mercer

Yeah, I think it’s sharper than a Rebel... without a doubt. I actually think the D5500 is plenty sharp enough. But I also think a Rebel can be sharp enough for most jobs as well. If not a Rebel, definitely an 80D and the 7D2... especially for close ups.

@Inazuma it’s no secret how much I loved the D5500. It was, without a doubt, the best 1080p video I have ever used... not including a camera that shoots ProRes or Raw... and I actually found it rather sharp. It’s not Panasonic, Sony or Samsung 4K resolution “sharp” but I wouldn’t call it soft. Of course, I tend to like softer video, so that could be subjective. @gethin before I bought the D5500 I was shooting with the G7 and I thought the Nikon beat the G7 hands down with DR and IQ. It was an instance where color science and dynamic range beat resolution. So although I have warmed up to the GH5 and its capabilities, I am not at all surprised that you like the D5500 image better on some level. Also I have heard and seen nothing but great things with the D850. Obviously, I can’t speak for Andrew Reid, but he seemed pretty excited by it, maybe even more so than he was by the GH5... that could be based on him being more surprised by the D850. Plus the higher end Nikon cameras offer zebras so that’s a benefit and the D850 has focus peaking in 1080p. And although I don’t know if this is easy, but it may be possible to quickly switch to 1080p, or hit record from a 16:9 Photo mode, for the focus peaking. Obviously, you’d lose it once you’re recording 4K, but I guess it’s better than nothing. I have been on a 6 month search for a second camera and now that I’ve learned the D3400 has the Flat Profile and is so damn cheap, it’s definitely in the running... there’s just something about that Nikon image.

I hear ya, I have a project coming up that requires a small footprint and a quick turnaround. I had the RX10ii last year and actually really liked the camera. I fell into the mire of over adjusting every sLog2 setting in the camera and then needed the extra cash for my 5D3, so I sold it. But for this project it could be perfect. It’s in B&W, so I think sLog2 with B&W color could be a great combo, add the S16 aesthetic and it may be a winner. The project is still up in the air though, so I’m just musing possibilities right now. And I’m still trying to make my 5D3 work for it by testing Quick post/color workflows. I bought it from the rainbow imaging US eBay store, but it is the Fotasy Brand... see below.

If I remember correctly, only the Rainbow Imaging C-M4/3 works with that lens without modification.

A short focus throw doesn’t bother me, I actually prefer it for the same reasons @Mattias Burling mentioned. I even sold all of my non-ai and ai glass and replaced them with ai-s versions for the shorter focus throw. I do like focus pulls but if I need a little longer of a throw, a simple focus lever or zip tie will add a little. @cantsin I had the 12mm Cine Rokinon last year and really liked the lens and with the crop factor of the Pocket, it does give a nice 35mm FOV but if I do end up wanting a second lens, the only other small option, in that line up, is the 21mm and I would probably want something a little longer. So I was thinking the 17mm Olympus might be a good choice with its manual clutch, standard FOV, and electrical contacts... plus the possibility to get the 12-50mm zoom if I really need some more range. So basically the 17mm would live on the Pocket and the zoom would stay in my bag, just in case. And after looking at a ton of BMPCC videos, Olympus lenses and the Pocket seem to be a nice combo. But to be fair, I have also seen some nice work done with the Panny 14mm and the 20mm. But if I were to go the Panny route, I would choose the 14mm due to the pocket’s crop factor, so then the 20mm doesn’t make sense because it won’t be long enough for the two lens set up I’d inevitably want. Also I already have a set of the zebra f/1.9 Cosmicar c-mount lenses, so I have a 12.5, 25, 50 and 75mm if I want to go full on manual. I also have the Fujinon 12.5mm and 25mm c-mounts. But again I am just in the consideration phase right now. I’ve owned both the Pocket and the Micro in the past and ended up selling them because I felt I wasn’t a good enough colorist to pull the mojo out of the images. But now I’m thinking that maybe the Pocket is the best way to go for my mess around camera to get better at it. Plus since I’m an FCPX user, the ability to shoot ProRes and edit natively with the files sounds pretty appealing. So basically I would use the 5D3 for most of my work and then for fun, short mood pieces, I would pull out the Pocket. Haha, but I’ll probably change my mind in a few hours and want an RX10ii or FZ2500 for ease of use and to not have to mess around with lenses.

All fair points, but the only native m4/3 lenses I’ve ever owned were the Sigma 19 and 30mm f/2.8 lenses and although they were both sharp, I couldn’t stand the fly by wire. The Olympus 17mm 1.8 is in a different league compared to those two. And compared to Canon L glass they all seemed like toys. But the point of the 17mm 1.8 and the Pocket is to make the Pocket pocketable. The kind of stuff I am working on requires complete and total anonymity. I need to look like a tourist. So the smaller the footprint, the better. The Veydras would stick out like a sore thumb. Some small native micro 4/3 or some vintage c-mounts would keep the set up small. But everytime I think about a second camera, I end up looking at some footage from my 5D3 and I forget all about it. I could make an entire film with just my 24-70mm and be happy. In the end, when I do decide on a second camera, it will probably be some type of point and shoot or bridge cam like the FZ2500 or the RX10ii... if I have to buy lenses, I’d rather spend the money on FF lenses for my 5D3. I’d really love another XC10 but I’m not sure I can find one for the right price.

My friend just bought the 17mm 1.8 and I had a chance to mess around with it the other day. Beautiful lens, love the clutch. So can only imagine how the Pro models are. After seeing how nice the Olympus lenses are, I’m looking for a reason to buy back into m4/3... I may have to buy another Pocket or Micro.

Has anyone tested the 10bit 1080p? I loved the 8bit variant on the FZ2500 so I am really interested in hearing how it is on the GH5.

Panny, I know you’re looking for that 3 CCDs Magic but have you ever used a BMPCC? I think that would be a camera you might love. Throw some old c-mount primes or even the Panny 14mm or 20mm and keep the thing pocketable and you would probably have a blast with that footage in post.

Yeah it is pretty much fact that Fuji has a better color science.

There’s a video floating around, I think Driftwood may have done it, but he tested a bunch of variable NDs and although it doesn’t compare quality wise to a Heliopan or Tiffen, it scored very high for neutral color and it is one of the few that has hard stops at each end so you don’t get the dreaded X pattern popping up in you footage. They say you may take a sharpness hit but it hasn’t bothered me yet. I shot this with the 5D3 and ML Raw with the 24-70mm f/4 lens wide open and the Bower ND and it seems sharp enough to me... And here’s one from the Nikkor 35mm f/2 ai-s lens, shot wide open with Bower variable ND... They’re cheap enough, so if you scratch it or drop it, like I’ve done, just buy a new one. I’m shooting my film down the shore, so with the salt air and mist, I am constantly cleaning my filter, inevitably it gets cleaning marks. Anyway for the price they’re worth a try and Adorama has a good return policy if you don’t like it.

Yeah maybe with the new sensor you’ll be able to shoot VLog at ISO 100... which could be the significance of the close up robot sky shot that Luke shared. Which will also probably mean that you will be able to bake in LUTS.

Yeah, Max... this is truly beautiful work!!! And this is the perfect example why Canon is a great choice. In the first few shots when you followed the lead actor, the Tracking was right on. With the depth of field, I assume you used the 85mm for that shot as well? Damn, I so want a C200. How was the post workflow? I just started shooting ML Raw on a 5D3, and now I can’t wait to make that my B-Cam.

That’s true and I guess VLog will be free instead of an add on. Since we’re speculating, I would love for Panasonic to release a GH5b that only offers 10bit 1080p 200mbps all-i up to 72fps, and IBIS. I don’t need VLog or any AF, I’ll take the waveform and the shutter angle feature all in a metal body the size of the G85. Make it a 12MP sensor for $1000 to $1200 and I’m a buyer. I assume I’ll see a Canon Rebel with 4K before I’ll see that camera... so probably never. And I guess I wouldn’t mind some anamorphic too. May as well.

That’s a grey market GH5... good price though. And a sale isn’t a price drop. But I live in NJ, and since 6th Ave is a NJ based store I’d have to pay sales tax... so with the sales tax it brings you over $1600. Better to get a New Open Box From Samy’s for $1599. But if you don’t mind grey market and you don’t live in NJ, then that is a great price.

Well he doesn’t use lights and often enters restaurants and stores where lighting may be minimal and everybody online knows Neistat, soooo he was probably the first to get one.

It seems odd timing to release a new GH5s with nothing more than increased lowlight performance, though? Since I assume the majority of GH5 sales are from video users, it almost seems like they’re killing their own GH5 sales for only $500 more? Unless there is going to be a price drop of the GH5. This is actually kinda strange marketing and timing. I tend to think there will be a few more features and the price will be $2999. Just enough to warrant a jump in price but not enough to really hurt existing GH5 sales.

I think there will be enough features to warrant the extra money but it will probably leave some current GH5 owners annoyed it was released so soon after the GH5. I would expect lowlight either via less MPs or a larger S35mm sensor... or both. But I would also expect something more, especially if it is a micro 4/3 sensor. Internal NDs would be huge but also internal/external 1080p Raw or perhaps ProRes. I know people don’t like the idea of an EF mount but at what price point is too high for a micro 4/3 sensor... or is there a price point that is too high? I don’t really have an opinion either way, and the only thing that would make me consider this camera is a new codec... ProRes or Raw would really tempt me, especially if it has IBIS. Add internal NDs and I am even more interested. Throw a S35mm sensor on it and... I probably won’t be able to afford it. Hmm... this is some mystery. Obviously this camera has been planned for a while now, and obviously Panasonic wouldn’t want to alienate their new GH5 buyers. And since the EVA1 is roughy $7500 and the GH5 is $2000, then I would assume the GH5s will fall somewhere between $3000 and $4000. Well I guess the new rumor is that the price will be around $2499... better lowlight is a pretty big deal and for only $500 more maybe there will be nothing more?

Since the color shift in ND filters vary depending upon brand, I doubt it goes into consideration. If I were you, I would get ND filters with the most neutral color cast. A good neutral color cast ND filter is B+W on the more expensive end and Bower if you’re looking for a cheaper alternative.

Wow, that looks so good. Sorry for OT but I love seeing good videos from old forgotten cameras. I spent an hour this afternoon watching old hacked GH1 videos.

Looks pretty good. Checked out your Vimeo... what did you shoot Victim on?

It is so funny, I immediately thought... what camera did he/she shoot it on? Even when I try and discuss alternative ways to make films... I wonder the same things. Last year I started a post about camcorders and today I watched a couple XA10 videos and thought... Damn, if I was smart, I would just buy a camcorder with XLR inputs, a Rode NTG and go and make a movie. And then I needed to check the sensor size and rolling shutter tests and... Ugh...

I’ll do it too... 6 months to make a feature film on a hacked GH1 or consumer camcorder. I double dare you.

Panny, pick up a hacked GH1 for $100 and make a feature film with it. It will be the greatest marketing story since Tangerine was shot on an iPhone... or pick up a $200 camcorder with a mic input.

And if you insist on going old DV, probably a Panasonic DVX would be the cheapest best choice... except for the amount of time it takes to input the footage with a FireWire. And even then get an HV20 which is still considered a cult cam. Hell if you make a movie on an HV20 today, you would probably be considered the coolest filmmaker in the hipster world. ?