mercer

Yeah it looked like a beast, didn’t know it was 6 pounds though. Have you tried looking into some old Zeiss or Arri Super speeds? I think Andrew had a post of his and the GH5 a while back... they looked really organic. And small. Lol.

The B+W Vario ND is amazing. Very neutral... little, if any, color shift and I love the hard stops. Plus it has a special coating that helps keep the filter clean. I primarily use cheap Bower Variable NDs because they are also known to be very neutral and they also have the hard stops... plus they’re cheap... so if you ever scratch them or drop them... just go and buy a new one. But I am searching for the B+W Variable NDs for some of my usual focal lengths... 52mm and 77mm. I also have the SLR Magic and I notice a tint... it’s slight but it’s definitely there.

@jonpais it sounds like you have a well thought out plan. But I still question the need for the easy rig and a matte box for what you’re working on now? If your hands are shakey, a video monopod with IBIS would cure that and be a little less conspicuous... or even IBIS and the strap method would surely be enough? Obviously, shoot as you wish, just addressing why you may be having some issues shooting in some places... but I guess you don’t need me to tell you that. I keep picturing that BTS shot of Luke on top of the car handholding the GH5+ (or whatever it’s called) with that monstrous anamorphic lens. The Veydras are smaller than that lens, right?

Would a 35mm anamorphic be too wide for coverage on a S35mm sensor?

Well the JVC is over two years old and it wasn’t released at $2500... it was a $4000 camera at release. Bur yeah who wouldn’t want what you are proposing? Unless the rumored pricing is incorrect, I just don’t see what you are hoping for to be likely. But maybe, that would be cool. Who knows... maybe it will be the GH5C and the new lineup will be delineated as G9 = Stills, GH5 = Hybrid/Videography, and GH5C = Cinema. But honestly, I think the most obvious clue is that all rumors and clues point to a GH5 moniker... So I wouldn’t expect too many differences... I would think full VLog and a more efficient codec for the high bitrate stuff... maybe even 10bit 48fps and probably better touch AF. And I still think perhaps Dual ISO.

To add, I have no skin in this game other than curiosity. The only thing that would make me even consider a new camera at this point would be Raw or ProRes and even then I’m still probably going to stick with my 5D3. Also, since Luke released his alien pioneer movie, I forget what it’s called, I haven’t seen one GH5 video that looks better, so even a minor update could seem impressive with Luke’s skill set.

@DBounce it’s not about resistance, it’s about common sense... Panasonic is not going to release a S35mm version of the GH5, this soon, for only $500 more. A GH5 with all of the improvements you mentioned is a 4 thousand dollar camera. Manufacturers can only low ball pricing so much... unless Panasonic is throwing a Hail Mary because their consumer camera division isn’t doing well. I highly doubt that is happening.

Well if you bought a GH5 last week for $1999, and in 3 weeks a $2499 S35mm sensor version was announced, would you be a little annoyed? And I believe the LS300 works by some sort of zoom scanning, so although it has a micro 4/3 mount, only lenses that cover S35mm will work in S35mm mode. If you are using a native micro4/3 lens that doesn’t cover S35mm, then you have to “zoom” in so you’re not in S35mm mode any longer and you will have a crop factor. Now I could be wrong but I am pretty sure that’s how it works.

The rumored pricing is the issue and one of the biggest factors in figuring out what may be included in the new GH5. All rumors state $2499... well you’re not getting a S35mm sensor GH5 for that price. It would piss off too many current owners and it would eliminate too many of their m4/3 lenses, unless they have decided to go EF... but that also would piss off current m4/3 lens owners heavily invested in the system. I doubt it’s Raw for some of the same reasons. It’s probably something as simple as full VLog for better DR and a better codec or more efficient codec for the higher bitrate modes. I still think it will be available as a new body for $2499 or a paid firmware upgrade for existing GH5 owners.

No I don’t think it does... what I was trying to say was that since Luke said it was all daylight and the subject seemed to be lit from the front... the darker white wall could be the result of a shadow or less light but since that seems evenly exposed I thought Dual ISO... I’m sure I’m off base.

Panasonic bought Red, heard it here first, thanks for the info Luke.

Luke that’s gorgeous. The color reminds me of ML Raw... were you LUTS designed to mimic Canon color? I’ve read a lot of the quirks, some of which @Oliver Daniel mentioned in his reply, but for the price it’s an absolute gorgeous image and the video I linked to is some of the best looking footage I have seen from a camera t that price point. I am pretty happy with my 5D3, so much so that I am selling off a bunch of lenses and equipment I used for other systems, that I don’t see myself needing anytime soon. But I have been looking for another option in my tool kit and this could be exactly what I’m looking for. Do you have any links to good videos or reading material about the X5R?

Has anyone ever used the X5R with the Osmo handle? Most footage online is drone footage. But last night a friend of mine showed me some DJI Osmo footage and I went searching and found this video. In the comment section, the creator said it was shot entirely with the X5R, but I’m pretty sure that some of the end footage was older stuff shot in ML Raw. But either way, the opening is insane... I was blown away... Now I know the X5R has been out a while now and it has its issues and that the X7R is on the horizon with a S35mm sensor, but for the money and the ability to use fairly inexpensive M4/3 lenses, the X5R is pretty intriguing. Since I’m not really into drones it was never on my radar but with the Osmo handle, this could be an amazing tool. Any info from some users would be appreciated.

That’s true but I remember hearing murmurings that Panny’s cinema division was a little annoyed with the consumer division because they felt they were scavenging their tech.

Because Luke said it was “daylight all around,” so since the white on the t-shirt and the white on the wall are different tones, but evenly exposed, I am guessing the subject is lit from a couple different windows and the new camera/firmware will have some sort of Dual ISO... @Jonesy Jones Just a guess on a boring Sunday afternoon... I could be off base but I think the white on white was a deliberate choice for a specific reason.

Okay, so then the GH5+ will have the same sensor but have Dual ISO to get better lowlight.

Something with the whites? You have two pure whites but they’re showing up as different tones? Is it some kind of 3D exposure... background and foreground exposure is the logical conclusion... ? But I assume you mixed tungsten and daylight?

Hmm... I will say that his skin texture doesn’t look like regular GH5 footage... Hmm... However, I don’t think it’s Raw... I think Panny’s cinema division would burst a blood vessel if they did that... So, I think that maybe it will be ProRes. Perhaps Apple and Panny came to a deal since the 400mbps was making FCPX run slow? Was that an issue? Haha, maybe Panasonic is following Canon’s lead and they’re releasing a high bitrate mjpeg codec in the GH5+. They do have a big history using motion jpeg. Whatever it is, it does look nice.

While I agree that new locations are always a good thing, I’m sure if you lessened your rig, you would gain access to your usual haunts and can get in and out of other questionable locations without notice. That is one of the beauties of DSLR filmmaking and especially the GH5 with its IBIS. You’re not on a Hollywood set, don’t shoot like you are. But I also agree with @anonim ... your work has been stellar lately. I’d love to see a short film, shot handheld, with one of those Veydra lenses... or the Sigma. Keep it simple... small story, one lens and the GH5.

Yeah the timing of this is too odd to be a completely new camera without an upgrade path for current GH5 owners... especially if the rumored price of $2499 is accurate. A new camera that beats the GH5 for only $500 more, this soon after release, is something Sony would do, and get blasted for doing so.

I think hyalinejim may have already posted this but here it is again for any ML Raw users who want to give it a go...

So you’re saying the new GH5 will shoot in ProRes... lol. I’m starting to think that the new GH5 will be called the GH5+. It will use the same sensor with a few changes to the body as noted, but the big changes are firmware related. I also think the GH5+ will sell at a higher price point and receive a few bells and whistles more but any current GH5 owners will have access to the FW upgrades via a paid update.

That looks pretty good. I could never find a consistent method to get rid of the pink dots on the eos-m. I just posted a screenshot, on the BM thread, that @hyalinejim sent to me a few months back. @Juan Melara ‘s method seems similar except with hyalinejim’s method you set it up in the settings as opposed to the color panel. For some reason I could never get hyalinejim’s method to work because one of the options were greyed out... I don’t know if I was doing something wrong or if the version of Resolve I’m running doesn’t offer it... it’s probably me. Anyway, I’ve always loved the LogC look with ML Raw and find it grades so nicely with simple Arri to Rec709 LUTS... so any method to get me there is welcomed. Here’s a screengrab from a recent shoot using Juan’s method.

So I was messing around with this linear idea and I remembered that @hyalinejim sent me a similar suggestion that he set up in the settings. Unfortunately, one of the options I couldn’t find on my version of Resolve... I think I’m using 12. Anyway there’s a screenshot of his settings at the bottom of this post in case it’s helpful to @Juan Melara or someone else... It seems similar in concept but I am barely a layman at this kind of stuff. Since I can’t seem to figure out how to set up hyalinejim’s approach in the settings, I used Juan’s approach on another of my silhouette shots... And to be clear that’s a CDNG created from a 5D3 ML Raw clip. And here is a screenshot that hyalinejim supplied to me for an Arri LogC conversion using linear.

Well this site doesn’t like tifs... especially from screengrabs of Raw footage...