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    Quote Originally Posted by jonpais View Post
    Presumably, in narrative filmmaking, you've got control over lighting, set design, costumes and so on, whereas in documentary filmmaking, newsgathering and events you don't. Or am I mistaken?
    Yh, and you always want the least processing possible in camera - like ARRI, RED, VARICAM, EVA-1 (same codec as GH5(s) btw.) etc. do - unless you like the look of Michael Mann's movies...


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    Quote Originally Posted by jonpais View Post
    Presumably, in narrative filmmaking, you've got control over lighting, set design, costumes and so on, whereas in documentary filmmaking, newsgathering and events you don't. Or am I mistaken?
    To the degree that the troika of budget, time and talent allow: certainly. How does this question relate to the topic at hand, though?


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    Because you said that it’s the aggressive noise reduction at high ISOs that bothers you most about the GH**. I figure if you’ve got control over the lighting, it’s no longer such a big deal.


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    Quote Originally Posted by jonpais View Post
    Because you said that it’s the aggressive noise reduction at high ISOs that bothers you most about the GH**. I figure if you’ve got control over the lighting, it’s no longer such a big deal.
    No, what bothers me most about the GH5S is that by the time I add a ProRes recorder and XLR input, it costs almost 3X the BMPCC 4K, and I still don't get RAW.


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    Quote Originally Posted by joe12south View Post
    If the BMPCC 4K performs as expected (and there is every reason to expect it will) it will clearly, objectively, produce higher technical quality images than a GH5s paired with an Atomos recorder (currently the best you can do) for far less money. In fact, so much less that I can run coverage with dual cameras.

    I'm sorry if that bothers some people, but I have always been very objective about my qualification of tools. Look back at my testing of V-LOG L. Not exactly singing Panny's praises, eh? But you can also look back and see me defend Panny's use of NR. I understand why it is necessary when recording to the format we have to record to. But that doesn't mean I'm not going to call it out when it is visibly over-agressive and fake looking (High ISO GH5S.)
    BS. There is actually NO REASON to expect the BMPCC will produce higher technical quality images, sorry but their track record SUCKS! I so wanted that not to be true, to the extreme that I waited and waited for the Ursa Mini 4.6 to be released with free copy of Resolve Studio, but the reports were so profoundly horrid I paid the full ride for the software alone ($995 at the time). The image was so bad and the reports so widespread to think otherwise memories are on a short leash. Alan Roberts of BBC described the color as "lurid pink." BMD fixed the problem for their unhappy owners by coming out with a new version of the same thing called the Ursa Mini Pro. That makes their camera track record a string of 1 success following the debacle.

    GH5(s) should have serious discussion but you and Simon are responsible for logs of shill. The "Game Over" thread was created with no intention but to provocate. Panasonic nor BMD have anything to do with it, the "exhaustive analysis" from your renting a GH5s is tripe. BMD have their own excellent forums for serious discussion.


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    Quote Originally Posted by Tom Roper View Post
    BS. There is actually NO REASON to expect the BMPCC will produce higher technical quality images, sorry but their track record SUCKS! I so wanted that not to be true, to the extreme that I waited and waited for the Ursa Mini 4.6 to be released with free copy of Resolve Studio, but the reports were so profoundly horrid I paid the full ride for the software alone ($995 at the time). The image was so bad and the reports so widespread to think otherwise memories are on a short leash. Alan Roberts of BBC described the color as "lurid pink." BMD fixed the problem for their unhappy owners by coming out with a new version of the same thing called the Ursa Mini Pro. That makes their camera track record a string of 1 success following the debacle.

    GH5(s) should have serious discussion but you and Simon are responsible for logs of shill. The "Game Over" thread was created with no intention but to provocate. Panasonic nor BMD have anything to do with it, the "exhaustive analysis" from your renting a GH5s is tripe. BMD have their own excellent forums for serious discussion.
    I initially disliked the 4.6K color science very much, but if you're going to mention all that you did, you might as well note they also improved the camera with multiple firmware updates including its color science.


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    Quote Originally Posted by Tom Roper View Post
    BS. There is actually NO REASON to expect the BMPCC will produce higher technical quality images, sorry but their track record SUCKS! I so wanted that not to be true, to the extreme that I waited and waited for the Ursa Mini 4.6 to be released with free copy of Resolve Studio, but the reports were so profoundly horrid I paid the full ride for the software alone ($995 at the time). The image was so bad and the reports so widespread to think otherwise memories are on a short leash. Alan Roberts of BBC described the color as "lurid pink." BMD fixed the problem for their unhappy owners by coming out with a new version of the same thing called the Ursa Mini Pro. That makes their camera track record a string of 1 success following the debacle.

    GH5(s) should have serious discussion but you and Simon are responsible for logs of shill. The "Game Over" thread was created with no intention but to provocate. Panasonic nor BMD have anything to do with it, the "exhaustive analysis" from your renting a GH5s is tripe. BMD have their own excellent forums for serious discussion.
    Utter nonsense.

    NO COMPRESSED CODEC can compare to RAW, and all GH cameras have drastically less dynamic range than Blackmagic cameras.
    Real working pros, like a few right here on this forum cut Blackmagic footage in and out of Alexa footage on a daily basis. If that were remotely possible with ANY GH camera they would do it in a heartbeat.

    And your statements about 'problems' or 'failures' that you 'heard so widely' about are also ridiculously exaggerated. I somehow am led to doubt whether or not you've ever actually shot with a Blackmagic camera after saying things like this.
    __________________________________________________ ____________________
    Cameras: Panasonic: GH2, GH3, GH4, Sony: RX100 ii, Canon: 6D, T2i, 80D, SL2, Blackmagic Cinema Camera, Blackmagic Pocket Camera (x3),
    Mics: Sennheiser, AKG, Shure, Sanken, Audio-Technica, Audix
    Lights: Every Chinese clone you can imagine


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    Quote Originally Posted by DPStewart View Post
    cut Blackmagic footage in and out of Alexa footage on a daily basis. If that were remotely possible with ANY GH camera they would do it in a heartbeat
    Just shot this today ;)

    Alexa LogC


    GH5 VLog


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    Panasonic is playing the “Long Game” with their GH cameras, for me it started with a GH2, then a GH3, then a GH4 and now a GH5. If anyone thinks the Game is over as suggested by this thread, think GH6…………and another winner.


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    Quote Originally Posted by Sage View Post
    Just shot this today ;)
    It looks like a good match.

    Did you shoot anything with a bit more contrast ?

    The DR in your shot is very controlled. I imagine you’d see differences to an Alexa once you have more lighting contrast.

    Not only that, but Alexa by it’s nature infers a high bit depth more lossless codec and THAT is where I think you see bigger differences between the “consumer” cameras like the GH / GHs and a Blackmagic camera.

    12bit LOG means a lot more wriggle room in the grade. A lot more image fidelity before anything breaks once you start pushing the grade around. An easy secondary key in mixed lighting to subdue a certain hue. All of which is harder in 10 or 8 bit more lossy codecs.

    JB
    Cinematographer
    Sydney Australia
    www.johnbrawley.com
    I also have a blog


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