Alt Shoo

@Anaconda_thank you! I filmed mostly in 4k internally, with some shots externally to a Video Assist 4k in pro res. Some shots were in 2k and 1080 only because I had only one card on me and wanted to maximize the content gathering. As of now we are doing a screening tour along the eastern shore of the US. We are talking to major streaming services right now, but nothing is etched in stone. By January we will know our direction in that regard. The screen grab with the red hat is pro res and the other is the internal dci 4k codec.

We still can’t discredit the image quality from these devices, but the whole thing is that RED is unethical! Point blank period. All of their claims about how their camera came to fruition, which we know by now and no need to repeat, are false. Sure they researched the best off the shelves products and amalgamated it to a durable chassis and I totally get capitalism, but this feels like thievery.

The JVC Gyls300 is still very relevant and capable in 2019 and well beyond it! I just finished a culturally important urban documentary, that I’ve been working on for two years, titled ‘Marcy Made’, which 95 percent of it was filmed with the JVC! The documentary is about DeHaven Irby. DeHaven Irby for those who may not know, was a very good friend of Jay-Z and was the person responsible for bringing Jay-Z into the game. Jay is actually DeHaven’s daughter god father. Anyways they aren’t friends anymore and things have been said on both sides about one another. Their friendship ceased when DeHaven was sent to prison and Jay-Z left him there without any explanation of why. When DeHaven was released, he published a YouTube video in 2008, which went viral. In it he talked about a lot of issues with him and Jay, but wasn’t specific, so he left a bunch of questions unanswered. Jay-Z responded in one of his records, “So fuck DeHaven for caving, that’s why we don’t speak, Made men ain’t supposed to make statements!” In essence calling him a snitch...... This documentary answers all of those questions and shows that DeHaven isn’t a snitch. It also reveals the true reason behind their split. I had a screening of it this past Friday (9/27/2019) at Firelight Studio in Brooklyn, NY and these are just some pics of the venue’s screening room. I must say that the GYLS300’s image held up wonderful on the screen! I prefer a higher bit color rendition from a cinema camera, but the 8bit IQ coming from this sensor is still capable of competing! Heres the trailer for the documentary: https://youtu.be/Gm1ug-Aa8TM

It would be cool if JVC forgo a specific mount and just provide user selected mount options. I think JVC should step out of the box to make this camera gain traction in the minds of cinematographers.

@newfoundmassI agree the menu system is from the 90’s! Idk but I like that lol. Still they should modernize it and make it a touchscreen monitor. I never had an issue with the build quality, especially seeing how the bmpcc4k/6k is made with similar materials.

I’m hoping JVC announces something soon. I’ve actually been holding off on purchasing any new cameras until they reveal their specs. Reason being that I truly enjoy using the GYLS300! Even with the Eva1, which I own, I’m 95 percent of the time using the JVC. I love the ergonomics and I love the IQ. Come on JVC Kenwood release some information!

The Z6 is looking even more tempting! I can’t remember if it has a crop when shooting 4k Full Frame. If it does that sorta defeats the purpose of grabbing a full frame camera. Anyways this looks impressive!

The footage looks good to me even with the “awareness” brought to my attention. Idk the pixel peeping thing has become increasingly exaggerated lately. I totally understand that DPs and Pro Videographers may have some concerns about subtle image errors, but it’s also well known in these circles that the vast majority of viewers, even users for that matter, aren’t really concerned.

Of course I agree wholeheartedly that 4K is relevant and will remain so for a decade or so, but 4K will look better from a higher resolution!

It’s not too known that JVC’s now defunct subsidiary company AltaSens created the sensor that is inside the LS300. Maybe JVC designs their own sensor again!

In my long post I previously shared, I wanted to also address the idea behind why I feel JVC should produce a 6k or even 8k resolution cinema camera, but time didn’t permit. Here are my thoughts. It is well known that a camera with higher than 4k resolution will allow users to render more than decent 4k, which we have with the previous model. It’s also known that many users agree that with a higher resolving sensor, one can re-compose during post. No matter how much you plan, there’s always something you wish you could have captured in post. This choice allows users to append a decision! Now this 6/8k may just be decent, but I’d take quality 4k resolved from a higher res sensor any day than just decent 4k. In regards to marketing, it makes sense as well because that’s where most of these companies are leaning, especially Sharp another unfashionable company. It also ensures a longer camera life if it is “future durable”. The market is moving fast and I think it’ll be a lost for JVC, not to participate in the strategies other companies such as Sony and Panasonic are diving in. This strategy also coincides with why going full frame is the better choice. It just makes marketing sense! Yes there are plenty supporters for MFT and S35, I’m definitely one! I enjoy the affordable choices and features using this format and I have a humble collection of these lenses. In fact most of my lenses are MFT, but the market predicts that full frame is where a lot of users are going. Also I’m quite sure that they will incorporate their lovely VSM technology, so with an affordable adapter, users can still utilize what’s in their collection. Still with these choices, JVC has to endure a proper form factor, durability and access to current trending accessories! I think a form factor between mirrorless cameras and smaller cinema cameras like the Eva1, with the necessary bells and whistles will be a logical choice for JVC to become in vogue.

If they could get it into that form factor with the necessary bells and whistles I will support it wholeheartedly because it’ll be easier for gimbal work!

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many. JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market. Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU. There’s more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me!

I also said the same thing about making the body durable. I also mentioned a better monitor as well.

@Kisaha there was a question asking if they released a new Camera this year how likely would you purchase it. I’m actually hoping that they do a Full Frame cinema camera with all of the bells and whistles that’s been talked about recently.

From the looks of the information in the survey, they are trying to get the camera price around 4 grand and it looks like they are pushing it for this year. Also in the survey there are talks about 6 and 8k resolutions and RAW internally!

Funny because there are a lot of “cinematographers” who are purchasing these devices just to document their pets! And truthfully if that is what they want to do, I’m for it!

Please submit your suggestions and remember to make it good! http://pro.jvc.com/survey

@mirekti whoa! The PD is plenty faster!! I wonder how the iOS version fares.

Reminds me of the attitude most displayed when JVC released the GYLS300. Just writing it off because it’s not the usual suspect in cinema cameras. Sharp may surprise us with something special, or it may be another product with undelivered promises. Either way it’s a step forward to bigger and better tools.

Z-Cam is a company that is going to disrupt some concepts in the cinema camera industry. After NAB, there should be some insight for many cinematographers on what gear to invest in. Z-Cam and their offerings will be on the short list for these individuals, including myself.

Interesting! Does this interfere with any of its external video functions?

Coolio!

Why does the footage look like it still needs desqueezing?

I actually made one before this challenge. The only thing is I don’t have the BTS for it. We filmed this in less than three hours at Youtube Studios in Manhattan and I edited it in about thirty minutes because everything was shot in sequence. Could I share?