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Impressive zoom range. The sixth image appears to have some separation between colours in the top right of frame (the edges of the tree leaves)? It's got that red/blue 3D colour separation look. Is that the 3CCD alignment issue, or just a bit of CA exacerbated by JPG compression perhaps? I can't see any separation on any of the other images though, which seems odd.

@BTM_Pix thanks for those videos, I haven't seen them. I am a subscriber to This Guy Edits and it's great stuff, possibly the only video editing YT channel. @mkabi I like the Good / Bad / Ugly analogy, it works well. @User 17000 clips would be a nightmare for most I'd say. I'd also imagine that lots of those clips would be interviews where it's not one moment, more like an entire dump trucks worth of dirt in a pile and you have to dig through and really hope there are some gold nuggets in there somewhere. I'll have to go through my YT watch history and browser history and find some of the good editing stuff I've watched over the last few years. There's quite a bit, unfortunately it's not nearly enough, especially compared to how many videos are telling you to buy an ND filter and use a 180 shutter. As my videos are basically just random shots of where we were, what we did, and that sort of thing, for me it's not about re-arranging the footage hugely, as the plot is mostly written, the story elements (inciting incidents, challenges, etc) are all from what happened, so my job is basically filtering all that down into a highlight reel of sorts. My films don't really have much dialogue either, so they're mostly visual storytelling with music and ambient sounds. To that end, my first pass is an assembly where I pull every potentially usable bit onto a timeline to cull the Ugly as Mkabi says. Then second pass is to go through that and on a shot by shot basis I sort them into several categories using tracks. Track 1 is the default track, if a clip is of no interest it stays here Track 2 is nice B-roll that might be useful for establishing shots or whatever Track 3 is spectacular B-roll, potentially being visually stunning or if I know it's a critical shot for something we did Track 4 is any usable shot of the people I was with (because people are more important than random b-roll, however pretty it is) Track 5 is any great shots of people I was with (beautiful, funny, memorable, etc) This stays as the first timeline. Then I duplicate that timeline and delete all the shots from tracks 1 and 2. Then I cut out entire sections I don't care about. Then I go through and start making the little micro-stories by only putting back enough shots from Track 2 (or track 1) to make the great shots make sense. At this point I can get a sense of how many people shots I have and start removing the bad ones if I have too many of a person. For me, coverage of the people is more important than the quality of the shot, so if I have a usable but not-great shot of a person then I'll probably leave it in rather than them not really appearing much (or at all) in the video. Then comes music, and I start editing the timing of clips because now I can get a sense of pace and rhythm from the music. Then it's titles and grading etc. I've just started using Markers in Resolve and it's quite good actually. I have the list of markers open in the side panel, and it kind of treats them like chapter headings, so if you have marker 1 on clip 10 and marker 2 on clip 20, then if the play head is anywhere between the two markers it keeps marker 1 highlighted, so you kind of always know where you are. The problem I've had with this edit is clip order. This trip was shot with the XC10 and my iPhone. Ideally I'd sort the footage by timecode, but the iPhone doesn't have it, so you get those in the wrong order (all at the start IIRC) so I sort by Date Created, which mostly works. The issue is that as I'm editing on the train from my laptop, I've generated proxy media and the dates on the proxy media isn't quite right because (for whatever reason) Resolve didn't process the clips quite in sequential order so the date created for the proxy files is a bit messed up, and you get different events split into 2 or 3 chunks. By creating Markers every time there's an event change in the timeline I can detect separate chunks of clips and easily highlight all the clips from that chunk and move them next to the other chuck of clips from the same event, thus giving me that next level up view and sorting the footage properly. Then once all the footage from an event is together I can just zoom in and work out what shots to keep and what stories to tell, or even to mention that event at all. So far so good.

Shame, I could have done with 4k120 in 12-bit!

It's interesting but this is one of the things that you don't really get people on YT talking about, it's kind of a blind spot. I guess that people who make YT videos, therefore have short and frequent production cycles, aren't experts in managing long infrequent production cycles Kind of like most things in high-end professions, the people who know how to do it are either off doing it, or are selling the content and not giving it away for free! ???

Yeah, I'm right there with you!

Cool. I am more and more tempted. Damn my curiosity! Interesting about being fine wide open. It's not what is said elsewhere... eg https://***URL removed***/forums/post/60459694 The guy sounded knowledgable too. Or this talk of an optically corrected adapter: http://www.dvxuser.com/V6/showthread.php?360652-2-3%94-B4-lens-for-GH5&p=1986756211&viewfull=1#post1986756211. Gotta love the internet! It seems like the smart move is to at least get the 2x built-in so you're not paying extra. Depending on the design it might be that they cover the ETC mode, or even full m43 sensor when zoomed in a bit? Personally I could live without the widest end so that part wouldn't bother me. @BTM_Pix has played in this space.. What did you do on your GX80 / B4 lens setup? Was it sharp? Did it cover the whole sensor?

I am just starting to edit the largest project I've taken on, and I can quickly see myself getting a bit lost in the footage if I'm not careful. It's from a 5 week trip I took through Italy and there are ~5400 source clips totalling almost 6 hours (average 4s per shot). I have done a leisurely (~10 hour) first pass and pulled in any sections that I think might be useful in the edit, and I'm down to 2300 shots and just over an hour. My strategy with this first pass was to cull the dud stuff and never go back to the source footage again, only ever looking at this timeline for the rest of the edit. I typically do each pass on the footage and then duplicate the timeline to work on the next pass, so I can easily refer back if there are shots I culled previously but want to find again, etc. I like creating little sequences that tell micro-stories with 3-5 shots and linking them together to create the broader story arcs, so I find I often choose hero shots then need the other random shots to make the story work, so I refer back quite a bit for the supporting footage. My next step is to look at what sequences and locations I have so I can get a high-level view on the project, ahead of deciding the overall structure, which locations and sequences I will keep, etc. I'm doing this with markers at the moment, but will probably make a list in a text editor outside the NLE. I don't have a target format or final duration so for me it's just about shaping it the way I want it, then paring it down so it's constantly interesting, and it will be however long it ends up. My challenge will be that my footage isn't quite in the order I want it to be in, and I'll need to go through a process of rearranging it before I get into it on a shot-by-shot basis, and I fear that I'll make a mess of it and confuse and frustrate myself in this phase. My understanding is that people who edit docos do this rearranging all the time, essentially making the story in the edit. What's the best way to manage this volume of footage during this process? Is it just an admin process, do people sort footage using Compound Clips, separate Timelines, Bins, colour coding the clips, something else? I'm using Resolve, but I expect that the tech doesn't really matter, it's more of an admin challenge of sorts. Who is editing on this scale? What do you do? What advice do you have for me?

So, is the servo attachment just turning a manual zoom ring? and if I remove the servo then does it become a normal manual zoom lens? That would be pretty sweet, and although I love vintage lenses, I think I can probably mess up a sharp image to look vintage in post, so I'm open to the idea. A f1.7 becomes f3.4 with the doubler, but don't you also have to stop down a stop or two in order to overcome the alignment problem they have because they are tuned for 3CCD sensors? If I had to do that it would become a f5.6 or f8 zoom, which is considerably less attractive. Your video won't let me play it saying "Unauthorized". Is it set to private or something?

Yeah, stills would be far easier, especially if you could find the money for a 45+ MP sensor which would give resolution to burn. I do shoot 4K and deliver 1080, so cropping in post is definitely an option. I kind of shoot to crop anyway, as things like stabilisation etc all crop to a certain extent. TBH I'm shooting a lot but not really editing all that much as I'm still working out what to do with the footage, but because the object is to document the family I can get away with editing later - it's pretty difficult to shoot later - even the 100+ MP cameras can't see backwards in time ??? To a certain extent by not editing I'm missing the feedback loop to improve my footage, but I do review the footage, and I'm working on it. Nice shot! Interesting about the 200mm limit. I didn't take a photo of it, which I now regret, but when I was in Bangkok at the golden palace there was a sign saying that personal cameras weren't to be more than 8mm film, so I figured that the GH5 not having any film was totally fine, and didn't put the Rode mic into the cold shoe until we'd gotten a few hundred metres inside the gates past security ??? That's a good description. Potentially an overriding factor is that the parents from one team all sit together, and moving elsewhere is a social statement of sorts. To that end I pretty much take what I can get, although the nature of the game is that the ball can move around very quickly and the players often roam freely too, so it's quite variable, which gives the edge to a zoom lens. When I was shooting on the 200mm prime I just figured that the closer people got the tighter the shot I got of them and the nicer the subject isolation was

I agree. IIRC this was 200mm (400 equivalent) at about 100m. Not terrible, but not a medium shot either! I did a bit of a quick look for 100-400 zooms, as the difference between 70 and 100 isn't that much, and the Canon FD 100-400 looked good, but it definitely wasn't free either, so I decided to put it to the back burner and wait until I got used to the 70-210 I now have and see what limitations there are there. My dad offered me a 500mm lens, but I think part of the reach it had was that the end of the lens was a good distance closer to the players than the camera was, so I declined A 100-300mm might be good. I'm not sure how well my hand-holding (or monopodding) would be at 400mm!

Please share if you go that direction! It's probably beyond my level but would be a fascinating setup to see ???

Nice. Maybe this tech will be included in the forthcoming Panny FF Cinema camera, or the GH6 perhaps? I think so. Not sure how far it got though.

Did some research, but ruled it out because: they're expensive, I have to stop down (3ccd vs 1 sensor), powered zoom is a hassle, and they're big enough to move other parents from thinking "look at that guys camera" to thinking "what do you think that guy's up to? hmm..." I already get noticed (some kids were kicking a ball behind us and it came pretty close and the kid who came and picked it up said "sorry camera dude!" which I thought was pretty funny) but there's only so far you can stretch the 'enthusiastic parent' role these days.

If people got used to things they didn't like and stopped talking about them, newspapers and magazines would be 10% the size they are now!

Directional audio?

I had that confusion at first too. The other part of the puzzle is the Linked Selection toggle switch in the toolbar: It's the one in the middle with the two chain links. If you have two linked clips and that toggle is on then clicking on one will select both, but (what I think you might have done) is to untoggle that option and even if the clips are linked you will now only select or move one of the linked clips and not both.

Nice pics! In a sense, I can't imagine shooting sports with MF either. I do it, but it's about the situation you're in. I do it for myself, I only make highlights videos so 'coverage' isn't a thing I have to worry about, and so basically I just try my best and whatever works is great, and shots that I miss are no big deal. I also kind of have an advantage shooting things so far away (our fields are >100m long) that DoF is pretty deep just because of the distance. If I was rich I think I'd have a fancy parfocal zoom, but actually I'm doing ok with what I have. I used the zoom function on the lens far more than I thought I would, even on the first outing, so that's encouraging. Considering it's so low res and has such a small sensor, pick up almost any camera, put on an all-in-one zoom on it, then in post make sure you over-sharpen, add contrast until you're clipping shadows and highlights, then export at low bitrate 480p (or 360p) and it'll look just like the real thing!

LOL. I'm assuming it was F8.. the clicks on these lenses are all over the place, some have two clicks per stop, some one click, some have a mixture. It was 4 clicks from 3.8 to 8, which makes sense in a two-clicks-per-stop sense, and it looked like it was lined up to the number, but who knows. Maybe it was half a stop faster. In terms of the quality, I'm pretty happy with it as I don't feel I've lost any IQ from my Minolta primes. I was concerned as vintage primes are considered to be far better than vintage zooms, but being a fixed aperture zoom I figure this one might have been a premium one, plus the fact that the m43 sensor is only looking at the middle of the image circle and has cropped most the nasties in the corners. Looking at the footage I take of the players on the field I've concluded that focusing is my biggest challenge, not lens sharpness. I could make that easier by stopping down, but I do like a bit of background separation, and to do that at any distance requires the lens to be fully open. I'm often shooting at >100m away from the players, so I need all the help I can get

Can you just pull them into PS and rescale them manually, stretching it by the right ratio?

Not completely silly. You have to understand the tech, and sometimes talking about it online makes you explore a topic thoroughly and sometimes other people notice things you don't, etc. But then comes using the tech, and most of the time it's the tech you love using that will give the best result at the end of the day, simply because it's inspiration and creativity that win over purely technical aspects. My recommended approach is to get into the tech and understand it, work out what it means for your style and approach to film-making, test it out and explore it and get to know it, then forget it and go make art.

Which one makes you feel like getting out there and making kick-ass films?

@ThomHaig have you shot hand-held before with IBIS or OIS? @androidlad may be right or may be wrong, depending on how you shoot (walking, ninja walking, creeping, not moving), how steady your body is, how much you can lean against things, how steady your hands are, what focal lengths you are shooting, how much movement there is of your subject, and how much movement is acceptable for you. I shoot hand-held with the GH5 and manual primes and I have pretty stable hands but the results are still variable. Sometimes I get rock-solid shots which could have been a tripod, sometimes I get shots that look like a hand-held cinema camera (they have human movement but it's not jittery) and sometimes the shots are pretty rough. Considering how much money you're talking about spending, maybe hiring before buying might be useful?

Looks pretty good to me! Considering the grain from ML raw is so nice, and considering that any compressed delivery format normally kills most texture anyway, I'd say you've got a huge amount of latitude. Try pushing it in steps as far as ML will let you take it, then grade it like you would for getting levels and saturation etc right, then upload to YT as a private video and see how it turns out. In other news, here are a few test shots from my new Sun Zoom MC 70-210mm f3.8 lens. I could tell the moment that it arrived that it was a winner, and I'm sure that after I tell @BTM_Pix how much it cost then the result will be unanimous! ??? Images from GH5 raw converted to JPG in post but otherwise untouched... Apologies for the fading light, so best to ignore slight colour changes. 70mm f3.8: 70mm F8: ~130mm f3.8 ~130mm f8 200mm f3.8 200mm f8: and a bit more graduation in DOF, with highlights off-camera.. 70mm f3.8: 70mm f8: 200mm f3.8: 200mm f8: and a few random screen grabs from this mornings game: Overall it seems like a nice lens to use, but because it's not parfocal and I'm not practiced with it, if I'm tracking action and I zoom then I lose focus and don't know which way to go to get it back. If only my eyes had phase detect and weren't limited to contrast detect!

Unfortunately, it appears not. I just changed it from 1->2 to 2->1 and saved it to C2, turned camera off then on again, and now C1, C2, and C3 are set to 2->1. I did the opposite and they all changed back to 1->2, so it looks like that setting is global, not part of the custom profiles.

New setup went well today. I'm not sure I would change anything, at least based on todays shoot. The worst part about the shoot today was that I forgot to take my hat! The setup consists of: GH5 Rode VMP+ Sun 70-210 f3.8 lens (sample images to come) cheap ebay monopod (modified with the head removed) The mic is mounted on the side and forward which pushes the camera back from the monopod allowing easy access to the viewfinder. It's a cheap ebay flash adapter like below, with the camera QR plate on one end, a cold shoe adapter on the other for the mic, and the monopod in the centre mount: The tripod is modified with the head completely removed and a screw installed in the 'cap' that used to support the head. It's not quite straight but, oh well, whatever! The screw is actually the screw part from one of these, which I used epoxy glue to hold in place, and the flat part meant for the cold shoe provides a strong connection for the whole thing. I still have a niggling want for a lens longer than 200mm, maybe a 100-400 zoom, but there don't seem to be any cheap fully manual ones around. The players at the other end of the field are pretty small in the frame even at 210mm (420mm equivalent).