Alt Shoo

The way this gentleman rigged the gfx100 is truly remarkable.

I agree with the cinema camera option in this price range and I’m a little hesitant, but I am leaning towards purchasing the GFX 100. I can wait a bit longer with hopes Fuji would surprise the industry and release an extremely video centric version of this camera. But more than likely I will end up with this camera. I never been attracted to full frame because I feel you can mimic it with wider lenses for the relative shot, sorta, but this is actually the first time I’ve seen the difference between sensors and its size.

I own a Eva1! I’m really looking for that full frame aesthetic. @BTM_Pix yes I’ve seen that video! It’s really informative. Thank you for sharing so others can be aware of its capabilities.

I was looking for a way to edit my comment and not post again, but it seems I have to post again. Anyways I forgot to mention a reason why I wouldn’t choose the fx9 and that is because the highest resolution is UHD. I prefer DCI 4K.

Very good read and truly insightful! Thank you for the share!

On another note, Fuji released another lens for the GFX system!

I too fall in that 98% and I’m also extremely aware that you can use a Fisher Price “My First Camera” to create something that can possibly be sold to Netflix. However when that opportunity arises, I would like to have that option already in my stable. I don’t rent equipment, but I do get loaners. I am also in the camp that having a “Netflix” budget doesn’t mean I am forced to go out and get an Arri or what have you just because. With that budget I’m more privy to allocate that towards more important aspects (to me) like the screenplay, gaffing, set design, talent etc. With the power of today’s sensor technology I can get an S1H and rival what is considered “big budget” if all the other elements that lends itself to production quality were on par with those big budget-ed productions, all the while being Netflix approved. Also, if I wasn’t concerned with working with Netflix, I can replace that S1H and use a Gyls300 and I’ll still be able to do what I want. Which leads to my preference and me wanting to use a GFX 100 or perhaps the 1Dmkiii and not a FX9 or RED, for that matter because I prefer the look the GFX can give my productions. Maybe I shouldn’t have mentioned Netflix approved because I know what that entails on forums such as this vital platform we are all on, but it’s still an important factor with my purchases. Regarding the stills aspect of it, yes I can use what are expertly suggested here for print use (even for the IMAX recommendation) and those submissions are wonderful, but it still comes down to my preference for how I want to finish my job!

They had information on hand this year, but surprisingly not many sites covered it. I wonder why? It seems to be a good camera though. Here is the information. https://m.dpreview.com/news/6949935134/sharp-8k-video-camera-appears-at-ces-2020-with-some-specs-and-availability-details

Man if only! That would be so awesome and sad too because then I’ll have two powerhouses that still aren’t Netflix approved! Lol

I’m actually thrilled to be a backer for this game changing lens! I’ll be using it with the GYLS300 and maybe try it on the E1. So far the best footage I’ve seen rendered with this lens comes from the users with GH5s and BMPCC4Ks. Like this one in particular:

Yes that is why I am strongly considering it and for the “affordable” IMAX quality of the image. The only concern would be about the lenses, which I will refer to more in @gt3rs comment response. The stills aspect is also a great addition because I can also create a high quality billboard type poster with this camera. I’m just curious if Fuji will add more features to it in the future with firmware updates. Regarding the video quality, I’ve done some YouTube searches and the footage I’ve seen is really quite remarkable. It definitely has a look that I’m more aware of compared to other sensor formats. Very intriguing. I’m not really concerned with higher frame rates because I don’t shoot much action. However my concerns are with the lens choices. I am aware of the limited options, but aren’t there converters which will allow me to use other lenses? Also regarding those converted lenses, there may be some vignette-ing? Even if using full frame lenses? And it does 10 bit 422 external. I don’t look at them as opposites, more like parallels.

I am aware of the strengths and weaknesses of these two, but if you had the opportunity to pick up one of these, what would you go for and could you explain why?

Interesting that the sensor for that camera was developed by AltaSens, the same company JVC purchased and made the sensor for the GYLS300.

I’m using two Z-Cam E1’s, Sony A6300/NEX7, DJI Osmo Pocket, JVC LS300 & Panasonic Eva1.....sometimes IPhone 8 Plus or X Max, whichever I pull out of my pocket.

Looks like Nikon finally has RAW!

This will be an awesome lens to use with the JVC-Gyls300! Can’t wait to try this out!

I think this plug in is garbage. I have it and I rather use other specialized apps. Good price though.

Nice! Have to check it out!

Here is some more JVC GYLS300 footage. This is from another documentary that I had the wonderful opportunity to film! This is about the owner of the Comic Strip Live club in Manhattan. He’s known for managing Eddie Murphy and starting the careers of a lot of our contemporary comedians! Thanks to JVC for this still very wonderful tool! I’m definitely looking forward to their new line of cinema cameras.

https://***URL not allowed***/sigma-fp-camera-first-impression-sample-footage-and-lab-test-results/

29 minutes.

I’m posting this because I’m excited that JVC shared my project on their Facebook page! Honestly this camera is one of the best tools I’ve used! If you’re in the market for a very versatile cinema camera I recommend this amazing and affordable device!

@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