mercer

Sorry but we’re talking about the state of cameras in 5 years from now. Oliver said that cameras will be so good that tech wont be an obstacle (I’m paraphrasing) and story will be the only factor. In some ways it is like that now, yes, but when these cameras are complete packages, with great AF and with usable internal sound, a Rebel will be more than enough, technically, for any kid to pick up the camera he/she got for Christmas and start shooting a movie the day after and only need to worry about telling a good story. Sure a kid could do that now, but they would need knowledge, skill and more equipment than just a camera and a external microphone... in 5 years... that may just be enough.

Yeah, if you insist on making a movie the same way that Hollywood does. But I’m talking about a kid grabbing a camera and making a movie, using creativity to work around and with current and future tech. Sound can be cleaned in post as long as you get a clean recording. What’s acceptable for a theatre release is completely different than what’s acceptable for online, and vod distribution. Hell, even Hollywood movies I watch on Netflix sound like shit... The point being that with a $300 DSLR, some creativity, and a great story, a kid... or anyone... could go out and make an amazing film.

@wolf33d I highly doubt the GH5s will have PDAF. And honestly, is a GH5 that much smaller than a DSLR? I assume the 7D3 will have the 8bit 150mbps 4K from the C200. And I doubt any camera maker, other than Panasonic, will have 10bit for a little while. For most work, 10bit is unnecessary. So if good AF were important to me, I would choose a camera that has DPAF or PDAF over 10bit color. Now I would love for the GH5s to have a ProRes or Raw option, but for the rumored price that seems unlikely as well. So far, everything I’ve seen from it looks stunning, so it will definitely make a lot of videographers very happy.

@wolf33d the 7D Mark iii will be out in the spring and you can have 4K and DPAF and you’ll be happy. And supposedly CLog Hell the 5D Mark IV’s 1080p is pretty clean up to 60p.

Honestly, it’s like that now. If you search GH5 on Vimeo, everything looks pretty good, but the ones that truly stand out, visually, are from the usual suspects that make any and every camera they pick up look good. But any of the creators will excel if they go out and make good content. The next huge indie film will be shot in 4K by some kid on his new 90D and the DPAF focus pulls will look like a Hollywood AC racked the focus. The tech is already there for what your envisioning it’ll just take a naive, but creative kid to go out and do it and not sit on forums like I do and talk about it. At this point the only real necessity is an upgrade in internal audio. Once these cameras have good preamps with a 3.5mm jack, the whole package is complete. The only camera I’ve used in the past five years that has decent internal audio is the RX10ii. And if Canon (or Panasonic or Sony, or whoever) fixes that, any kid with an idea can get a Rebel for Christmas and shoot a movie by the New Year... Hell I should do that this year with an 80D... Crap, it has shitty preamps... oh well, maybe next year.

Funny you mention that, for the hell of it, I tried importing a CDNG clip I made with Raw Magic and it did import the file... every single still.

@EthanAlexander I updated to High Sierra before I updated FCPX. I was tempted to try it without updating to High Sierra, though. One issue I did have is that one of my libraries that I normally have saved to an external drive, saved to my computer’s hard drive instead. Not sure why it happened. It was just my color test library so I ended up deleting it because it wouldn’t let me move it back to my hard drive and it took up too much space on my laptop. I assume it was a user error and when prompted to update my library I didn’t notice it wanted to save it to my MacBook. However, I never had an issue with any other update...

Haha... because I didn’t realize there was such a thing. Thanks. Found it... obviously. Okay this is better than the inspector method, but I still think it would be better as an option in the color tab.

Updated... Holy Crap... it runs so smooth. The color tab is so good now. I’ve been using the color board for a while, but I had to jump back and forth between the Color Board, Colorista IV and Color Finale and now there really is no need to... Everything can be done in the color tab. Since I’ve never used the Hue/Saturation curves in Resolve or Colorista, this is something I need to learn more about. However, I don’t love the way they implemented LUTS... going into Inspector first seems like an unnecessary step that could have been a subset of the color tab and I don’t like that you can’t control the strength of the LUT, but at least they have made it insanely simple to import LUTS. Again, if FCPX could just import CDNG files, then I would be completely satisfied.

That good? Great to know, maybe I’ll update everything today. Now if only FCPX would work with CDNG files, I could delete Resolve from my computer.

There’s a line from the classic baseball film, Bull Durham. In this particular scene, the veteran player on the team, Kevin Costner, is trying to convince the up and coming pitcher, Tim Robbins, that he needs to take his talent more seriously. Tim Robbins replies... “I have a Porsche with a Quadraphonic Blaupunkt.” Kevin Costner calmly states... “You don’t need a Quadraphonic Blaupunkt, you need a curve ball.” So as much as I see the positives in the GH5 and am constantly surprised by how many damn features the camera has... I wouldn’t need half of them, or more. If I was going to shoot small sensor, I’d rather shoot with some form of S16 digital sensor... be it with a BlackMagic or with a 1” sensor bridge camera. So everybody has different needs and wants.

Good to know, thanks.

@Raafi Rivero wow, that looks amazing. I love the color. And the ISO performance is impressive, to say the least. I look forward to some exterior shots. Congratulation on the new camera... that was a patient wait.

Is h.265 any faster to process now than it was a few years ago? When I had the NX500, it would take forever to transcode the footage to ProRes in EditReady. Converting ML Raw from MLV to CDNG to ProRes is a faster process than transferring h.265 to ProRes was. Also, OT question, but is there a 1080p anamorphic mode in the GH5?

If the low mp sensor is true and the 10bit 60p... maybe there will be a permanent price reduction of the GH5... which means lower open box models as well. Hell at $1599, the current open box price is pretty damn good but I’ll happily take $1299. I’ve been looking for an all-i 1080p camera for a while... maybe I’ll get my wish after all.

Plus UHD may be 10bit all-i. And perhaps 1080p all-i up to 120p.

@Liszon yeah but that’s a better 60p spec than the EVA1... which is pretty unbelievable really.

Either that, or somebody farted.

So it seems C4K at 60p 10bit... that’s a pretty interesting spec. That alone will make a lot of filmmakers happy.

@Germy1979 I may have a few minutes to test it for you tomorrow. I’ll let you know.

I used them with different lenses, but I like it better. The SLR Magic is really well built and it has a cool handle, but I feel it is somewhat over engineered and there is a slight tint, I don’t notice with the BW. Most people love them though, so...

Yeah, I love ML but the forum isn’t the most friendly of places... or organized. You should definitely test it with one of the new, nightly builds. Full disclosure, I thought you were referring to LiveView while recording, not for playback. Stupidly, I trust my shots and haven’t tested playback, but I am pretty certain it works fine.

@Germy1979 oh yeah, full continuous 14bit 1080p at 24p is completely stable with clean, color liveview. Once installed, on an SD card, recording with a 1066x CF works like any camera on the market... except you get Raw video and every other goody that ML included. 60p is also possible at a lesser resolution but I don’t think it’s continuous at 14bit. With the new Lite modes, you can supposedly record it in 10 or 12bit though. But I haven’t tried the Lite modes yet. If you can handle a choppy liveview, you can record continuous Lite Raw in crop mode at 3.5K. Andrew has a post about it on his blog. https://www.eoshd.com/2017/09/the-eoshd-5d-mark-iii-3-5k-raw-shooters-guide/

Good to know, I’m on a Mac... I’ll do more research.

I think it works like ML Raw, you have to use the CineLight program to process to DNG or ProRes... not sure why but it seems that way from their website. The X5S eliminates that process but you need the drone and they don’t have an Osmo handle for it yet. Now for someone like me a hobbyist, narrative filmmaker who has nobody to answer to or real deadlines, I can work around those restrictions, but for someone who makes their living off of their gear, I can understand how it may be an obstacle... But holy shot that image is just gorgeous.