Phil A

But would you want to color grade on a 21" TN panel that was run 8h for 5days a week for 3 years? Also +1 to transcoding. I have a system with way better performance than what you're looking at and I still transcode all my H.264 stuff to ProRes because it's just less sucky for editing. A regular SSD or maybe 3 or 4 spinning drives in Raid0 are perfectly fine for even ProRes HQ in UHD 60p.

That Samyang 24mm 1.4 is clearly not representative of what the lens is supposed to look like wide open. For reference, just look at some pics on Flickr. Exchange it and the next one is probably a lot better. Quality for money, the Sigma 24mm 1.4 is amazing. In general I think the Sigma Art lenses are always a solid option, especially when adapting to mirrorless (no such thing as auto focus adjustment like in DSLR).

Considering that these are all mainly photography cameras and photographers like ecosystems and lens choice and stuff, we have to say: NX1 -> the first really good Samsung NX camera, but lens choice limited. Basically the 16-50, 50-150 and 85mm were the only pro lenses. Leica SL -> Leica. It's silly expensive for what it is/does. It's just not a mass market product. Barely native lens choices. Fuji X-H1 -> Exact copy of the X-T2 with IBIS and better ergonomics. Price difference and timing issues therefore... you also get exactly the same picture quality with the smaller models (X-E3, X-T20).

How is everyone editing his GH5 files, explicitly asking about the (in my case V-LOG L) 24fps 10bit UHD files? I'm using the regular Davinci Resolve so I can't edit the files natively. Therefore I use Rocky Mountain Movie Converter (which was the go-to with the h.265 files of the NX1) to transcode my footage to ProRes 422 HQ which I then edit and grade. I once read that this is a sub-ideal transcode but struggle to find other ways to easily(free/cheap) transcode, seeing how I have no access to Adobe Media Encoder CC due to lack of interest to buy into the Adobe CC subsciptions for video just to transcode files. Now with this workflow I have the Pro that it edits edits smoothly with the Cons of over 700 Mbit/s files needing a lot of storage while likely having quality loss due to lossy compression of an already lossy codec. I'm wondering what's the best course of action in your opinion? Keep the current workflow and maybe use a different transcoder Easy performance for my system but needs a lot of disk space and questions of generational quality loss Buy Davinci Resolve Studio to natively edit the 150 Mbit/s IPB files without transcoding Uses very little disk space but probably going to kill my system on the CPU level for the decoding when scrubbing/playing Buy Davinci Resolve Studio to natively edit the 400 Mbit/s All-I files without transcoding Uses more SD space (and buy new V60 cards) when recording, but less disk space than ProRes and probably acceptable system performance For the final results (on the internet) I have to question if the quality differences might even be noticeable but I'm a hobbyist so it's as much about enjoying the process. PS: Main system is an oc'ed i7 5930K with 32 GB RAM and oc'ed AMD R9 390. System, apps and all media on multiple Samsung 850 drives. Secondary desire to edit very basic stuff on my laptop with i7 6700HQ, 16 GB RAM and GeForce GTX960M.

@FoxAdriano The screen has lower resolution than the EVF, better get the G-Cup from Guerilla https://www.guerrillaproducts.com/products/g-cup-panasonic-gh5

As we're discussing travel videos, I'm curious about your feelings about duration. I think that the "parties involved" tend to go towards too much length due to having an emotional connection while an un-involved viewer might be better served with a short clip of only 1 or maybe maximum 2 minutes? Maybe split a longer clip up into multiple shorter ones with a specific theme? Obviously if it is to be posted via Social Media, attention span of most viewers is more like 10 to 30 seconds.

I just wish the sun hood was a) better designed/engineered b) less expensive c) both of the above Besides that the monitor is a pure pleasure.

I actually really considered getting one just like 2 weeks ago. We are working on shooting food videos more frequently and together with an external recorder the high frame rate options in raw are incredible. In Germany it's still like 2000 € used, then the 7Q/ShogunInferno on top, need for sturdier stabilization, etc. made us hold of for the time being as hobbyists. Seeing how you probably wouldn't make that much use of slow motion for narrative film making, I would probably opt for a camera with a "nicer" image. Personally I actually liked the Ursa Mini 4k image (as I did the BMPC4k). Since the Ursa Mini Pro is out I also see clear price drops on used UM4.6k which would probably be my first choice if I was in that type of business.

Used an A6300 with the kit zoom on a Zhiyun Crane. It's light enough that even when you zoom the gimbal motors easily compensate the off-balance. You could even motor-zoom from the gimbal itself if you have the connection cable. So it depends on your setup. Also internal focusing isn't really helping over externally focusing as it will move glas in the lens and change the center of balance.

https://www.flickr.com/groups/4162920@N21/ Great focal length imho, especially combined with the wide aperture. When 35mm is a wee too wide and 50mm a bit too tight, 40 is even more universal. I'm shooting mostly with GH5 + focal reducer + Sigma 30mm 1.4 because it gives me something like a 42mm f/2 would on film (photography) and I wish it was a stop faster for stronger background separation sometimes. Can totally relate why @jase considers to get a Sony A7 just to use that lens.

Regarding the bold part, I would imagine BMD intent this to be used for Davinci Resolve and their stance is that you need an I/O box anyway because monitoring via GUI isn't color accurate due to OS drivers/profiles. So they probably expect one to use 2 screens + a grading monitor via the Intensity Shuttle (that conects through Thrunderbolt or USB).

BMD partnered with Apple for an external GPU, it was announced today. https://www.blackmagicdesign.com/products/blackmagicegpu/

Nevermind. Edited, ignore my post.

Tremendously so.

What kind of files do you edit? Is it JPEGs, DNG shot with the mobile device or raw files you transfer to the device? With JPEGs there's only so much you can do, might be that black/white already clips. DNG shot with the mobile device (e.g. shot with the Lightroom app and set to DNG) are obviously quite a bit better but also don't have too much dynamic range. With raw files imported to the iPad from my camera I feel like it's more or less identical to editing them on my computer with regards to fixing exposure weaknesses. If you feel that other apps give you less leeway with raw files, maybe those apps can't actually edit the raw file but use the embedded JPEG preview?

I think Adobe Lightroom Mobile is free if you can live without some of the functionalities. I have the Adobe Photography subscription and use Adobe Lightroom Mobile a lot for social media activity. I just wish it wouldn't always try to sync all my stuff into the cloud, which I just don't want.

Semi rant: I shoot a lot of photographs with my GH5 and I use auto-focus with eye detection for it. If someone is proper dark skinned and has glasses, you're about to have a bad time.

Heard about that stuff yesterday and I'm very positive, it could be really big for hobbyists and travel/vlogging kinda stuff. I have personally two scenarios with the stuff I do: a) I want to create something nice, will sink quite some time into editing, colouring, etc. and the result is a few minutes long and will go to YouTube b) I want something for Instagram/Facebook and it will be 15 or 30 seconds long, might go into the InstagramStory and be gone within 24 hours For a) I have a custom workstation with an I/O card, multiple monitors, etc. where I use DavinciResolve and am happy. But Resolve is imho not ideal for laptops when travelling. My laptop runs it okish when having simple edits + ProRes converted source media (but my laptopt is a 15.6" gaming laptop and weighs 3kg + charger), on my girlfriends MacBook Pro 13" it's just ugh. For scenario b), this will be perfect. Because of the weight/clumsiness of the laptops we have transitioned to LumaFusion on an iPad Pro because you can hack together the material, you can use *.cube LUTs to grade it (you can generate a custom LUT in DavinciResolve so you get really close into the ballpark of your "usual look" with a click, you can even stack multiple LUTs in LumaFusion and adjust their intensity), add your music (Soundstripe can directly put the track I pick into my Dropbox and LumaFusion can directly retrieve it from there). With that you have top notch social media content compared to most channels who shoot video with their iPhone directly in the Instagram app with maybe like 5 or 10 minutes of extra effort. Adobe Lightroom CC Mobile is great for this when it comes to pictures, so I'm really looking forward to see what this will bring for video. I just hope they won't make you get the 720€/year Premiere Pro subscription just so you can use the Rush mobile app.

The Ronin-S is really humongously big. I'll pass after initial interest.

Another alternative to using fixed NDs as screw ins (maybe with the overpriced Xume adapters) is to use a filter system like landscape photographers use (e.g. Formatt HiTech, Lee, etc.). You put the adapter ring on the lens and then the filter holder gets just put on and locked with a screw. The holder can, depending on type, hold multiple square resin/glass filters. You can just slide them in and out and you can combine anything, e.g. NDs, Graduated NDs, BlackProMist, etc. It's a bit bigger but again you only buy the filters and filter-holder once and then get fitting adapter rings for your different lenses.

I have the SmallHD 501 which is not exactly cheap but pretty much amazing. The used price went down quite a bit since the SmallHD Focus is on the market. Between the two, the choice is 1080p screen vs daylight viewable and to be honest I'm not sure what's the better option. There's a sunhood for the 5series but it's rather big and I think 70$ is a silly price for something that should have been included with a monitor in this price range. As you want a monitor and not a recorder, I think there won't be big real-world improvements in the foreseeable future so I would rather save up a bit and try to get a used SmallHD over one of the cheap options.

Did exactly what cantsin said. Bought a cheap Spyder when there was a sale on Amazon and use DisplayCal / ArgyllCMS for free. Have used it to generate profiles for my monitor as well as a LUT for DavinciResolve outputting via a Intensity Pro 4k to a TV. I re-calibrate once a year. You need good screens tho and different technologies give different results. I tried to use a screen I got for free at work and it was always rubbish, no way to properly calibrate it. Calibration can't fix clouding from bad backlighting or the fact that OLED/Plasma has way deeper blacks than IPS. If a screen only does 90% sRGB, you won't get proper sRGB/Rec709 calibration.

I'd be concerned about latency with some of these recorders, the cheap ones can be pretty bad. No help for pulling focus if it's lagging too much. Clearly an important point for research before buying.

It actually might be the combination with the speed booster. Did you try to adjust the optical element to fix it? http://www.metabones.com/article/of/infinity-adjustment-speed-booster-only I also heard that with some focal reducer brand/model + lens combinations, there are issues that it's not possible to get perfect infinity focus.

The marketing material says it can control Panasonic cameras but I couldn't find a single early review video where someone was using it with a GH5 and show if/how the focus wheel works. I saw a bazillion videos with plain A7-something setups (small-ish lens, no cage, etc.) that would have worked with any other one-hand gimbal in the past. Can anyone point me to one?