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  • Well all in all, both are great cameras. 5D series does have some trouble with moire and aliasing, baked in color, low resolution and a soft image. BUT, the image for what it is... is great. The GH2 with almost non-existent moire or aliasing issues, high-bitrate and superior motion rendering just give it a really good base to start from. You can make the image as sharp or as soft as you want, make it blend in with RED footage or HVX footage.

    Unfortunately the 5D isn't too flexible in that area, and can really only pull off one kind of look. I kinda got tired of how the footage fell apart almost immediately in post, during curves adjustments and grading. But with the GH2, the threshold is much greater for post manipulation so I really love the flexibility in that area.

    But just imagine once we have our BMC's to cuddle, any DSLR will just pale by comparison. I think it'll be a shock for anyone who's only been able to afford or use cheap DSLR's until this point, like myself. Cannot wait to see what working with CinemaDNG will be like. Just a few more weeks and the wait will be over... hopefully.
    Test footage Vimeo page: https://vimeo.com/romanalaivi

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    • It's all a matter of preference. Stating that the GH2 is better in every way is well, very fanboyish.
      Well, call me a fanboy then! I don't care. I love the GH2. It is absolutely brilliant with the hack. And the ease of use is a tremendous big plus. In a true pros' hands it is a great little machine. Didn't you hear about the Zacuto thingy recently? You should Google it! And see what happened. It is eye opening as far as the GH2 performance goes. But of course it was done by true pros.

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      • That is something we can most definitely agree on. Cannot wait for my BMC to arrive. Sadly I only got on the list less than 2 weeks ago so I'll be waiting a while (I'm such a dummy for waiting). I'm not sure I'll be shocked since I do get to see the occasional good quality footage in the form of DPX 35mm film scans which tend end up as cineform files. Now those suckers can be graded just about any you want. If the BMC is even remotely close I'll be in heaven. The people willing to pay for 35mm film shoots is getting smaller and samller. So are the people who are knowledgeable in shooting with film. That is not something that I do myself but gets hired out because I don't want to risk wasting film. Also the last place near me that did the processing, first light, and transfers shut down years ago and we've had to mail it off the last few times for the few clients who want to pay for film. Talk about nerve racking. The results though are worth it. But workflow is the amazing thing about digital cameras. I can experiment and run all of mytest on my own time with out much expense and be confident that I am delivering what the client wants. With film I am relying on others heavily since my knowledge of shooting film is only in theory and not in practice. When I get mine in I seriously will be shooting about 20 hours a week at least for the first 2 months or so to learn the camera inside and out and what situations it shines in and what to avoid. Already have locations scouted along with permission forms and waivers. I won't be using it ony paid work until I have put it through it's paces and established my workflow.

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        • Originally posted by John Caballero View Post
          Well, call me a fanboy then! I don't care. I love the GH2. It is absolutely brilliant with the hack. And the ease of use is a tremendous big plus. In a true pros' hands it is a great little machine. Didn't you hear about the Zacuto thingy recently? You should Google it! And see what happened. It is eye opening as far as the GH2 performance goes. But of course it was done by true pros.
          The Zacuto Thingy along with personal experience and countless offerings on vimeo and youtube is what my statements are based on. If you look a couple post backs you'll see I mention the Zacuto thingy. NO disrespect at all to the people involved in the shoot out but that was much more of tell your story regardless of what camera you have feel good sort of piece rather than a let's break the pros and cons of these cameras down and see what happens thingy. Many of the people on the shoot out I think are very talented and what they said needs to be heard but my opinion is that it should have been given a different title that better fit the whole piece of the video. Lots of insight on how to treat people, better your craft, and how to approach film making but very little insight on the cameras that wasn't already known from either using them myself or what has already been said a million times on various forums. I would be very interested and would even pay for more Zacuto style interviews with people in the industry who are well repsected and having been doing it for a long time. That was an awesome bonus. The camera stuff a was waste of time. Was there anything in their about the Alexa or the Red that you didn't already know? My only guess is that this was geared for people that have only shot with a few cameras and have never picked up a Red and shot in 5K or seen Alexa footage first hand. I guess the only thing that surprised me camera wise was that people are using iphones for video production. Won't comment on that!

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          • Well, be wary about people who are never satisfied with a camera they pick up. They buy one to sell it for any reason. Then buy another to do the same. I applaud and admire people that take a camera a make it work and create something. Complainers are a dime a dozen. There is absolutely brilliant stuff done with the Canons, the Panasonics, et all. And is admirable to see how truly creative people work with the tools at hand. Create with what they have today and embrace the next camera when they are ready to move forward. Kudos again to those who have taken a revolutionary little camera like the GH2 and build their path to greater accomplishments with your next one. Complainers, just keep complaining while the others achieve!

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            • I am currently an owner of an unhacked GH2, and I still have my GH1 as a backup. I have been thrilled with both cameras, especially the GH2, and have never felt that skin tones were a flaw with the camera. The GH1 did have issues with skin tones, but that disappeared with the GH2. I suppose it's all subjective. I have shot interviews, dance numbers, family events, road trips, sporting events, short films and more short films and have always been deeply satisfied with the results that little camera has given me.
              One spot I did won an Emmy Award and another was nominated for best cinematography at a film festival, so I'm convinced that with good lighting and composition, the GH2 is incredible, especially considering its price.
              I'm interested in the BMC for many reasons, but I'll probably keep my GH2 around because I know there will be situations where I can still use it.

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              • I really dislike the GH2 handling of highlight especially bright outdoor. If they can improve on that and gave us a flat profile similar to Canon's Cinestyle it would be a bargain of a lifetime because the detail handling is superb. As it is I limit its use to semi low light use were the DR is not stretch. If the BMC gets a firmware update for 60p or higher I will sell the GH2 in a heart beat.

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                • Originally posted by Taikonaut View Post
                  ... If the BMC gets a firmware update for 60p or higher I will sell the GH2 in a heart beat.
                  I'll bet my GH2 that the BMCC model 1 will never offer 1080p @ 60p or higher. Not sell my GH2, give it away for free. (I only paid $630 for it way back in Dec. of '10 anyway).

                  It'll be fabulous if the BMCC model 1 offers frame rates >30 at any resolution, but I'm not holding my breath, and it has no impact on my eagerness to receive my BMCC model 1 "as is" ASAP.

                  In any event, detailed discussion about the GH2 should probably be in the "Off Topic" section of this forum. Cheers.
                  www.peterdv.com
                  Blog: http://HereForTheWeather.wordpress.com

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                  • Originally posted by Peter J. DeCrescenzo View Post
                    I'll bet my GH2 that the BMCC model 1 will never offer 1080p @ 60p or higher. Not sell my GH2, give it away for free. (I only paid $630 for it way back in Dec. of '10 anyway).

                    It'll be fabulous if the BMCC model 1 offers frame rates >30 at any resolution, but I'm not holding my breath, and it has no impact on my eagerness to receive my BMCC model 1 "as is" ASAP.

                    In any event, detailed discussion about the GH2 should probably be in the "Off Topic" section of this forum. Cheers.
                    I don't know what you mean by model 1 but since BM has made lots of noise about "the number 1 request" I'm still optimistic that we will see firmware update with 60fps.

                    BTW In case you havent notice all my discussion of the GH2 is how relevent or not it is living alongside the BMC so putting it in "off topic" is'nt necessary.
                    Last edited by Taikonaut; 08-01-2012, 02:41 PM.

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                    • Originally posted by Taikonaut View Post
                      I don't know what you mean by model 1
                      Model 1, as in, BMD's first camera.

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                      • Originally posted by Kholi View Post
                        I feel like I'm going to be overtly satisfied with the Magic Cam, once I change the mount.
                        Kholi, maybe you mentioned this elsewhere, but where are you getting your 4/3 mount mod done? Somewhere here in LA?

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                        • Originally posted by David View Post
                          The GH2's resolution is not enough to overcome all it's other short comings most of all poor skin tones even with the hack. Look at all the resolution and detail in this turd! Not what I want. 5D Mark III is soft as can be. Having owned a 5D Mark II, Mark III, GH2 and a 7D (already sold the 5D Mark III and 7D to pay for the BMD CC) I'll be shooting with the 5D Mark II until I get my BMD CC. The 5D Mark II with the vaf-5d2 filter and magic lantern looks pretty damn good despite lacking the resolution of the GH2. The AA filter in the 5D Mark III ruined that camera for me. Way to heavy handed. I was all excited about that camera too but after having it for a month I had to stop lying to myself that sharpening up the footage in post fixed things for 5D Mark III. It didn't the cammera is soft. Have some one coming to look at the GH2 tomorrow. Hopefully I can get rid of that one as well. The 5D while having it's own issues with skin tones as least is pleasant looking and with both Tungsten and HMI Lighting even though not accurate. Florescent and other lights not so much but hey what can you do? The Alexa is the only camera I have seen that produces good skin tones. Not as good as film but at least they are in the neighborhood. That is the biggest reason why I am so excited about the BMD CC! Skin tones look way more like the Alexa instead of looking like the ghastly RED skin tones or the skin tones on DSLRs which just don't cut it including the 5D Mark II which I do like but is still not right. Look at the Pirates of the Caribbean movies shot on film versus the last on shot on Red. What a GIANT step backwards! Then compare Ironman shot on film with Avengers shot on Alexa. While not as good as Ironman, The Avengers holds up really well in terms of skin tones. Most of the stuff I shoot primarily has people in it even if they aren't the main focus. People's skin has to look alive! This is not my original comment but I'll do my best to quote it or better yet paraphrase it from a friend of mine who is fortunate and talented enough to work on mainly big budget stuff. "Working with Red footage is great in that you can grade it to look just about any way you want it to but it's like dying or painting clay any color you want, it still looks like mud. You can have muddy skin tones in any hue or shade but the tonality is still that of mud or clay." I am leaving his name out of this on purpose because the last 3 movies he has worked on have all been shot on Red and I don't want to compromise him in any way being that he hates RED skin tones.

                          If you look at people's faces under good lights close up it's amazing all the wonderful things that are happening in their. It's like the light slightly penetrates the skin and bounces around before being reflected back out and skin is not the same thickness or same level of translucency all over. That is why tonality is so important. Film does a glorious job with this. Alexa comes close and BMD CC seems to be headed in the right direction. I have no inside information and have not seen anything that the rest of you have not seen but I am very, very excited by the little we have seen. I have very little doubt that the footage delivered by this camera will deliver good skin tones which is something that can only be said of Film and the Alexa. Good skin tones is worth a hell of lot more than 3 grand my friends. This really is the big game changer for me. Access to good skin tones for $3000. If you don't shoot humans then their are a ton of amazing cameras already out their for you. If you have human beings in most of what shoot and can't afford to shoot on 35mm film or rent an Alexa for every shoot then salvation is on it's way and it's called the the Blackmagic Cinema Camera!
                          Just want to say that as a photographer working with RAW all day, coloring and developing photos (when I'm not doing web design) I can attest to everything David said. So nice having the info you shared on here! I have written a lot with the Zacuto tests, but I seriously cannot see what people see with the GH2. Oh well. People tend to not have a trained eye - the eye is a rowdy, distracted member of the body: it goes after the "shiny" interesting object quickly but easily gets fatigued and has a hard time 'knowing' what it is looking for.

                          Colorists, designers, photographers, cinematographers don't just look at life, they train their eye to perceive differently than the normal person. As a graphic designer, we spent a lot of time learning the eye and its motion and ability to render color. So when I look into the face of talent on screen while editing or grading and glide over their face and cheek bone, I want to see that translucent shimmer, glimmer, pop in the skin.

                          Nothing does it yet like film. Arri is least dull. Red has a slight cast in the tones that has to be worked on to get out. GH2 is fairly stark, stale and has to be 'massaged' a lot - hence the TONS of light used in the Zacuto tests.
                          Last edited by mattbatt; 08-03-2012, 07:10 PM.

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                          • Well, movie film is dying. Slowly but surely. Replaced by digital cinema. A whole new monster. In a few years our wondering eyes will be totally adjusted to the digital cinema reality. And the generation growing up would not care what film was. They will grow up watching the movies created in their generation. Digitally. Most likely different cameras will continue having different looks, who knows. Most likely they will. But I will say it again, at this moment in time we have pretty good cameras doing their job, if you are truly a pro and know how to master them. There are plenty of people making a good living with them. Making beautiful moving images, getting awards and contributing to the process. Then there the others.

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                            • I don't think it will be a few years. A lot of directors and cinematographers have no intention of shooting digital.

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                              • Originally posted by nickjbedford View Post
                                I don't think it will be a few years. A lot of directors and cinematographers have no intention of shooting digital.
                                Not sure what your first sentence means.

                                There were many pro still photographers who resisted digital still cameras for years, but that's mostly in the past. There are a few pro still photogs who continue shooting on film, but overwhelmingly digital still photography has won out.

                                A similar process is now playing out with motion picture photography. Obviously many top cinematographers are already shooting digital on some of their films. By the time the next generation of ARRI, RED, Sony, BMD and other digital cinema cameras roll out the tide will have definitively turned toward digital cinematography.

                                Traditional, chemically-processed film might "never" completely disappear, but it's inevitable that it will become passť for all (well, ~99.9% of) practical purposes. For better or for worse.
                                www.peterdv.com
                                Blog: http://HereForTheWeather.wordpress.com

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