mercer

Damn that is pretty big, isn’t the 30mm kinda small? How do the two lenses match up? Is the color tonal qualities, bokeh and sharpness similar? Wasn’t there some talk back in the GX85 thread about pushing the WB a couple notches toward red or yellow? So I guess the cloudy preset is doing something similar? Either way it works.

I don’t know enough about the 12mm but I think that may be one of my favorites of your shots. Very nice colors. I love how the blue umbrella pops right behind his head and then the red on his collar helps to bring our attention to his face. He’s looking at you like he thinks you’re a spy... Lol. Can you post a photo of that lens on your camera? I’d like to see how big it is.

I get that. Either way it’s a great short that was so well done on so many levels. But your work usually is.

I tested this method on some footage I shot the other day on the 5D3. It's probably not the most optimal footage for it, but there is some high DR that was preserved fairly well... better than my previous attempt with the footage. I used Juan's method through the first stage of Rec709/Linear to Linear/LogC, then I exported the ProRes and did a basic color correction/grade in FCPX with Colorista IV and the Color Board... Whoops, image didn’t load... try again...

Another grab from my film...

If I get back into micro 4/3, I may pick up a lens turbo. The GX85 and the E-M10 Mark II are pretty cheap right now, so maybe.

Thanks, I love how the 35mm 1.4 is like two lenses... wide open it is so misty but it sharpens up so nicely by f2. I think those were all shot wide open though.

Yeah I Red that. As much as I joke with you Jon about the GH5, it truly is an amazing camera. If I was any good at manipulating Panasonic color, I may have chose it over the 5D3.

I stand corrected. Pretty amazing that the GH5 can turn you off to your Red set up, but I get it. However, I still think you should be making feature films with an Alexa.

Sorry, I should have been more specific. I would like to see Luke also shoot some videos with the Canon C200. Either way, I doubt he’s dumping his Red for the GH5.

Yeah the pre-ai and non-ai “K” lenses are great. The 50mm f/2 is one of the sharpest lenses I’ve ever used... along with the Minolta PG 50mm 1.4... great lenses. I ended up going ai-s because I prefer the shorter focus throw since I either focus by hand or use a lever. I guess if I used a proper follow focus, I may prefer a longer throw. And now as I am building my Nikkor set from scratch, I am trying to get the lenses that have 9 aperture blades. The 35mm 1.4 is an amazing lens. I shot these with it... But the 9 bladed Nikkors are pricey for my humble finances. However I did find a little gem with 9 blades... the Nikkor 28-70mm D lens. It isn’t constant aperture but it’s cheap and sharp.

I never said that he should dump anything, I would just like to see an alien arrival/abduction film shot with a C200. If anything, Luke’s talent has surpassed all of these cameras and he should be Kickstarting a feature film to be shot on an Alexa Mini. But wait... the Alexa doesn’t have IBIS or HLG, so the GH5 is obviously a better camera... and I don’t think there’s a Leeming LUT for LogC...?

Well Jon, the point remains that the GH line went up in price from the GH4 to the GH5. And although I see Cinegain’s point, I think the G9 is a redefined extension of the G7/G85 line... why they renamed the single digit to the G85 for that one camera I don’t know. But I don’t think we’ll see a G90/G95. Anyway I think there is definitely some repositioning of the different tiers of Panasonic cameras, so my guess still is that the GX80/85 line will be upgraded to the $1000-$1200 range and the GX850 will take over the GX85’s place as their low budget model. Just a guess, I’m probably wrong.

When I started I had zero money for lenses, so I bought the cheapest brand name vintage lenses I could find. So I bought a lot of Pentax and Minolta lenses, a few Nikon Series E, a whole set of Tokina made M42 Vivitar lenses, Yashicas, etc. As my interest grew, and my bank account, I started getting some better ones and now I have too many. I really like the Pentax M lenses and would recommend them to a lot of beginners, but they don’t resell that easily, unless you just want to get a couple bucks for them. So right now I just want to get rid of as much as I can and have two to three good sets of lenses. But I rarely change focal lengths, so my Nikkor “Set” May end up being two lenses... the 35mm 1.4 and hopefully the 85mm 1.4. I may pick up the 50mm 1.2 or 55mm 1.2 but I may not. I am also a big fan of B&W and that 60s, 70s film look. I think that most cameras on the market today can mimick that, so I am also building a small set of Takumar lenses. I tried to get into Contax Zeiss, and Leica but the really good lenses cost an arm and a leg and recently I have been only using my Canon 24-70mm f/4 and the 35mm f2, So I really don’t have enough projects on the horizon to warrant the expense. If I knew then, what I know now, I would have built a good set of ai-s lenses from the start, or the Rokinon/Samyang cine lenses. But now after using Canon L lenses with IS, it’s hard to go back to a manual lens and a tripod. But I do like the option to.

Is that trolling? Seriously though, people should be buying cameras based on their needs and if AF is a top priority, then don’t buy a Panasonic. If sensible menus are important, don’t buy a Sony. If 4K is important to a buyer with a $1000 dollar budget, don’t buy a Canon.

I think the better question is why do people who need good autofocus buy the GH5, knowing it isn’t top in class? It has plenty of great features, as Jon repeats ad nauseam but AF just isn’t one of them. For a lot of videographers, AF is essential... so buy an a6300/a6500 or a Canon.

Sorry I thought the GH4 launched between $1500-$1600 and although you got a great deal on the GH5 it still launched at $2000 and it seems to me that the G9 is a continuation of the G7, G85 line with an emphasis on stills. And the GX95 is a guess as I said in my first sentence. ? But I wish @AaronChicago is right and @Neumann Films goes back to Canon Raw because his 5D3 ML Raw videos are gorgeous.

Lumix GX90/95... my guess is Panasonic is in the process of redefining their camera lines. The GH5 went up $4-500 higher than the GH4 as the continuation flagship camera. The G9 jumped up about $8-900 but turned into their flagship stills camera. So the GX80/85 will jump up to $1200 and have a little more oomph as their mid-tier video/photo hybrid camera.

@jonpais I guess it depends how important AF is to any particular indie filmmaker. I just think it’s a folly to go back and forth about which company cares about their customers more... when they all care about deep their pockets are. I think all filmmakers need to decide what features are important to them and then make a decision based on that. For me, 4K is st the bottom of the list, so 10bit 4K doesn’t even register on my radar. It’s a cool feature but it won’t make or break any film I ever make... at least anytime soon. I do like the IBIS and 10bit all-i 1080p and in future camera purchases, I will probably want DPAF because that is a feature that will help my level of productions. But I don’t think Canon developed it because they really care if I can track focus and then tap the screen to rack focus. So no Canon doesn’t make me feel warm and fuzzy on the inside as a company but I appreciate the effort that went into that specific feature.

Well I don’t necessarily believe Panasonic wants GH5 owners to buy an HDR television but they do need proof of content to sell HDR TVs to others and since little exists, it helps that the GH5 can record it. And I am not saying that Panasonic is some evil conglomerate that rubs their hands together as they decide what features to include or not include in their cameras, but I also wouldn’t romanticize the intent of Panasonic engineers as being in love with filmmaking and shooting with their future GH5. Either way it doesn’t matter... everybody wins... Panasonic releases a great camera. They make money and filmmakers get great features for a low cost. I just find it hilarious that there is this idea that Panasonic is for the indie filmmaker but Canon or Nikon wants spit in our faces. They’re all about the bottom line and Panasonic chose Video features to reach theirs. Canon chose DPAF... etc...

Hmm... I don’t think anything I wrote above is negative of Panasonic or the GH5? But yeah we’re still buds, I just enjoy talking about cameras and watching what people can do with them. I may have seemed overly critical of the GH5, but in reality I was sooo close on multiple occasions of ordering one. I chose to go the ML Raw route after watching dozens upon dozens of videos. But the GH5 is an amazing camera that would benefit a lot of filmmakers and perhaps not the right choice for a lot of other filmmakers/videographers. With that being said, I wouldn’t recommend the 5D3 and ML Raw to most people either.

I did get a chance to mess around with his E-M10iii and there are a few quirks that are kinda silly. For instance, you have to go into the menu to change WB, the meter doesn’t show up on the screen in Video mode unless you hit the ISO button and then it will only be on screen until you’ve set ISO or dismiss the screen. Also the focus peaking is amazing but you have to keep pushing the button to enable it. The Muted Profile is really nice. I’d say the IBIS is better than GX85’s and the 17mm f/1.8 Olympus lens is awesome... it is so tiny and the manual clutch works great.

Oh well, it looks like we may have misinterpreted Luke’s news. After what Panasonic has already released with the GH5, I don’t see how anyone could expect anything more. But I will say that I don’t think it’s cynical at all to say that Panasonic made features available on their cameras to help sell televisions. It isn’t a bad thing, it’s business. Of course, Panasonic also knows their customers and understand that the GH series is a popular camera amongst video enthusiasts and indie filmmakers, so they include features like anamorphic, LUT loading, waveform monitor, shutter angle, etc... to solidify that customer base. I don’t think they include it out of the kindness of their hearts though. But they also add features like HDR(HLG?) which is an obvious attempt to get creators creating HDR content for future owners of their televisions. However, I do believe they’ve included 10bit video to help with their Log profile. And then they went a step above by adding the 400mbps all-i. So for whatever reasons, it still benefits the community, so it doesn’t really matter and if that forces Sony, Canon, Nikon, Fuji, and Olympus’ hand. Hell, maybe Pentax will be inspired to add more video features.

Is all-i h2.65 possible?

I guess it could also be some kind of straight 6K without Anamorphic mode or however that works. If we want to really speculate, the easiest way is to find out what the next big thing is on Panasonic televisions? Or who knows... maybe with all of the rumors of the soon to be announced FF mirrorless cameras by Canon and Nikon, that Panasonic has decided to release its own APS-C or FF mirrorless.