mercer

Yeah, the whole thing just seems odd. It would have made more sense not to name it GH5 at all and go with a different Gxx name but now I’m confused if this is a cine camera or a hybrid. Should I be annoyed if it doesn’t have ibis? Should it export raw or shoot internally on ProRes? Is it not a cinema oriented model because it is putting too much emphasis on lowlight and traditionally cinema cameras need aren’t the best in lowlight. I don’t know... I just don’t know...

Yeah, I must say that the timing of the GH5s is quite frankly just weird. This couldn’t have been an afterthought and it must have been planned for at least a year, so why release it so soon after the GH5? So if the rumored price is correct, I can only imagine that the GH5 will be getting a permanent $500 price reduction. Now if the GH5s had a S35mm sensor, it would make more sense, but there is no evidence of this and I would assume that the price would be higher than $2499. So I am thinking there may be something more, maybe it will export Raw. Or maybe it won’t have IBIS to separate it from the GH5? I don’t know what they’re doing over there... the EVA1 doesn’t have any all-i options yet and it’s limited to 4K 30p as of now. I’m sure it will a work out on the end, Panasonic usually makes a good product.

I feel the need... the need for L.Monochrome.

Thanks for posting, Goose... It would be really maverick of you to post some video when you get a chance. Lol. L.monochrome and IBIS is one of the only things I miss about the GX85.

I follow a photographer on Instagram named Adrian C Murray and his work is just breathtaking... there’s a modern day Norman Rockwell feel to his work, even though the subject matter and mediums are different. I believe he shoots with a Fuji. Also I am a huge fan of Sebastian Kortman, he posts a lot of screengrabs and photos on IG and his compositions and color is gorgeous. And obviously, I’d be remiss if I didn’t mention our own Mattias Burling. His IG page is inspiring. Somehow he manages to get hundreds of likes and views in a matter of minutes. My most popular screengrab has 23 likes and it took about 8-10 weeks to get there... LOL...

Hard to be a God... interesting... I’ve never heard of this film, but it looks awesome with a really cool premise. I really appreciate your constant support Marty... you’re the best member of this damn forum. Carry lights... lights? Let’s not get too fancy Marty... if it doesn’t attach to a cold shoe, I probably won’t be using it... only available and practical light for me... LOL.

Thanks Marty, but I’m really just a writer who wants to film some of my own material. I definitely don’t have the confidence, or desire really, or time for that matter, to film someone else’s work. My goal is to be a competent enough operator, editor, and colorist that my films don’t look completely like amateur backyard films, while still keeping the spirit and DIY aspect of the run and gun filmmaking I grew up working on. Are you thinking, Bill & Ted’s Excellent Adventure... oh wait that wasn’t in Black & White... lol. Pi? Nice samples, the GX80/85 is a great camera for B&W. L.Monochrome really has a film look to it like it was designed. Any video samples?

Thanks for posting this, I’m a fan of the Duplas Brothers and I didn’t know this movie existed.

Yeah, those look great. I was going to experiment with some filters on the RX10ii, but I think I just like my 5D3 too much to even bother with the RX10ii. So maybe I’ll give them a go with the 5D3. Thanks for comment, I forgot about these films.

Yeah I have to say that the plastic build is a little disappointing at that price point. Of course, if I had that kind of money for a Cine camera, I would get the C200 every day of the week, so it doesn’t matter all that much to me. It seems there are more and more EVA1s in the wild so hopefully more footage will be popping up. I think @Zak Forsman has one so maybe he will chime in on this.

@Sage I love that muted cinema look. I am working hard trying to find the balance between the muted cinema look while still preserving the tonality nuances of my 14bit ML Raw footage. I have more failures than successes... LOL.

I don’t know... I wonder if someone shot the same exact footage with a hacked GH2 and with a GH5, how the results would be. I almost think we may be surprised by how well the GH2 footage holds up and with the right operator, like Seb Farges or James Miller, the GH2 footage may be superior in certain aspects. These look really good. Are they both hacked GH2? I particularly like Victim... of course the first scene seems unnecessary... but that’s neither here nor there. And in some ways, I like the look of Victim more than I like Emotion II... but that looks great too... really nice work all around!!!

Obviously, the GH2 has a little bit of a head start but yes, there seems to be a different level of filmmaking that occurred 4-5 years ago compared to today. I think it’s a combination of beliefs and methods that forced people to be creative with what they had, the limitations created aesthetic opportunities, but these limitations also kept the membership much smaller... Now with the advancements, a lot more people have decided to give it a try. On eBay alone I have seen about 6 GH5s up for sale in the past month where the seller said they bought it because they decided they wanted to make music videos or short films but have since moved on to other interests. When the tech becomes more important than the content, there will be an influx of mediocrity. With that being said, I have seen a ton of nice GH5 work, but I’ve also seen a ton of nice t2i work and with all of the tech and visual enhancements of new cameras, I cannot say that the GH5 videos are better than the t2i or the GH1 videos I’ve seen. Hell, look at Kendy Ty... his films have gotten worse since he moved on from the t2i. Other’s films have gotten better. Interesting post.

I haven’t a hundred percent decided to sell it yet, so every tip helps. And yeah I remember your awesome dog out the window shot taken with the RX10ii.

Thanks Max, I appreciate the reply... honestly some of it went over my head but what I did understand makes sense. But I was out this weekend shooting a scene for my film and after using the 5D3 again, I will probably end up selling the RX10ii... even with the B&W Log, smaller file sizes and 120p... it just doesn’t measure up to FF Raw.

So I did a quick test of B&W with the 5D3 and my Edelkrone slider... I've never used a slider before... so I need a little practice... I love B&W with the 5D3 but Vimeo really mangled the compression... or FCPX did when I uploaded directly from there. I have seen a lot of people use Parallel Uploader (or whatever it's called) has anyone ever used that and does it make any difference with quality?

A 30-40 minute film is a risk but sure there are exceptions to the rule... so the question becomes... do you think your script and film will be that exception? I guess if you’ve already attempted to tighten the script as much as possible or to lengthen the film by exploring subplots but you’re still passionate about the script, then go for it... who knows. But to address your original comment... if you set out to write a feature and end up with a 30-40 minute script then there is something wrong with the story, or the idea isn’t conducive for a feature. Personally, I think 70-75 minutes is the sweet spot for a no budget, indie film. At 30 minutes, you are kinda in no man’s land... it’s a lot to cut for a short and a lot to pad for a feature. But even at 30 minutes, if you explore a subplot or two and then when you add B-Roll you may be able to push it over 60 minutes if you let your scenes play... but that main story better be damn good... especially your first 10 minutes.

@maxotics well I guess that’s my question... when shooting in B&W, in either LOG... or processing Raw as B&W in Resolve as BlackMagic Film, does one need to use a Utility LUT to bring the levels into a Rec709 space or does Rec709 only deal with color and not B&W as long as the image is corrected and the luma falls within the 0-100 IRE range? Does that make sense? Honestly, I am in the process of testing B&W sLog2 on the RX10ii vs ML Raw on the 5D3. My interest is in creating a workflow, for a very specific project, from shooting through post that is quick, concise and has a point and shoot nature to the process. Other than the XC10, the RX10ii is the most P&S camera I have ever shot with and believe it is an amazing run and gun consumer cinema camera, where as the 5D3, is a P&S cinema camera like no other camera I have ever used.

Well I believe there used to be a rule with the MPAA regarding motion picture length, for some reason 70 minutes sticks out in my mind, but I could be off. I believe most festivals consider anything over 45 minutes a feature. And I have seen a few features listed on amazon prime at around 60 minutes. So I guess it really depends on what your goal with the screenplay is? If you’re looking to sell the script to a production company, 50 minutes isn’t long enough and any Hollywood producer would tell you, you aren’t writing a feature or you didn’t tell the story properly. If you’re looking to make your own films from your script, then there are self distribution outlets like Amazon Prime that a 50 minute length is acceptable... but I would try to stay at 60 minutes or more. But this is a very interesting topic that I have been thinking a lot about lately, so thanks for posting it.

Are Log to Rec709 utility LUTS necessary with B&W sLog2 or ML Raw footage? I know some people don’t even use them for color, but I’m not a good enough colorist for that. But I thought that as long as I correct the B&W properly, that I may not need to use a utility LUT?

True, but I must admit that after watching Casey Neistat and Peter McKinnon’s videos with it, I was pretty impressed. When it hit $1249 for a refurbished model on the Canon store, it’s not a horrible choice with the better high iso performance it has over the 80D and SL2. Full frame with DPAF and articulating screen for under $1300 isn’t a bad deal for a hybrid camera... especially if you shoot a lot of photos.

Yeah, it’s rather strange how some camera makers have different quality video with comparable cameras in their product line. I shot the B&W videos in 4K and then downscaled it to 1080p before bringing it into FCPX. I did notice some aliasing and a little moire, but I chose the 4K for the higher bitrate to match the higher bitrate of the 120p... but I think I will try all 1080p on my next test. It’s amazing how much more DR there is with sLog2 compared to Cine2 but since the RX10ii is a 1” sensor, I wonder if I were to use an aps-c DSLR, if the larger sensor would make up for the DR gain in sLog2... in B&W?

I am referring to movies like The Paper Chase, or some Peckinpah like Picnic at Hanging Rock or Let’s Scare Jessica to Death. I even think with ML Raw, higher budgeted films like Jaws or Close Encounters is a look that could be emulated fairly well.

Well some people like the look of real life. With some 4K cameras, on the market, the image is clearer and sharper than my eye would normally adjust to on a regular basis. I prefer a softer, filmic look. I think that a lot of videographers are trying to emulate modern, high end video with these consumer cameras, and I think it’s an exercise in futility. No consumer camera, on the market, will look as good as an Alexa... even when shooting at higher resolutions than even the Alexa shoots at. But I think even the lower end consumer cameras can emulate the “look” of 70s and 80s film... which is my favorite era of films. When you take that goal and mix it with a camera like the 5D3 with ML Raw, that goal is more easily obtainable and can closely resemble the properties of film. And that’s the look I’m going for.

Congratulations @hyalinejim I just watched it on your Vimeo page after watching your GH5 wedding video. It looks beautiful and thoughtful. Good luck with it.