mercer

Hey Dustin, although I agree that you should save the extra money and go for the G85, you can get CineLikeD and CineLikeV with the GX85 hack. There is a huge thread about it on here. But to be honest, I think the added weight of the G85 will help with the IBIS. When I owned the GX85, I found the IBIS to be really good but it wasn’t tripod steady, it had a floaty feeling to it. Also, just in case you’re unsure how the IBIS works... if you’re using a non native zoom lens, then you will have to set the focal length every time you zoom in and out and if you are using a Speedbooster with the zoom, you will have to set the adjusted focal length, every time you zoom in or out.

Yeah, not great but better in 1080p. Then again, do you plan on doing a lot of back and forth whip pans? They’re on the verge of cracking the 80D which has a faster buffer than the 70D and more AF points. Plus the original Canon firmware 1080p is better with a higher bitrate, all-i codec. Plus the revered Canon crop mode.

Well the 80D is the newer model and like Ironfilm said, the C100 is always a good option. Also, if you can get the 5D4 for a good price, the 1080p is pretty good. I posted this video in another thread, but this guy did a great job with the high bitrate 1080p on the 5D4 using James Miller’s C-Log profile...

Mark, the Z camera makers should make you an ambassador and use your footage in their promos. You have been consistently getting nice images with that little box.

With that being said, is HDR ready for prime time? It seems Rec2020 has been around for a lot of years and the joke has been it was named that because it won’t be usable until the year 2020. Oh, now I’m really lost... I thought HLG was Panasonic’s name for HDR. I am so far removed from shooting or watching any HDR or HLG, that apparently I have a lot to learn. Hope you figure it out, because the new FCPX is awesome.

This may be old news with the new update but I just found a FCPX white paper discussing wide color gamut and from my lazy skimming of the first three pages, I found that you have to make sure both your library properties and your project properties are set for wide color gamut...

Does Panasonic have an HLG Rec2020 to Rec709 utility LUT.

Did you change them in the inspector or in project settings?

Yup, I saw a 58mm II, in mint condition, go for $299 the other week. I plan on building one more set of lenses in the Spring but I’m unsure which to go with... Contax Zeiss, Leica or those Voigtlanders. My other option is to go with an adapted PL to EF Mount lens, but I think my options are kinda limited on that front for FF.

@Geoff CB dang that looks nice. I’ve been eyeballing this lens for a while now and the 40mm... lol... and the 20mm. I was originally looking at the Zeiss ZF lenses but for a mini set, the prices are kinda all over the place on eBay. Where as the Voigts seem to sell at a price point I’m more comfortable with. Is this a screengrab from your Sony?

Dual Pixel Auto Focus and Phase Detection Auto Focus are identical?

Well, you’ll get that with most cameras. It took a long while to see a lot of good GH5 videos on Vimeo and YouTube as well. I have found that Panasonic and Sony require a little more precise exposure to get good color out of them. Where you have a little more leeway with Nikon and Canon. But if you want the IBIS, you’re only options are Panasonic or Sony... Unless you go with Olympus. If I required IBIS, I would choose the Olympus E-M10 iii over the GX85 to be honest... especially if you don’t want to spend the extra bit for the G85. To add, both of those cameras, the GX85 and the E-M10iii are small, so if you’re used to the size of the D5300, you may dislike the size of those two cameras and be more comfortable with the G85.

@Dustin good deal. I would still go with the G85 if I were you. Wait a month and save the little extra. I have seen some new other G85 cameras go for less than $700. Plus the extra wait of the G85 will help a little with stabilization. Also, make sure you get the version 2 of the Lens Turbo... supposedly it’s a lot better and they’re still pretty cheap at $150. Also if you do consider going with native lenses, I’ve used the Olympus 17mm 1.8 and it is a damn nice lens. The manual focus clutch works well and makes it feel like a true manual focus lens. Supposedly, the 25mm is pretty good as well.

Okay, Metabones makes both a Canon and Nikon Speedbooster. Canon lenses need electronics to work the aperture. With modern Nikon lenses, known as Nikon G, the aperture can be controlled by a lever on the mount. So the Speedbooster only needs a ring that will turn to activate the lever. With Canon lenses there needs to be an electronic connection to work the adapter. Metabones is the only brand that makes an electronic Speedbooster for Canon. Well there may be another brand... aputure, but I don’t think it’s worth the cost... you may as well spend the little extra for Metabones or save a lot and go with the Lens Turbo. If you are used to lenses with a decent focus ring, then you may not like most native micro 4/3 lenses, unless you go with Olympus or Voigtländer.

@Kisaha I’m sorry but if screenwriting were easier than audio, then every Hollywood movie would be a great story. Yet every Hollywood has great sound. But I’m not here to say that one is easier or harder than the other, I also wasn’t saying that you’d have a robotic sound guy following you around on set.

No offense, but I don’t think you’re following this conversation. But great points...

I get it, you’re an audio guy, you don’t want to believe that in 5-10 years time, technology will make it a lot easier for no to low budget films to not need a sound guy. I’m a screenwriter first, so when I heard a script was written with AI, it kinda ticked me off too. As far as cleaning being used twice, sorry it was mistyped... I meant if you get a clean recording, (with a microphone close to your talent) you can raise it in post. Half of the dialogue in Hollywood movies are ADR’d anyway and the on location audio is used as a scratch track. And anyone who has worked on DIY/Backyard films knows you can record audio in camera, with good preamps, if you get the microphone close to the talent for a take or two... with the right microphone. But there are a few programs that can completely clean bad recordings as well... they’re used all the time in the record industry when transferring vinyl to digital and those same programs can be used for cleaning up wind noise and dialogue pops, amongst other issues. But as I wrote earlier, I was referring to the future when camera makers include a better audio set up inside the camera. Hell, for all we know, the Panasonic GH6 could have XLR inputs directly in the body of the camera. To add, I would say this is already happening... Fincher has been doing this for a few years now and I would assume that the next generation of filmmakers will have no issue at all working that way. Right or wrong, technology moves forward and artists embrace the possibilities that technology offers.

Well I’m not in dire need of another camera. I have my 5D3 and I just bought another RX10ii to mess around with for casual video and slow motion. For about two years I went back and forth testing camera after camera and with my limited coloring skills, I was never happy. Then the moment I picked up another camera, I remembered why I enjoyed making videos when I first got my t2i and eos-m. For me the convenience of the Canon system... their great ergonomics, great menus, great lenses, great color, amazing DPAF and then some 4K if I need it, is enough for me to be hopeful of their next generation of cameras.

Well 4K Raw is 3/4s of that camera. Plus when you add the middle codec, the low codec will only be 12% of the camera. But you may be right with the mjpeg... which I am fine with. I shoot ML Raw now, so big file sizes don’t make me squeamish plus the 400mbps Panny all-i codec produces similar sized video files but require more computer power to process... so yeah a S35mm 7D3 at less than 2 grand, and I just may be a customer.

Plus 10bit 4K 60p Raw is hardly crappy... you can’t even get that with the EVA1 in an h.264 codec.

Well eventually Canon needs to release 4K in their DSLRs with manageable file sizes... since the MP4 on the C200 records at 150mbps, I just assume it will be that. Also, on the Canon site, a middle codec is still listed as TBA, I assume that will be the missing link. Then you must really hate the FS5 then?

Crappy Raw? Oh...kay... name a better image for $6000?

Idk, not for only $500 more but I’m sure, when announced it will be an Oprah car giveaway around here... I was referring to this, or something similar to this. As you said, Magic Lantern has had this for years and regular Canon firmware has been doing it for awhile now as well by alternating two ISO values every frame or few frames. With Panasonic bringing HDR features into the GH5, I assume it would be related to that feature in some way. Dual ISO, or some sort of dual exposure maybe by using both card slots?

Well, if I remember correctly, the original 7D was kinda marketed towards video, so I wouldn’t be surprised. The question will be if they use mjpeg or mp4. It’s rumored to be announced in March/April right before NAB, so that would assume a May/June availability which would bring it right around two years after the 5D4 was announced... so a considerate jump wouldn’t be unheard of. And then there’s the FF mirrorless rumored to be announced by year’s end... so we’ll see. I would say that without a doubt, for the foreseeable future, the GH5/GH5s is king for video features alone.

I guess the a7s3 will have 4K 60p but since the a7r3 didn’t get it... then it’s quite possible the a7s won’t either. Most likely, if anything, it will export it.