http://videocamerahirebrisbane.com.au/?page_id=546
http://videocamerahirebrisbane.com.au/?page_id=10 Cheers

We do not have such a budget. Are there any good alternatives around 1.000 - 3.000 Euro? We are shooting on Panasonic GH3s.

Thanks in advance. Alex

Can be used with the GH4. GH2 as well, though battery access slightly blocked. Bought 2 for my GH3 and GH2, but only need one.

First try shooting FMX, not very easy ... Happy by the way, a nice afternoon in my big friend Julien's backyard. Goog vibes and atomic riding from a passionate guy. Go on dude, you're on the right way ;-)

Shot & Edit: Julien Miscischia Camera: Panasonic GH3 Codec: MOV 50mbps IPB 1080@50 PAL Lenses: Olympus 45mm 1.8, Panasonic 14-42mm OIS kit lens, Canon FD 35-105mm 3.5, Helios 135mm 2.8 with Fader ND Profile: Natrual -5,-5, 0, -5 Edit and grade: Premiere Pro CS6, After Effect CS6, FilmConvert

Music: Sleepless (Fakear remix) soundcloud.com/fakear/sleepless-fakear-remix soundcloud.com/fakear

Comments are welcome

Carryspeed is working on a new version of their VF-3 to work with the GH3. No idea of delivery but expecting months off. Right now it looks like their current one could work with a QR between loupe and camera base to raise it up

Varavon is also rumoured to be coming out with a GH3 solution but I have no information on it if anyone has anything to add here that would be helpful.

Answer is at the end of the video. Let me know your comments.

DOUCE CHINE: Technical detail for every shot (Camera/lens/Aperture)

Birth of the “Douce Chine” Project: Twice a year I am teaching a 10 weeks (25 hours) filmmaking course in Shanghai. www.shanghai-classes.com/filmmaking For the 2014 spring term, I decided to help one of my friends, by shooting a music video for his new Album: Douce Chine (China Delight). This was an interesting project for my students as well, as we had time to work on lighting set up and camera positioning. Song is about a guy who is used to travel from France to China, mixing up jet lag feeling with night life, good wine and wave of exciting emotion spicing up his life in China. This 4 minutes video was integrally shot in 10 hours (2 afternoons) in our classroom which is only 25m2. That means we could only walk 5 steps max in the different directions of the room.

Why multi cameras shoot? Out of my teaching work in photography and filmmaking, I am both a pro photographer and DP/cameraman. I am having lots of gears and this shooting was a good place to put all of my cameras at work for the good of the students; Nikon D800, Lumix GH2, Lumix GH3 and Panasonic AF100. I hired one of my Photography students (Richard) to be my main assistant and he brought along his Leica M240 he had never tried in video mode so we decided to give it a try on that project. Music video is the place for multi camera shooting as you cannot ask the singer to repeat the exact same performance many times in one afternoon. Despite the lack of space in our classroom, we managed to position the camera to cover as many angle as possible in our 3 different sets of background: Simple black back drop, (fake) Bed and Chinese curtain, Window with (fake) street light reflection. There is no use to get many cameras in action if their position and angle of view are not both different and matching.

Image bank from extra cameras On the image shot for the music video, I add a layer of images I shot in the previous years in France and China. They were shot with GH1 (night shots and on board shots) Panasonic HVX200 (club and slomo of people walking) and HVX200 with Letus Ultimate (Water shot, airplane, traditional places…). I followed up with the HD evolution but all my HVX shots (720p 50fps) still looks real good even blew over scaled to 1080p. Great cams always existed and any day, I can still grab my HVX200 if it matches my need on a new project.

Which lenses? I am having some great lenses and I used some of my favorite on that shooting; Voigtlander 25mm f0.95, Nikon AIS 50mm f1.2, Nikon 85mm f1.4 AFD, Computar 75mm f1.4 (a rare but cheap CCTV lens great for portrait) Prior to the shoot, I bought a 35mm f1.8G (DX version) which is doing very well on the D800 even in FX mode as I knew I would add some vignette in post. I am always taking advantage of this type of experimental project to test new things without pressure. The GH2 was hanged to the ceiling on top of the fan with the Voigtlander 25mm which was wide enough to get the establishment shot at once. The D800 shared the 35mm and 50mm at f2. The GH3 always used a Speed Booster (great tool that I highly recommend) with the Nikon 85mm 1.4 which is an amazing lens (older AFD version half price than the new G version). The AF103 mainly used the Computar (200 USD lens). For the Leica, Richard brought along his 50mm f0.95, 35mm f1.4 and 90mm f2. Those 3 lens costs more than my complete equipment, but they are already sharp fully open and get their own character which makes their full frame image looks more like Medium format camera.

Light and camera settings. This is not a proper camera test as the aim was to complete the music video shooting. Therefore, we didn’t try different set up on camera or aperture on lenses to compare. Instead, we kept everything pretty much the same. I am used to set up a lighting to be able to shoot at f2 on all camera at ISO200 (base iso for GH2, GH3 and AF100). This Aperture offers great sharpness on all my lenses and it also allows me to use lenses of any angle of view from 12mm to 180mm at f2(with speed booster) on M43 (which means 24mm to 320mm on FX). I am also working at f2 most of the time as I know the combination of lights able to deliver this result which is time and budget saving. There is just some slight correction according camera position versus light position. Playing a bit on the ISO or the aperture can handle that. On the other hand, Richard wanted to go shallow depth of field (f1.4) on the Leica and sets the ISO at 100. Sometime, he went too much on that direction (while being close to the subject) and you can notice that some of Leica’s shots are a bit out of focus as depth of field is too limited. I guess that Richard went as far as f0.95 few times on the 50mm due to noticeable overexposure on some shots. Bokeh Otaku!

Main differences between cameras - GH2 and GH3 are classic, great tools, the most efficient, my favorite and they get even better with Voigtlander lenses or Speed Booster + Nikon. They are easy to set for a flat image for post processing purpose. Still, I think the GH1 was the best in term of cinematic colors out of the box. Image is sharp and it is up to your treatment to smooth them up. Those cameras are easy to handle due to their size, articulated screen, electronic viewfinder with all needed information minus peaking. - AF100 (AF103): Often described as a weak product by people who don’t own one and just judge on technical data, this camera is a workhorse, the one I pick up first for my paid job due to its form factor and ergonomics. Great for sound recording and flexible with its ND filters (the feature I am missing the most on GH series). Image quality is good and it had never been an issue for me or my client. Interesting point, it is the most accurate camera of the bunch in matters of color rendition. Green is much more right on the AF100 than on the Gh2 or Gh3 for instance. I love this cam and it is far better than its reputation. - D800: I used it once for a very short movie just for a test. (

Final words: Camera model, Full frame or M43 does it matters? This was not a camera test, but a real world shooting with very different gears. As far as I am concerned the possibility to get a flat image out of the camera, working on a nice lighting set up, taking care of camera positioning and making a wise choice of quality Lenses are more important than camera type, model or brand. Cinematic look is not about crazy shallow depth of field. Watching great classic films help to reset some mind on that matter. Pilling up image with crazy smooth out of focus area is sometime so obvious that it takes over the story itself most of the time… The real advantage of FX is to be able to offer more separation between element with wider lens (even with an f2.8 zoom) and at longer distance from subject. If one day I am trying to shoot a fiction with the leica, I am going to write a story with that idea in mind and I might shoot in flat light, colorless environment to compensate the high saturation of the footage.

Franc Péret French Filmmaker/Cameraman/Photographer/Teacher based in Shanghai cn.linkedin.com/in/francperet View my video on (need a VPN from China): http://vimeo.com/channels/659428/videos Filmmaking and Photography classes www.shanghai-classes.com

The mic sports the required 3.5mm jack cable, mic holder,cable holder, lock ring, tripod/hot shoe mount, mini plug 2m cable extender, windjammer and case. Its very easy to put together and you'll be up and shooting within minutes. After mounting and plugging in the 3.5mm jack the unit is powered once you switch on the GH3.

Use the audio mic menus on the GH3 to switch between the following setups:-

• [Shotgun] Allows recording from one direction by shutting out background and surrounding noise.

• [Stereo] Allows normal stereo recording over a wide area.

The windjammer can be fitted to the MS2 to knock out unwanted wind noise and very effective it is too. You can further reduce noise by selecting [Wind Cut] on the GH3. Mount the microphone either on top of the camera with the supplied hot shoe (which Panasonic believe is designed to sit at the best height for run and gun! - around 2 inches off the top of camera) or use the extension cable and mount it to a tripod of its own.

Be careful not to use the the GH3's in-built flash when the mic is attached to the top of the camera - don't want any nasty surprises!

Please find attached images of the mic and the response charts to the GH3 in-built settings.

Summary: A very capable little condenser mic that is pretty accurate in both shotgun mode - knocking out surrounding sounds in the stereo field whilst concentrating on the cameras direct line of sight. Its also offers a much better recording of the full stereo field in Stereo mode against the internal mic of the GH3. But let you be the judge - watch a test video on vimeo here (pretty much most of the sound is unedited straight from the MS2);-

The only drawback is probably price - for the same amount (£280 in the UK) - one can buy a Zoom or second hand Rode etc...

I shot an event with my GH3 and a Sony PWM100 camera and throughout the whole event the colours are almost 100% spot on between the two cams. Unfortunately one of the speakers wore a pink dress and the GH3 captures it as a completely different colour! When I try to replace the pink and change it, her skin tons are affected as well and makes her very unflattering. I have attached photos below to explain. IF anyone can please help me I am on a deadline and need to figure this out!

Thanks,

Tyler

Would be great to here thoughts and feedback. Please watch with headset or good audio system and download file for best quality.

Camera settings: 50 Mb/s IPB 50fps => 24p timeline, -5 -2 -5 -5 Lights: 1 x Arri Mini-Cyc 800W, 2 x Arri Junior Plus 650 W, 2 x Arri Junior Plus 300 W Post Production: FCPX + FilmConvert

Acting by: Veronika Herren-Wenger Music by: Jasu Jaranka (Sam Cava Productions) Art direction by: Heidi Wenger Assistance by: Ali Kisaoglu Directing, camera, light design and editing/grading: Christian Wenger

It almost makes the EVF usable.

Camera : Panasonic Lumix GH3 Music: White Varnish - Silence City Original Mix Video Edit: Sony Vegas Color Garding : Davinci Resolve, VisionColor OSIRIS

Does the GH3--or could my lens--have a motor that runs even when the camera is in manual mode (even for stills), set on manual focus, and is simply sitting there, pointed at a surface with a constant exposure?

I've got the OIS switch turn off on the lens, as well as every camera function I can think of.

The only time that the sound goes away is when the camera is in "Scene" mode--but as soon as a scene setting is "set," the noise comes back.

I have updated the camera to the 1.2 firmware.

I've never worked with a DSLR before, and I'm a bit of a newbie in general (most interested in video). Is this normal?

Any help appreciated!

Thanks!

Voigtlander 25mm F/0.95 - $850 Includes: Lens, Hood, Both End Caps & Original Box

Olympus 12mm F/2.0 - $600 Includes: Lens + Both End Caps

Contact on here or email chetaaron@Gmail.com

Willing to ship to lower 48 states

Would prefer EU sale, but will consider further afield.

Payment via bank transfer preferred. Will accept Paypal but will add £20 to cost.

• is the full 60-1/4000 shutter speed range available in electronic shutter mode or is the slowest speed limited to 1 second like on G5? ( Answered: it is limited to 1 second. )

• what are the options in built-in intervalometer? Can the interval be lower than one second? Is there a setting for unlimited number of images or is 9999 maximum it will allow?

• what is the fastest burst mode that allows automatic exposure between frames?

• what is the save delay in burst mode and can it save previous shot while taking next one? In practice, can the equivalent of 360 degrees shutter angle be achieved at any shutter speed?

It'll come with:

1. Body
2. 2x Panasonic OEM Batteries
3. Charger
4. Software and cables

$800 OBO and will ship worldwide!

PM me or email me at info@innersparkfilms.com

Thanks guys!

It's sometimes fun to do a remake of a big Hollywood costume piece--just five minutes of one. All of the scores of Handel's music are now public domain, as they were printed in the 19th century.

Here is the movie version: The movie has an interesting anachronism, which is that the orchestra is conducted--in Handel's time the music flow was directed by the playing of the keyboard instrument, giving a more sinuous musical flow. Modern conductors came into view around 1820, more than 100 years after the opera was composed.

Would have been nice to rent out a baroque style opera house for a day, but that would have been expensive :)

Cams: GH3 Flowmotion (center cam), GH10s

Original box with contents included (charger/battery/ect) The camera is in PERFECT condition and was used as a b cam for 1 wedding and some test footage of my dogs. lol

• Safe Option 1: Buy Metabones Speed Booster in Contax/Yashica -> Micro Four Thirds mount. Connect C/Y Zeiss glass. Profit.

• Theoretical Option 2: Buy Metabones Speed Booster in Canon EF -> Micro Four Thirds Mount. Adapt Zeiss C/Y glass to Canon EF mount. This allows me to share lenses with Canon bodies if necessary and also mount standard Canon EF glass to the Speed Booster as well. With the limited range of wide angle Zeiss C/Y glass available this also could make things easier. It saves me buying multiple $400 Speed Boosters.

Question is: Is there any reason NOT to do option 2? I know it will allow a greater chance of error in the adaptors, but will the C/Y -> Canon EF even mount to a Canon EF -> MFT Speed Booster? Is this entire idea completely stupid or have I stumbled on accidental brilliance?

THANKS!

IS MY WORK TOOL ;-)

GH3 S/N. is WE3EF001760

THANKS IN ADVANCE

https://www.reelhouse.org/stonekeyfilms/dyrafjordur

It's the 1" version so full coverage on the BMPCC sensor, and good on the GH2, GH3, GX7. I've tested on all of those.

A great lower cost alternative to the Voigtlander 25mm lens and Panasonic 20mm 1.7.

Shipping from Spain to all of Europe - listed on Ebay here - http://cgi.ebay.es/ws/eBayISAPI.dll?ViewItem&item=141261491409

It seems that some people say that it's possible with Viera Link turned off and resolution set to AUTO, but other say that doesn't work. I have some live shoots coming up where I'll need to feed a mixer 24p, and need to decide if something like an Atomos Connect is necessary for pulldown removal. I don't need SDI for run length, so I'd only be using these (in a practical sense) for pulldown removal.

Can anyone tell me if this is necessary with the most up to date firmware?