anonim

As I can see, in this comparison, in side by side test of two guys on the bridge, Eva1 has very noticeable less amount of discerned details (and no, I'm not confusing it with "sharpness") than both GH5 and GH5s, even with closer field of view of EVA1. Some subtle details on the forehead of man with beard ate not at all registered - for example, little bulge is discernible just in case of GH5, which obviously has more saturated image ooc, at least in that example.

As far as I now, based on their optic construction rangefinder lenses are not used seriously in m43, nor in video production in general - especially not wider lenses. But I'm very interested to try Voigtlander Heliar Classic 75mm.

I'm not sure... Alas and unfortunately, my life experiences are mostly completely opposite and in accord with, say, conclusions of (to sum many similar) José Ortega y Gasset's "The Revolt of the Masses"... It seems to me that "Cream of the Masses" and, more important, "Cream of Manipulation with Masses" dictates taste, sensibility and thoughts - allowed inner and outer reality. I'd say that more realistic scenario is definitive melting of "high" and "low" end - to low end. Just look on the top of high-end cream-trend: "La La Land" than "The Shape of Water". Scripts as "Synecdoche, New York" even now (10 years later) for public look like hieroglyphics.

Mostly not, but I didn't try all possible adapters solutions - from my living place is very hard to get more sophisticated tools out of cheaper China-made adapters... and while first Metabones R adapter, if I remembered well, was good in focusing, it was extremely tight fitting... I personally had a lens-master that made some corrections inside lenses to be more precise in focusing to infinity. But maybe it is more matter of tolerance... at any case, I'd suggest first to try any more expensive adapter or combination, especially if you plan to use combination of dumb R-EF to MSB EF-m43 adapter... and I'm not sure if Metabones has upgrade original version for Leica R. Nothing more clever to say that is not widely explained - besides signature of pleasant milky colors, Leica R's lesser contrast quality is today more precious because of highly capable grading software.. BTW for me was always interesting that Panasonic's so-called Leica lenses are in color rendition actually far more similar to Zeiss than Leica R line... And maybe worth noting - I found that tiny little bit softer (than primes) image of Leica R 28-70 zoom had the best grading starting point from all zooms that I tried...

It seems to me quite contrary - that future is not in using of bad image-looking cameras. There could be many reasons why Friedkin "Hurricane Billy" in his 83 old age and reputation choose or say something about usage of underappreciated cheap cameras... Also I think that is not out of discussion opinion that Friedkin is more in tune with the future and how media will be produced than any prosumer on this site. Why it must be so? But maybe it might be very interesting topic, at least to me... how and what "prominent" movie makers actually manage to create out of controlled big budget conditions and teams? How and why generally in modern world someone become famous... For example, I'm completely dissapointed with result of, say, Dunkirk - although proclamed as "serious" or even artistic movie, it has so weak scenario, absence of consistency and emotional effects, with hundreds of million dolars budget, I even called it tasteless in comparison with its ambitions... Or even Blade Runner 2049 logical-scenario wise - is that really result of years of thinking and rethinking idea and planing to be powerful?... etc. Also, I've recently with great curiosity watched "film about film" about Zvyagintsev debut "The Return" - in all his honesty, he disclosed that opportunity to shot that one, his breakthrough movie (without any previous significant experience or reputation) of his career was mere plexus of lucky coincidences to find motivated producer driven out of any profitable logic... To be in ancient mood - fate/destiny is all

Leica R's - both brilliant and one of the two best longlife solution if they are in optimal condition ... but be careful with adapters Leica R to M43 - from three of Chinese origin that I had, no one doesn't completely focus to infinity! The same story with Leica R to Canon EF (and than to speedbooster EF/m43)... Even first version of Metabones isn't perfect... I don't know about second, I sold Leica R lenses just to, out of curiosity, invest on further lens testing... Now I'd keep them.

Maybe just to remind to important quality of no-protruding-while-zooming for using on gimbal (or pure aesthetic wise)... As far as I know, just two native lenses are such, both Panasonic's - 35-100 and 45-175mm (and one more reason for popularity of Sigma 18-35). From that point of view, from adapted lenses side (out of Zeiss Contax or Nikon push-pull design) may be interesting giant Nikon 28-70 2.8 and - my first choice - Leica R 28-70 with incredible smoothness of zoom and focus rings, also with ability for easy declicking aperture.

Out of discussion, I'm always so glad when anybody actually point out to what (concretely) we should look at discussing our opinions... I think it is the best way to test ourselves, progress in creatively utilized perception and learn about nuances and differences... So, thumbs up for noting eye bags!

I just have to admit that I'm not at all shocked, contrary to students to whom you showed "model". (And what purpose has to be showing her as member of unpretentious Jon's efforts?) Maybe I'm without taste, but, in fact, I sincerely found that Huang is lovely girl willing to participate, enjoy, play, experiment in posing and grow in acting - just as Jon in his field of interests. Moreover, if it is really necessary to discuss some obviously totally unpretentious production - if Huang looks "phony" to some "professional" standard, I found that she unwillingly compensate/balance or substitute it with often wonderful radiation of always changing looks of naivety, innocence, pleasure and even ironic "look-I'm-playing-a-big-actress"... So, I admit that I very enjoy it. And what about that possibility that Huang actually deliberately/instinctively acts indeed as liking to have look on "amateurish" and "phony" side, finding that it is completely in line and appropriate to level of Jon's ambition? Than it all turns out that she has a capacity of truly professional...

I think that in any serious evaluation of BM impact and consequences it is аdvisable to consider one highly important factor - pure personality behind. If I am not wrong, Grant Petty has total drivе-control of BM policy, and it seems to me that it is a man devoted to personal vision and strong feeling of his world-mission. For him, profit alone is not The most important goal - although of course important - but craving to make/left some relevant trace behind him. Some sort of Steve Jobs, maybe... What BM done with Resolve is wonder - and it seems that Petty decisively follow his idea of democratizing movie-making to the utmost boundaries... So, to me all other reasons/aspects of this one attempt are simply executive and secondary - it seems to me that here we are also witnessing to higher evolution of someone noble self-actualization, in the meaning that, say, Abraham Maslow gave to that syntagm...

Yes, being pretty athletic (sorry to mention) I could run equally fast also with gimbal - but my problem is that, if I fall down on the slippery grass, I couldn't easy provide new gimbal as this guy - who is, btw, brilliant instructor and I gladly watch his lessons - so price for the risk is too high for me I forgot to mention - I had to run with Atomos Flame on top of the cage... So sometimes I had to recalling you and regret why my fate is always so hard - instead of shooting lovely "phony" Huang, I had to run for triathlon champion Vida...

I'd say even more - without possibility to use gimbal for faster running movements, I have been forced to run beside and along with my runner/shooted-heroine just with GH5 and 10mm manual focus lens - and app. 80% or more of (pretty long!) shots turn out completely usable with slight addition of new Resolve 15 stabilization engine (or even without it for the shorter shots) - even in 24p recording. Unfortunately, position of the sun prevent me to get usable circle-around shots because of me-casting-shadow to the subject - but these shots also were even more usable non-shaking quality wise. Sometimes I really can't understand how anybody could minimize fantastic usability and indispensable value of good IBIS calling it non-pro... Except for totally controled conditions, which are more rare than not in my case, and probably in the case of the most users of cameras of this price range... So it was one of the examples - with gimbal I'd been too clumsy for faster run, so only other solution besides combination of UWlens+Ibis might be - to be driven in some car or so...

Playing with grading to be more canonesque... GH5 and SLR Magic 10mm.

Nathan Gabriel asked in topic about BMPCC 4k - but I think that promised samples better fit here... @Nathan Gabriel Do you know how the quality of the SLR Magic 10mm compares to their 17mm? I have the SLR Magic 17 and it's nice, but it doesn't come close to the quality of my voigtlander. @anonim Later I could extract some snapshots from last clips shot with 10mm... I hope that these grabed-stills could give you at least some idea about SLR Magic 10mm - yet unprepared material, almost straight OOC with some skin corrections for this occasion, taken with Atomos proreshq, so obviously lesser sharpening than internal codec... I'm shooting one short about triathlon champion (and painter also), so sorry for maybe boring content from one session of running in the nature, I choose SLRM10 for it...

Regarding this post... maybe it is worth noting that lens used with GH5 was Zeiss-Contax zoom. Somewhere in other thread I wrote that from my experience (and taste), two zooms significantly stand out between all other - Zeiss-Contax T 28-85 and Leica R 28-70... Actually, for some reason that one Zeiss makes incredible, I think unsurpassed match with Panasonic (often better than its prime counterparts) - providing at the same time fascinating resolution, details and smooth gradient, after very sudden out-of-focus-drops behind focused subject... But it is not so "silky" smooth in operation as Leica R 28-70.

I had SLR Magic 12, 25 and 50mm, unfortunately not 17mm - now I have/I kept Voigts 17.5 and 42.5 and SLRM 10mm. SLRM 10mm is significantly better than SLRM 12mm and actually quite match with image qualities of Voigts - just little bit warmer in rendition, but that's instantly corrigible in post. There's no known optic aberrations of its 12mm sibling, construction is higher level even in, say, comparison with SLRM 25mm. Focus and aperture rings are not so smooth (i.e. they are calibrated with harder tense, although perfectly even) as those in Voigt's - but, it has to be admitted that I didn't yet meet any other set of lenses with such perfect smoothness as Voigt Noktons, but maybe some Leica R's in excellent conserved shape. I'd say that I'm very, or even extremely/brutally strict in selecting/keeping lenses - but I settled with SLRM 10mm as UW choice. It is wonderful lens and its in fact macro focus distance opens so much creative possibilities. What I found especially nice is very low distortion in focusing subject when using such close distance (5cm!). In other words, SLRM 10mm can be used as very interesting and quite real portrait lens! Being picky, I'd just like that focus ring smoothness also match that of Voigts... Contstruction vise, SLRM 10mm shows mature pick level in evolution of Hyperprime line - in hand it makes impression as being made from one piece of hard iron, so it seems that extreme "unibody" robustness is nice word to describe its construction logic. However, it is little bit or two less refine in mechanic operations than m43 Voigts... but, modern Zeiss lenses are even lesser refine than these Noctons. Later I could extract some snapshots from last clips shot with 10mm... Yes, of course. Zooms are sometimes indispensable, especially with clumsy rigs. I'd just add that it highly depends of director's pre-chosen concept of directing mood - for perpetually flowing camera movements as choice, actually primes are more practical. As famous examples - Lubetzki in all last movies, being these of Inarritu or Malick. For more static oriented works, where giant dimensions of good zooms are tolerable, they are more convenient. Problem with m43 (subject of thread) is that there's just no enough fast native zoom lenses, as also with OOC "cinematic" quality. All of them are extremely oversharpened . From adapted lenses I had the most pleasing results (of course, for my criteria) with Leica R 28-70 and Zeiss Contax 28-85. But I had no chance to try that new Fuji...

Dealing with different shooting situations (just today I was in such complex one - tight indoor and extremely spacial outdoor) I realized that I'm most satisfied and mostly covered with such solution: two cameras, both with one prime on it - (utra)wide and portrait. (M43 system is especially great for easy accomplishing such choice.) BTW I had SLR Magic 10mm and Voigtlander 42.5mm for my task - both, of course, extremely recommended for BMPCC...

Also exporting in 4k, actually more stable, and some very interesting FX plugins, maybe the most prominent from v14 is

Roman Khlyustov is very gifted, highly pleasant young man with positive vibe. A much as I know, last two year he felt in love with Olympus promoting Em 1 especially for wedding video, about which Khlyustov often takes a tour teaching master class... But he also works in shorts - here are two wonderful works of him as DP and equally talented director Bayar Baradiev (indeed much to learn). First one is done on Canon 5d II, for the second (about one of the many old native people/language in Russia) I'm not sure, maybe also Olympus or Sony...

I was/am lucky to had/have all BM cameras under Ursa line and all GHx. From my experience I can say just what you and most of other members already know: shooting in raw is, after all, exclusive and most important value of BM vs Panasonic. Actually, in version P2 it may be also and monitor, but if its quality is as P1, than - not. Everything else is unimportant for those who enjoy shooting in raw. Price +/– 500$, viewfinders, battery, rigs, cards, all of that is, I think, secondary... For me, personally, even higher bit rate, even sound. But - raw, in fact, nowaday doesn't mean any significantly better final image comparing with great codec-science of newer GH5/s - power of raw is in the process of shooting. It still provides more freedom and left much more time for concentration on compositing process and polishing aesthetic before clicking record button. Mistakes of WB, even a worry about light, are completely or much more forgiving with raw. So, for those whose primary goal is concentrated in highly accurate and controlled filming (be it 1 hour on a day or more) - raw means more enjoyable (less painful) action. Shooting in raw is more similar to act of painting once when problems with rigging/stabilization are solved (which is not easy with BM! and that's why I am, as compromise, settled with GH5 ) - someone can more easy "lost" himself in quasipainting shooting because of higher simplicity of mobilized actions. Further more relaxant using of files in postproduction has also, I think, some similarity with bigger painter's palette. Having said that, Panasonic non-raw codecs are also some sort of technician's art - after using all models in line from GH1, for me it is impressive how much grading potential have 10bit files after continual codec progress/refining. That's all from my perspective, experience and equal love for BM and Panny. I must admit that I'm, in fact, using Panasonic as BM with stabilization - don't liking too much usage of slow motion on narrative, for me might be enough just 24p, and it always turns out that I'm somehow too stupid for proper usage of AF lenses... so I've tested and sold near all AF m43 lenses, even Oly 75mm... (Turning around mechanical aperture ring also calms me down... of course, with "buttery smooth" mechanic focus ring I'm already in the little private heaven.)

Yes, that butterfly and starting-to-fly-away little birds simple change everything But you also have, imo, at least one highly beautiful shot - I already quoted it - where, luckily, also Huang showed gift of an actress and your composition may well be the one of Kar Wai Whong... Just repeat yours the best... (and maybe play more with rim lighting - but, in fact, it isn't necessary nor rule, just variation).

Maybe I'm wrong, but from my experience with these two Sigma's zooms - they are not quite appropriate to provide SOOC smoother image. Or maybe they even are not at all appropriate for such preference - because their concept actually accentuates the same that trait aimed also with Panasonic's inner softwer-over-sensor manipulation. Using of speedbooster just amplifies effect even more. But, of course, using of filters and accurate grading direction can make everything mellower. I'm sometimes forced to think that many members on the forum actually rarely used modern grading softwares even to the level of at least fraction of their capacities. To put it simply, with reaching enough reality-reproductable level of resolution and DR, near every distinctive inner software/color characteristic of cameras can be replicate by usage of grading process - even by not too deep one. And anybody who tried to learn some indeed hard-to-comprehend software that required whole life to mastered - mostly 3D such as Houdini or Maya, but also to a lesser degree serious compositors - will find that even Resolve is actually very easy, simply because of enormously lesser variables and equally enormously bigger level of subjectivity and tolerable try-and-repeat paths and effects. It seems to me that creator(s) of this short movie didn't bother/worry with look that gravitate to, say, such of an prestige TV production - maybe they just like it, or they thought it is better choice considering content of movie - of course sharp, aggressive, disturbing, distracting... BTW I'll be free to take opportunity and write to you what I thought: it'll be so nice if you also make some short movie, or more narrative presentation with Huang... It is so nice and interesting how you and she, despite of generation difference, actually grow-up together Maybe just she as reciting some illustrative verses in illustrative changing visual moods... Or omnibus of situations, it is so close to Eastern spirit, as Kurosawa's Dreams, or different "Monogataris"... Who knows, maybe you'll decidedly help her to become a new Ziyi Zhang... ZZ about

Uh, I hope this in not representative footage for c200? I don't know about Canon evolution, but this image has no anything similar with wonderful examples that posted, say, @mercer?