zerocool22

Hey, I own 2 24" monitors right now. But when opening Resolve/Premiere the layout does not really fold open really that great and the view is somewhat limited. So I am thinking about buying a 32" monitor. But here is my noob question should I go for 1080p or 4K. At this point I dont really care about the quality difference when viewing 4k video. But should the 4K screen not bring more resolution to the same size screen? And I could unfold more Premiere/Resolve Layout? Or is my thinking here wrong? Thanks!

So I did a lot of tests, and this is what worked best for me for vimeo. - Render/upscale as 4K Prores HQ (3840 x 2160). (bitrates always at least same bitrate as the one I recorded A7S ii 60fps 50mbit) - If prores acts up and makes strange artifacts, remove "render as best quality". - GorillaGrain 10%

Well we still got a 4K RAW 1.74x camera. Which is not full frame but aint that bad either.

Oh yes, I didnt think off continious recording of 10bit on higher resolutions, but that could be indeed great.

I would get the GH5, I own a A7s ii and still thinking about getting a gh5. Do you ever need to shoot anything above iso 1600 anyways? I sure dont.

Well if the 5D IV gets RAW it will certainly be the best image in that pricerange and probably 3k above. I am using a A7S ii right now, but the step up to the next league is so big. (C300 II, Kinefinity Terra, RED Dragon/even MX), and I have pretty much used about every camera beneath the Scarlet x including the C300 I. And I have to say the 5D III was still the best image so far, and the 5D IV improved its specs allround (resolution,DR, lowlight), . So the 5D IV RAW would fill quite a large gap in camera's, and I would certainly upgrade to it. So the ML hack for the 5D IV is for me atleast the only affordable camera that I would love to upgrade too.

Hey, Not sure if this allowed but I would like to draw attention to the development of magic lantern for the 5D IV. The developers dont have access to a 5D IV and dont got much time for it. So I would like to get as many people to raise funds for the developers(buy 5D IV, buying time) so they can hopefully crack the 5D IV. As they long prolonged the life of my canon 550D and my 5D III, and I got a lot of pleasure of the camera's thanks to the ML team. Here is a link to their bitcoin donation page. Anything helps! http://www.magiclantern.fm/donate.html

Hey, I just exported a clip in premiere to prores 4444. But when it is rendered it is showing me these weird artifects, and in Premiere itself it looks fine. What is going on and how to fix it? Thanks!

Yeah the dvx-200 was a failure on panasonics part, I think they know that aswell. 8bit, integrated lens, its more a ENG camera then a cinema camera.

Yeah panasonic has the varicam line. Which is great but also expensive. But nothing serious in between(at least not for me). And look at Sony, they released a FS7 II, and you need to pay 2300€ more then a FS7 I and it has like none interesting improvements(atleast not for me). But Im not hoping on panasonic or sony to get a cheap cinema camera.

Because of the fs5 and fs7, they will only put 10bit in a consumer camera when we will see a signifcant upgrade in the fs5 and fs7.

nah A7S III will 99,9% not be 10bit. If you got the money, the c300 II is the best option. It might be noisyer, but you will be able to clean it up in post where you will not have any playroom with the A7S. Im hoping the C100 III will be 10bit and RAW to external recorder. Then I will be all over that.

Sony will not put 10bit in the a7s iii, probaly best spec upgrade will be 60fps 4k.

Yeah Im on windows, so I got no clue how to install the prores codec (Premiere/AE/resolve)on windows. Otherwise that would probably be my preferred solution.

Sorry to bring this topic back up. But this is something I run in against every single time. So I am doing some tests(youtube). -H264: 10 bitrate ==> 35mm grain =>unusable - DNxHD: 195 (windows so MXF) ==> 35mm grain => only slightly better Will try to upload later today with H264 huge bitrate and try with 8mm grain. (will also test out the quicktime render settings).

Hey, I am selling a full anamorphic set. Kowa bell and howell 2X if you are interested. (which should be sharpest anamorphic option out there at this pricepoint).

+1 Blackmagic is also in the game(hinging behind on the high end cinema lines). But I would like some more competition, as ARRI and RED prices are way beyond any hobbyist like myself can afford. But I do want that quality as I am really bored with all these DSLR specs and codecs. I would love a affordable cinema camera with a alexa or dragon image. If they only priced the alexa mini 5-10k I would be set for years.

Hey Luke, How do you like the GH5 compared to the A7S II, does it replace the A7SII (except low light, full frame and more DR)? Thanks!

Hmm seems I will be passing on the GH5, it seems like a decent step up from the GH4. But the highlight roll off seems bad, and the image is still videoish(I know you can work around it, I have done it with the GH3 and GH4), but my main interest was the anamorphic mode, so as long there is no 10bit anamorphic I will not consider it. Its not a bad camera, but I feel like it isnt the right camera for me right now. I wish magic lantern could get ML raw working on the 5D IV, but that will probably also not happen. So I will be fishing for a used RED, kinefinity or ursa mini 4.6k instead, but I still got time so maybe NAB has got some good surprises in store for me.

In that case, please make a GH5 without ibis, so people who dont want ibis can have a GH5 cheaper. V-log is just a software update not even hardware. Everybody has already bought it for their GH4 to extend the GH4 life, now we need to buy it again on a brand new camera....? Well maybe were speaking too soon, lets wait on the actual broadcast.

Yeah no free V-log what the heck. Inlude RAW video aswell and then I shall pay 100€ for the update. Make the image and codec better, instead of trying to include IBIS, PDAF or anything like that no filmmakers cares about(yeah I know cinema camera's are in a other league but it would be damned nice).

Personally I find that fuji has the best color science out there not only mirroless, but basically everything. Maybe loses against Arri. As for now I shoot with an A7S ii, but want to upgrade this. Hopefully the GH5 will blow it out of the water. Not sure if it can do that. The anamorphic options are a big win for the GH series. And Sony will probably wait 5 years for implementing any anamorphic on their cameras. But if the image out of the GH5 somewhat dissapoints, I think I will save up for a RED raven or kinefinity terra or ursa mini 4.6k.

Its marked in feets

Well I own a A7S II right now, and I hope the GH5 will blow it out of the water(I dont need iso over 3200).

I am also selling mine for 500€, pm me if interested.