kye

The future's so bright, I gotta wear shades... ???

The problem is how fast and how smoothly the focus mechanism in the lens can track focus, which is both: working out if focus is lost, which direction to go to find it, and by how much; and also being able to actually change the focus fast enough. The other method is to analyse the lens ahead of time and store that data, in which case you don't need to assess how focused anything is, you just get a zoom reading from the lens and compensate. The XC10 does this, with its fixed 24-240mm equivalent lens. Unfortunately I found in real life that if you zoomed quickly it wouldn't be able to keep up, and also it wouldn't reacquire it through the lens data, but would require the focus mechanism to do it's thing. If you zoomed slowly then it worked though, so that was nice.

In my reading about cleaning vintage lenses most people recommended not trying to clean zoom lenses because they're too complicated to put back together again. The vacuum method will either work or not, but if it works then there's no assembly issues

$1998? The harder the manufacturers compete and the faster they push out new models the more that analysis paralysis will kick in.

Sounds like you're talking yourself into the Samyangs, with their ease of focus, more flexible look, and greatly reduced cost. Plus, if you get a set of them then cutting shots together will be so much easier. Neither - those damned beaches are haunted! ?‍♀️?‍♂️???

It does. I've found there to be three different types of lenses: Fast ones that are soft wide-open but sharpen up stopped down two stops Slow ones that are sharp wide-open (are probably just the previous ones without the wider aperture adjustment) Fast ones that are sharp wide-open and cost an arm and a leg! I have a set of the first ones (fast/soft wide-open) and in a sense you get two aesthetics in one. You can always apply a slight blur in post to make the narrower aperture settings look soft like the wide-open end, and if you only have an odd shot wide-open here or there you can often sharpen them up so that they don't stand out in a sequence. Yeah, just different. I really like the IBIS for being able to stabilise manual primes, and that's one of the main reasons I bought my GH5 mid-last year. Yes, for $2.5k for a lens, you're almost better off buying two primes and a second GH5 and just carrying two setups

Oh, I don't know. It's not a night and day difference, but it is a blue-hour and midday difference! ??? Seriously though, judging from those frames the FD seems to be a little less sharp giving it a more organic aesthetic, although a small motion blur might be causing this impression. A small blur might do the trick in post if that's the look you're going for though. Both are nice looking images, just slightly different. The 3x price difference is difficult to get past, but there's more to a lens than just the image. If it feels nicer to use it impacts the creative process, if it's faster, more flexible, has different colours, etc.

Ah, yes, vintage lenses are a different aesthetic. It's common for pros to have two sets of lenses, one vintage and one modern, although if you're shooting higher budget cine stuff then you often hire the modern ones (CP.2 etc) and keep the vintage set for yourself for low budget or personal projects (and maybe to hire out). It's about choosing which aesthetic suits the project. There's a new panasonic 10-25mm f1.7 in the works if that helps. But I fully agree with you, FF has the 2.8 holy trinity, APSC has the Sigma 1.8 pair, and MFT has ...... nothing. The holy trinity for MFT would be 8-12/1.4 + 12-35/1.4 + 35-100/1.4 and theres nothing even close. In live event stuff you may be torn between having a zoom with a wider range vs faster aperture.

Yeah @kaylee - just think of it as a trip where everything has separated so the entire world is violent and filthy, and Happy is shiny and new That one is obviously pretty wide Wides often have very close focusing distances so it's an aesthetic we can all emulate at home!

It's a workhorse, so putting it to work to earn it's keep is the right strategy I don't really know what lenses are good for corporate, but your existing lineup seems pretty good. The 42.5/1.7 is pretty close to 50/1.8 so maybe something closer to 35mm might be more useful? Slightly cropping in-post is normally fine even if you're delivering 4K so you can always go a little tighter than the lens if you need to. The 18-35 is a beautiful lens, but it's pretty heavy in comparison to primes. The 12-35/2.8 has a great reputation and a bit more zoom range. If you can go slower than 2.8 then there are longer zooms than that, although be aware that 12-35/2.8 on MFT is the same as 24-70/5.6 on FF, so it's not the same as a 24-70/2.8, or even the 24-70/4. I don't have the v-log but shoot HLG instead, but I understand that both do a good job and it's more about your post-production workflow and if you have LUTs already etc.

I read somewhere that some types of haze can be cleared by putting the lens in a vacuum chamber for a minute or so. It makes sense if the haze is some condensation of materials (perhaps oils from ageing lubricants or other components) then putting it under vacuum will cause it to evaporate again, and will be pulled out by the vacuum pump. Of course, many other things can cause haze too, so it's not a guarantee, but considering you only invested $14, you don't have a lot to lose.

It's a common problem. I can't even walk down the street sometimes, with all the people stopping me to ask these same questions.

But not the low-light ability of my 17.5/0.95 Voigtlander. I'd love to use a single lens but alas, I shoot in available light, and sometimes there's very little available!

Welcome. Heaps of knowledge here so post questions / comments. What projects are you planning on using it for? What lenses / accessories will you use with it?

You need to hang with the camera people that exclusively take only photos of brick walls to prove other people wrong on the internet.... there's absolutely no artistic elements creeping in and ruining their images!

Probably the other real kicker is what your shooting ratio is, as that varies significantly between different film-makers. Or you could just go to your hardware supplier and give them your credit card and tell them to ship hard drives until you tell them to stop Don't question @Skip77 - he's here to set us straight about the right way to make a film! He's finished in the GH5 thread and now we all know to throw our GH5s away he's here to educate the P4K and BM camera users. Soon he'll clean up Hollywood and correct all the mistakes that the pros endlessly repeat. I personally can't wait for him to get stuck into the YouTubers - think of the quality improvements that will be made then! We've all been making so many mistakes for so long, let's stop being part of the problem and start being part of the solution.

Fantastic show. I especially like the creativity that having people in 'altered states of consciousness' can inspire

Additionally: There is something really great about a simple camera that makes it a really 'shot getter'. Once you hit record, the GoPro gives you nothing else to think about other than content and composition, and I find that very freeing, and somehow that, combined with it's tiny size, makes it incredibly easy to just get this shot and get that shot. Once you're holding it the time between seeing a camera angle and shooting it is almost zero, and the lack of control kind of inspires experimentation and creativity. I have a half-developed thought that the action-camera is the machine for travel legs, establishing shots, selfies when at locations, and a variety of creative shots at a location. The GH5 might be in a bag somewhere during a travel leg, and getting establishing shots is also a challenge because you typically are stressed finding a location, finding parking or where to go, then when you actually arrive somewhere you have to get the kids organised and out of the car, then have to work out where to go to buy tickets and how to get in and during all that pressure and confusion really isn't the best time to setup a camera rig. After getting into a venue is actually a good time as everyone is visiting bathrooms etc and working out where to go and what time the talks/tours/feeding times/ etc are. Having a clear distinction in your film-making between different styles of shots and the associated equipment can make for a very effective and efficient process. I particularly like Kraig Adams' idea about how he shoots his travel vlogs. He alternates between 'vlog' which is camera in 24p on gorillapod with location sound and edited in 16:9, and 'cinematic' which is camera in either 24p or 60p on gimbal without location sound and edited in 2.35. I feel that this juxtaposition in his final films is a great contrast and makes each style seem more-so than it would be if it was in isolation. In this sense having discrete jobs for each setup and having those jobs align with the technical aspects of the equipment is where you want to be, and that's what I'm aiming for.

Thanks all, some interesting ideas here. lol about the Moneymaker and I already have a camera strap that I've experimented with. Ultimately it was just too cumbersome when getting in and out of cars combined with backpacks etc, which is why I prefer hand-held with a wrist strap, although the problem with that is that you can't be walking around and then stop to tie your shoe or eat a snack or whatever because there's no-where to put the camera. Of course that's where the Peak Design Capture comes in and it might be the best idea I've seen so far, so thanks for mentioning it. I have seen them before, but had no idea they were so cheap / accessible. I'd have to think about where I'd put it, but even if I just hung the X3000 from it and operated it one-handedly while still also holding the GH5. I'm not too sure about the GH5 though, considering I have the Rode Video Mic Pro+ on top of it, but anyway. Shooting two cameras at once isn't likely to have a high yield I'll definitely conclude that, although if one of them is fixed focus and super-wide-angle then your chances improve somewhat. The problem with just panning to myself is that 'just panning' is actually 'just turning off the camera, opening bag, getting wide angle, changing lenses, turn on camera, flip screen to face forwards, pre-focus, hit record, ......' then the opposite to go back. Having a separate camera makes this a lot simpler and means I can leave the GH5 on and ready to shoot at a moments notice should something happen suddenly, which it frequently does with my kids. This is the other avenue, to have one rig with two cameras. I've played around a lot with this in the past using flash-brackets or cold-shoe mounts, such as these setups: Ultimately though I discovered that these setups are very conspicuous and are also really heavy when filming yourself. The position to get a reasonable selfie-frame is a relaxed bent-arms length away and almost straight-on, otherwise the effect of the wide-angle lens makes the person next to you seem like they're starring in Honey I Shrank The Person Next To Me, and I also find that when you hold it out there it's psychologically distracting for quite a bit, maybe 5-10-20 or 30s before you just kind of ignore it, so unless you're ok with the 'oh shit I'm on camera does my hair look alright I hope I don't have food on my face is this lighting flattering' inspired internal motivation then you have to hold the camera for a long time. The technique for the kids is more to surprise them as they mostly act stupid when they realise they're on camera so a huge rig doesn't help that either. Thanks Chris, interesting you're moving from the X3000 to the gopro - how have you found it in post? To me digital stabilisation has real limitations, especially in low-light when shutter times allow movement during the exposure, although the X3000 is several generations of tech behind. I really would have liked to hold off until they updated it, but my next trip is before their previous release cycle occurs, so oh well. The tests I've done with my existing GoPro were with a floaty handle (the bright yellow one) which is comfortable to hold and easy to put in a pocket even if the camera is sticking out, but of course isn't the most stealthy option. If I go with a handle I'm contemplating designing one that perhaps folds up and doesn't add any real bulk to the setup, or alternatively if it's on a clip then maybe it doesn't fold but it might be super-light-weight. If I was rich, maybe, but if you look at professional vloggers who have a camera-person with them they basically become a member of the family, and that's not quite the dynamic I'm looking for. Plus, making films is what I enjoy, especially filming, and anyone that films me will mostly just be filming me filming other people, so not really a recipe for success My GoPro is fixed focus 30cm (12in) to infinity, and best composition is actually with arm bent and relaxed. The X3000 might benefit from a handle though, as minimum focus distance is 50cm (20in). I'll have to work that out, although having a small handle isn't a big deal, and I have longish arms so that helps. The Osmo Pocket is an interesting device, but not wide enough for my needs. The "wide 80degree" lens is likely 22mm which isn't nearly wide enough for a proper selfie unless you like the 'I'm filming myself' look, and the waterproof case appears to still be unavailable? Maybe v2 I have noticed that I was good at filming other people and at filming interesting things like buildings, but rubbish at everything else. For my first videos I had to scrape together establishing shots because I never knew to concentrate on them, but I'm pretty good at that now. The standard format of a trip is travel -> location -> travel -> location with an action/wet location occasionally, so I now know to film some travel montage, an establishing shot or three, and people doing things / interesting inanimate objects. What I'm missing is shots of myself, and a variety of shots, as I still kind of shoot how I see. The shot-list I then thought of adding to my normal style is selfie shots, time lapses of things like eating meals, sunrises / sunsets, and a much greater variety of shots in general. I bought a Manfrotto tiny tabletop tripod for the GH5 in anticipation of doing more time lapses and it's great but I haven't yet trained myself to use it for that yet. In a sense the action camera would be the best fit for this as it would attract basically no attention if I brought it to dinner (a GoPro Session would be an ideal size for this!) but a GH5 is very disruptive, both to the fact it's extremely obvious to my family, and also finding room on a tiny table where there's barely room for the salt and pepper when everyones plates are there makes a DSLR form-factor almost impossible. The GoPro Session is enticing simply because it is so small and pocketable, but its discontinued and would have been a PITA to change between video and time-lapse with no buttons or screen. Compromises everywhere!

Yep! That's the core reason why indy film-making is possible. Not too many other businesses can create a broadly similar product for 1% or 0.1% or 0.01% of the typical budget!

I don't need help choosing a camera, I'm looking for feedback on having two rigs. Some googling resulted in some interesting ideas. Mount it to something: Darius gets a lot of use from his wrist rig because it's always with him: Lots of people have the GoPro + handle + mic setup: This guy ditched the handle and made it pocketable: I'll end up with an X3000 setup, so here's some interesting ideas: This guy uses X3000 + handle + lav mic which is interesting: and prompts the idea that you could have a wrist strap and then run the lav mic up the sleeve of your shirt and just be permanently setup like that. X3000 + friction arm + mic on the bottom: But I'm actually wondering if the in-built audio will be sufficient, in which case, maybe I just have the camera in a pocket, without anything?

I don't have a 360 rig, and I was talking about it with my wife and I worked out that even a 6K setup is only a 1.5K shot if you crop to a 90degree horizontal angle, so the quality is terrible. I think that an action camera will miss less shots because it's pointing the wrong way than a 360 camera will miss because cropping in is too low-quality. Besides, that still doesn't answer the question about what is the best way to have a second hand-held camera.. I'm thinking I need to google micro-vlogging setups or similar. Something that can be used completely one-handed would be ideal, as it would allow removal from pocket, unfold / setup, turning on, hit record, shoot, hit stop, turn off, fold, put back in pocket, all while still holding the GH5 in the other hand.

I just noticed that now DR16 has the Cut page, there are no more gaps in the shortcut keys. Shift-1 is Projects Shift-2 is Media Shift-3 is Cut Shift-4 is Edit Shift-5 is Fusion Shift-6 is Colour Shift-7 is Fairlight Shift-8 is Deliver I'd always noticed that there used to be gaps in those keys, for example Shift-4 was always Edit but Shift-3 didn't have anything, and now those gaps are gone so they've obviously had this architecture in mind for a few versions.

I shoot home videos of family outings and holidays and am looking for advice on how to get the most compact two-camera setups. My main setup is a GH5, a 17.5mm (35mm equivalent) lens and Rode VMP+ hand-held rig. I also have other lenses, but >80% of the time the 17.5mm is on the camera. This is great for shooting locations and other people, but not for shooting myself, and I'd like to include myself in the finished videos too. I have a 8mm lens (16mm equivalent) but attempts to film-myself weren't that successful and it was cumbersome to change lenses and stuff around. My solution will be to have a second setup with a fixed focus action camera. I did a proof of concept with my old GoPro, a handle, and Rode Video Micro and that worked really well. I take an action camera travelling anyway due to dust and water sealing, so it doesn't add to my luggage or anything. My issue is that I'm used to having one rig and just holding it all day, but now I'm talking about juggling two rigs and I'm not sure how to best do that. I want it to be easy, and I'm looking for tips from people that use two cameras hand-held. I want to grab shots with basically no switching time, and potentially filming with both cameras at the same time. Thanks.

lol, Walmart.... Nice! People who are a bit organised and have confidence and conviction can really bend the rules and get away with things. I'm not a rule-breaker in general, but in todays world so many rules are BS and if you're not hurting anyone then it's all good.