left my SmallHD behind as I wanted to keep it as light as possible.

First footage is out.., https://www.newsshooter.com/2018/04/02/kinefinity-mavo-6k-first-footage/

This is not a problem once graded.

The Sony A7III looks pretty good here. But for my money I would have the GH5S all day over the Sony. The colors and skin tones are much better on the Panasonic. The extra 2 bits also goes a long way to add subtle gradation to the skin, whereas the fall off is more abrupt on the Sony. Not to say the Sony is bad... Indeed it's a big improvement from earlier renditions. But since both options are available, why not opt for the 10 bit camera? The arguments about full frame are lost on me for video. I want my footage to have some context, so that the audience can establish where the character is. DOF can sometimes work against the story.

Last time I had one of my GH5Ss outside it was plenty bright. To the point where I couldn’t see my external SmallHD monitor which is daylight viewable. There was snow, grass and lots of sunlight. I recorded in VLogL and had no trouble getting good highlight roll-off. Have you used this camera? The ‘S’ might look like the GH5... but they are very different cameras.

Well a Panasonic has had it on the Varicams for years... so yes.

Well the title pretty much says it all. It seems the latest trend is dual ISO and Red is now jumping onboard.

Grades are pretty subjective. I have to admit, I'm not to the point where I would call CGing my strong suit. But I am loving the new sensor in the GH5S. Combined with the BPM it seems pretty filmic. I have seen the reports that this camera uses the same Sony sensor as the Kinefinity 4k, this would seem likely. If so, then perhaps the GH5S is the smarter choice for those wanting a more established brand with similar filmic IQ?

Took some shots with the GH5S using the Tiffen BPM1/2. I feel this combination really adds something extra. It just feels more filmic to me. What are your thoughts?

I think DNG or Prores would be better... and 12-bit. What kind of file sizes would 16-bit raw yield? 1 ~ 1.5 Gb/s give or take... that’s a lot of data. Even if it can.., and I believe it can, there are likely reasons why Samsung didn’t push it to these extremes.

The world is not heading to full frame... The world is heading to smartphones with sensors that are on average about 1/2.5". DOF will be handled with tech similar to what Lytro has... which btw was purchased today by Google.

They would do well to put out a pocket camera with killer specs and low price to gain some trust and credibility. Few are willing to dump $12k on a camera brand they do not have any hands on experience with.

Hahahahahahaha... LOL. I'll remember this every time I watch a video that shows the crap highlight rolloff (fall off) of those 8 bit Sony cameras. I have Sony, Canon and Panasonic for video Panasonic is all around best. For stills Canon rules the day. Sony is ok, but with no weather sealing it's not really in the same league for serious use.

Well the camera only outputs 10-bit. So...

Youtube supports 10 bit. So do most high end smartphones. I my personal experience I see (note: real world... "SEE") little if any difference to justify the added bulk of an external recorder. Also the camera does not output 12 bit, so you are not going to be recording 12 bits worth of data, regardless of what you have your external recorder set to.

I hope he does a part two that isn't more slowmo. Everything looks cinematic in slowmo... even a smartphone. What I want to see is how this thing looks at 24p for narrative work.

For IQ alone, does an external recorder make that much difference. It is my understanding that aside from frame rate options, the difference is marginal at best.

Shot this one and put a real gritty/grungy CG. Still shooting for max cinematic feel from this camera. Feedback welcomed.

Can’t say I have as I do not have a 6k monitor. Also, is more resolution really the answer? I’ve seen some pretty nice HD footage that looked very cinematic. Of the many Oscar nominated movie the lion share used Arri.., and the highest resolution was 3.2k... so perhaps the more resolution, the less cinematic?

No mistake, my second GH5s arrives tomorrow. It’s image has a much more filmic/ cinematic feel to it over the GH5. Also I do not miss ibis. I hate the weird warping that happens when walking. Much prefer to just put it on a gimbal. Also could care less about autofocus... the newer gimbals are sporting follow focuses, and my other rigs I use with my Tilta Nucleus M. The GH5 is still available, but for my use I prefer the ‘S’ variant to my regular GH5.

@IronFilm while I do not really consider myself a specialist sound recorder, I am pretty picky when it comes to audio, as I once was heavily involved in recording engineering. What specifically I am looking for is something that can isolate (within reason) the dialog that is being recorder, leaving behind ambient noise. Also, I would like something that can greatly mitigate the risk of clipping. These two things are issues that I am constantly trying to raine in when in post. If there is a reliable way to manage these problems I am open to it. Also I am seeking to get the most of of my Schoeps MiniCMIT. Which while even going directly into the Panasonic DMW XLR1, sounds really quite good, is still hampered by the issues previously stated. I understand that there are often times better choice when it comes to managing ambient noise, but sometimes removing sources or choosing different location to record are not options. F8/F4 both have limiters in the digital stage. I have yet to hear such a limiter that sounded great. So I would not consider the Zoom units.The MixPre10T is more interesting, and relatively inexpensive compared to the other two. What are your thoughts on the Pre10?

It seems that the SD633 is a very common addition for many who take their audio seriously. That said perhaps a lessor know but by most regards superior option is the Sonomax SX-R4+. The main goal here for me is to capture clean audio. I want to avoid excessive background noise, self noise and also eliminate the possiblity of clipping. While Zaxcom offers simular capabilities it would appear that they lock you into a complete ecosystem. And while I am sure that ecosystem is top notch, I prefer not to put all my eggs in one basket as it were. Some points: getting a Sonomax that is uncrippled by US patent restrictions (US versions are limited to 114db of dynamic range) presents some additional steps. Aside from this, how do the two units compare, price vs performance... reliability etc.

Nope, Portrait mode is for stills only. As is HDR. Also, the Portrait mode is far from perfect, often blurring what should not be blurred. It's far easier to just use a dedicated camera with a fast lens. Doing so will work in stills and video. Smartphones are great, and I really like the idea of integrating some of these smart features into cameras. That's what Samsung was starting to do with the NX1, and frankly that camera had one of the best UI I have ever used on a dedicated camera. All of this tech can only be better when upscaled to full sized cameras. My modern smartphones handily outperform my 11 year old Canon point and shoot. And I would imagine that in 10 years modern smartphones will outperform most of todays dedicated cameras. But think of what the dedicated cameras will be like in 10 years? Interesting times.

Not sure what kind of “surprise” I should prepare for. I’ve had Filmic Pro for two years plus on both Android and iOS. I have Moment lenses, and an Osmo Mobile. None of this will get you DOF or dynamic range. Also, the encoding turns surfaces such as streets and water to mush pretty regularly. And while you can turn down the iso when shooting in low-light, you will do so at the expense of shadow detail. If you are new to shooting with smartphones maybe it’s you that should prepare for a surprise?