Linus N

Depends which lenses I'm swapping from and too, but yes I have to do it occasionally. Takes 5 seconds though

I've built a Canon FD set with 20/2.8, 28/2, 35/2, 50/1.4, 85/1.2 and 135/2 that I use for all my professional shoots which are mid-tier commercials mostly. If I can get away with the characteristics I keep them wide open and if I need sharpness I stop down to an F4 or so. Long-term plan is to have them re-housed to PL by P+S Technik. I like the look and they cover FF to follow the camera trend. Edit: ...with focusgears from followfocusgears.com and fronts from Simmod to make them somewhat usable in a professional setting. Only downside is the fiddly process of swapping lenses ?

I mentioned this in my other thread, but in short the GH4/5 are known for HDMI delay, however I get way more delay into Ninja V than with other monitors. And until we get SDI on mirrorless bodies HDMI is the boss the short delay I saw on the Z6 setup the other day would work great for my use-case, where the GH5+Ninja V is unusable for anything than static shots really.

Hey forumers! I posted a thread some time ago about the signal delay between my GH5 and Ninja V is too pronounced to be usable. Atomos have yet to recognize the fault is theirs and accept a return, so I'm looking at investing in an S1 or S1R to supplement my GH5. The interest was sparked the other day when I was shooting a food event and another videographer turned up with a Nikon Z6 with Ninja V attached which had a much lower delay and it just looked so lovely with the FF and low delay monitoring with the Ninja V. Now, those of you that own an S1/S1R and Ninja V, how are you experiencing the delay? If it's at GH5 levels it's a no-go for me, if it's as fast as the Z6 I saw the other day I will order an S1/S1R today. Thanks in advance! EDIT: For instance, the lag seems quite pronounced when this guy turns his head https://youtu.be/bdCbpPxQbw4?t=187

Got links for the "true working sound men"? No sass, just curious

Yeah, both the GH5 and GH5S (and GH4 for that matter) have a very apparent and distracting delay over HDMI which I've come to terms with in pairing with my older monitors. The added delay of the Atomos, however, is just too much. I'll have to wait and see what Atomos final word will be, but it puts me in a situation of either ditching the GH5 or ditching the Ninja V either way. Ugh! Do you have any source(s) for these numbers? I'm curious to learn more

Hey shooters! I received my Ninja V about a week ago or so and set it up for testing. To my eye the delay is way too much to be usable in a shooting scenario involving anything but static shots or very slow movements. I compared it to an Aputure monitor and a SmallHD monitor we had laying around and the delay to those monitors are about 1/10th of the delay I get into the Ninja V. To give more context of the tests (I don't have the camera infront of me right now so some phrases might be off): I've tried all system frequency modes and a variety of framerates, concluding that the higher the framerate the lower the delay. I.e. 24fps has more lag than 50fps and so on Delay is the same in 1080p and 4K Tested a variety of output scaling options from the GH5; 4K, 1080p, auto - same delay in all of them Tested different HDMI bit mode settings (8bit 4:2:0 and 10bit 4:2:2) with no difference in lag I've fiddled with all HDMI settings in the GH5 to A/B test different combinations and the lag remains the same no matter what I've tested with two different GH5's and one GH5S, all displaying the same amount of lag Tried different cables (and yes, made sure that the one I have is 4K 60p compatible) Turning on or off different monitor tools being sent from the GH5 to the Ninja V made no difference One thing I haven't tried yet is testing the Ninja V on a different type of HDMI output. A cinematographer friend in another city tested it with the Panasonic EVA-1 and experienced no issues I e-mailed Atomos support and got a one line response: "Yes, the delay is caused by the GH5.". If this was the entire truth the delay would be the same to other monitors with equal settings. I can't imagine anyone else on this forum not having experienced the same thing with the GH5+Ninja V combo, but searching the forum gave me no hits (or I'm a bad forum detective). So, have you experienced this? Did you solve it? How? Do you not have the same delay issue? I'm really liking the image and interface in terms of usability of the Ninja V, but the delay just makes it unusable for my specific use-case. Thanks in advance! Here are two videos comparing the Ninja V and Aputure VS-3 (or 2, not entirely sure) Ninja V Aputure VS-3 (or VS-2)

I got spent! Dang.

The Swedish price is... higher ? As for scrubbing it depends on codec and what you're throwing on the footage, as you know. Just some sort of reference is that my current MSI GS63VR (4C/8T, 16GB RAM, GTX 1060) can handle 4K 25p XAVC-I from the FS7 and 4K 25p ALL-I from the GH5 without exploding. I almost never shoot Long-GOP codecs so idk how it would feel about that. I'm looking to replace my MSI as it's going to someone else in the company. Both the Blade and MSI:s GS-series of laptops are slim and light for the power they pack. Performance-wise I can find similar specs for same/lower price, but Blade for me ticks portability, small charger and big+good trackpad for those pesky flights and train rides. On a train right now doing some storyboarding on the GS63VR (with the Wacom Intuos Small BT if anyone cares :)) EDIT: Personally I've skipped eGPU's for now as I move about a lot. 3 different offices (not my own ones, of course) and a lot of time traveling means I don't wanna haul it around. If you're more static than I am, having a nicely specced 13" laptop with eGPU at your main workstation is a cool and portable option imo

I'm looking at the Razer Blade 2018. Costs a pretty penny when maxed out, but makes sense for editing on the go. Things that make me look at it: better cooling than previous models, the tests I've seen show little to no throttling, small power adapter, best windows touchpad (and big) available, decent panel, 6core/12thread, easily upgraded to 32GB RAM, GTX 1070, 512GB SSD

I agree with you, especially considering FS RAW which I'm not very fond of myself (Alister Chapmans write-up http://www.xdcam-user.com/tag/fs7-12-bit/). However, I was surprised when they mentioned XAVC-I (and a7SII XAVC-S) was used instead of some high end flavor of DNxHD or ProRes - or raw in such a VFX and grade heavy production point being that Crazy P really curated the cinematography to fit within their technical limitations. and I believe this is the indie doc you're referring to https://***URL not allowed***/sea-gypsies-a-feature-documentary-shot-on-the-canon-5d3-and-magic-lantern-raw/

Well hello there! Have to say again, great work I remember Hannes sending out some numbers during the SSC day which were kind of mind-boggling. Amount of shooting days, VFX shots and days with rain - I forgot the numbers but as I recall it's very much a third forum-friendly "WHAT?!"-factor. Do you have those top of mind? And now that this marvelous opportunity has presented itself, I have three questions for you: 1. One thing I found very intriguing was the non-Swedish-movie factor of your film. With this I'm referring to script, compositions, audio, sfx, vfx, camera movements, blocking, dialogue etc.. I very much enjoyed the "non-Dramaten-feeling" of the script/delivery from the actors. Was the whole step-away-from-the-Beck-vibe a conscious direction you took, and how did you go about it? 2. In terms of the vintage lenses, how on earth did you fit all the accessories on there? Seems like a tight fit! 3. Without spoling anything for anyone, I believe I spotted a few hommages to a variety of classic films embedded in The Unthinkable. if my observation is correct, do I win a cookie? Preferably a dammsugare, I love those.

(No spoilers ahead) I went to see this as it premiered last Wednesday and was blown awat by what they're pulling off compared to typical Swedish feature film productions. I also went to an event the week before with FSF (SSC - Swedish Society of Cinematographers) and heard the DP Hannes <insert last name> talk about the movie together with the colorist Ola Bäccman about the process of making the film. An additional "WHAT?!" factor, on top of the lens choices, is that they shot the entire thing in FS7:s internal XAVC-I codec except for some green/blue screen work where they went with raw. I've followed their work for years, and seeing their first feature on the big screen was truly a humbling and epic experience. Given the budget, time, experience and all that they managed to pull off an amazing film which easily lands in the top 3 Swedish films ever made in my book. My girlfriend, who didn't know about Crazy Pictures before going to the movies with me shares my enthusiasm. On top of her reaction, there was a woman in the seat next to me who was literally at the edge of her seat from 5 minutes into the movie until the very end. TL;DR: Go see it!!!!!!

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig. And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it) Cheerios!

Hey! I bought these and just briefly popped them on some footage I'm working with atm, liking the results in most cases. I plan on taking some time to test this out in a controlled environment, what are people interested in seeing? Taking requests with no guarantee they will be fulfilled @Sage a tiny feedback; in the e-mail I received two days ago with the updated versions, the names of the .cube's were different than those files they are meant to replace. Got me confused there for a bit and had me looking through each folder four times like "where dem files at?!"

Just tried this on some random GH5 footage I had laying around, color charts, drunk people in my couch, a client interview. All I can say from this extensive 3 minute test is that I really like this, thank you so much! Cleaned up skintones, made the rendition of clothing, furnitures, walls, wall art more realistic. I haven't shot on Canon for a long time as we use Sonys (FS7, a7SII) at work and I own a GH5 privately and this is yummy. Hat off for you, my good sir! Will make this a must have addition in my GH5 post workflow and test it more than these intense 3 minutes so far.

Thanks, works like a charm!

Hey! I prefer to post framegrabs and other filmmaking stuff in 2.35:1 on my insta for consistency and that cool "look at me I'm anamorphic!"© image. For iPhone there's Enlight and CineCrop, but my iPhone died the other day. Now only using my work phone which is Android and I can't find a single app that allows 2.35:1 crop on my photos, any app tips? I don't wanna guess by hand (or finger) with free crop for those times I can't be bothered to framegrab on my PC and send to my phone

I just finished a 3w project in Northern Norway with the GH5 as my primary camera. It took some saltwater splashes, forgot it out in the rain one day, a few hard knocks in kayaks and on rocks. Worked like a charm throughout the filming period, so the GH5 now has my full trust! Only thing before fw 2.0 comes out are the almost unplayable 10bit Long-GOP files

Hey! The client organization people on the trip will bring their GoPro's and I'll have them at my disposal. No list of accessories yet but I'm hoping for suction cups, head/chest mounts etc. I will check out Les Stroud, thanks for the tip. I'll def look into finding scilica bags in Stockholm, otherwise I'll just bring rice. Good advice! In terms of broadening the camera park for this particular shoot is not a possibility. The GH5 and Mavic are the only cameras I'll bring, however interesting the Olympus Tough line and i.e RX100 with housing are. As for peli cases the only one I own atm is the one for the Mavic and no budget to invest in more. I have plenty of drybags from my outdoor adventures on the mountains so I'll double drybag all the camera gear when stowed away. So as stated before, changing the gear is a no-go based on budget. However I'm curious about the criticism towards the MixPre-3, what is you don't like? For my phone I'll get a waterproof case or one of those hang-around-the-neck waterproof cases just to have it available at all times. Considering throwing my Manfrotto MVH502 or whatever it's called into my kayak, seeing the interviews being cumbersome without one. I'll be given one, I hope As stated before, sadly investing in new equipment is not an option. However, I've been leaning more and more to shooting from the shore while having my subjects paddle or whatever is going on so that I can shoot from a controlled environment with less water etc.. Regardless, I'll def keep my GH5 in the Ewa-Marine housing at all times, just realized after kayaking for the first time in a long time yesterday. One gets wet. Always. Anti fog and gorillapod now on the shoplist, thanks for the tips!

Hey fellow filmmakers! In a few weeks I'm heading out on a gig which will be shot during a 3 week kayaking trip. Now, I've never shot in an environment like that where one is surrounded by water, waves, splash, rain and the risk of flipping the kayak over (let's hope not, but still). I've started to compile a list of things I need, and I'm hoping some of you have done similar jobs where water resistance is key. I'll start off with my gear list and follow it up with what I've thought up so far in terms of items I should purchase prior to flying off to work. Gear GH5 + a few lenses, mostly Metabones+Canon EF glass Sound Devices MixPre-3 for interview shots, will be packed away dry and safe when kayaking A lav kit + Röde Stereo X Pro or whatever it's called 1-2 more mics for music sessions on the beaches/mountains, will be packed away dry and safe with the MixPre-3 DJI Mavic Pro in a HPRC water resistant hardcase, phew! Smaller LED panel(s), looking at picking up a few Aputure M9 just to have something in case I need light 20.000mAh powerbank for MixPre-3 and charging on the go if necessary (we will have electricity at some places) Peak Design Capture Pro to keep the GH5 on my chest at all times (unless it's in the Ewa-Marine bag all the time, see below) Things being considered etc Ewa-Marine U-AZ underwater housing for the GH5. I already ordered one and figured I'll just keep the GH5 in there most of the time as long as it's not too much in the way when shooting above water Drybags one uses for outdoor adventures to keep batteries, chargers, clothes and everything else dry Tripod/monopod. I have both, but I both want and need to travel light. On the other hand, for interviews they'll be sorely missed That's about it, and I'm eager to hear what experiences you other forumites have acquired over the years! Any tips are very much welcome in terms of prep, shooting, practical, (survival)

I really like my Canon FD 50mm f1.4. Sure, as the other forumites here are saying it's not as contrasty as the 18-35mm, but imo it's easily fixed in post. I find the image from the FD 50/1.4 really pleasing

Ooh! I'll give it a try after this House of Cards episode

Hey fellow forumites! As I'm sure all eager GH5 owners have seen, Adobe came out with version 11.1.2 of Premiere Pro CC with added support for GH5 10bit files. YAY! Or at least that was my facial expression until I got into Premiere only to realize my Program window only shows a zoomed view of the top left corner of my footage. Regardless of 1080p/4K footage, sequence resolution or other applied scaling the issue is there. Come on, Adobe... really? I have no solution other than downgrading (again) to 11.0.X to get my files working "properly" again. Curious what other people's experiences are, and if anyone has a solution for the top left crop. For now I've moved this particular project over to Resolve 14 which handles the files just fine.

Hey team! I'm on my 3rd day out of five shooting a project with my GH5. It's the first bigger project I've shot on it and I'm eager to hit the editing suite when I get back. As I'm driving around I keep thinking about the horror that is the Long-GOP codec, so my question to you is: what's your workflow? I edit on a solid PC in Win10, Premiere for editing, AE for vfx and Resolve for color. Running the 1080/4K is not a problem until I start the heavier vfx/color work. Shooting a mix of 1080/50fps 10bit and 1080/100fps 8bit (and some 2.7K 25fps on my Mavic). Delivery is 1080/25fps. Options in my head: 1. Transcode to DNxHR, not sure what flavor. Input much appreciated! 2 Do the proxy workflow in Premiere and render out DNxHR master for coloring. Vfx is done with dynamic link Interested to hear how others go about this, cheers!